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Pop - Released February 8, 2005 | Rhino

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Dionne Warwick followed up the lukewarm reception for On Stage and in the Movies (1967) with her ninth long player for Scepter Records in less than four years. Conversely, Windows of the World (1967) would garner a favorable impression thanks in part to "Say a Little Prayer" and the hauntingly poignant and politically-tinged title song, "Windows of the World." Both are timeless illustrations of the pop perfection found in Warwick's interpretations of Burt Bacharach and Hal David classics. The same is true of "(There's) Always Something There to Remind Me," "The Beginning of Loneliness" and the irresistibly groovy "Another Night," all of which were minor hits. The team also provided the secondary (read: filler) "Walk Little Dolly," sporting a gliding waltz arrangement that is custom-fit to Warwick's lilting and expressive vocal. As on earlier collections, she expands beyond the Bacharach/David songbook on a few show tunes, forecasting her impending success on André Previn's "(Theme From) Valley of the Dolls." Another Previn composition, "You're Gonna Hear from Me" -- from Inside Daisy Clover -- is included here in an impressive Peter Matz score. Warwick's deep gospel roots are drawn upon as she unleashes one of the most striking performances of her career. Matz gives West Side Story's "Somewhere" a jazzy and fully orchestrated reading that takes advantage of Warwick's innate timing and commanding pipes -- especially when holding that final "...someway..." that lasts over ten seconds. On the lighter side, O.B. Massingill and Warwick collaborated on the camped up rendition of Nat King Cole and Bert Kaempfert's "Love." ~ Lindsay Planer
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Pop - Released December 3, 1985 | Rhino

Rhino's The Dionne Warwick Collection: Her All-Time Greatest Hits is the best Warwick collection on the market, culling 24 tracks from her '60s prime. Although it doesn't cover her entire career, it does feature nearly all of her very best material, and it's all in the style that made her famous; top to bottom, it's a stronger, more consistent listen than anything else out there. This was the period when she established herself as the premier interpreter of Burt Bacharach's music, and pulled off the neat trick of appealing to both R&B and easy listening audiences. Warwick was soulful without necessarily singing soul music per se; her smooth, light delivery and polished technique meshed very well with the sophisticated pop of the Bacharach/Hal David team, who co-composed all but one of the songs included here. No other singer navigated Bacharach's deceptively tricky compositions with such effortless grace; the ease she projects on the rhythmically complex "I Say a Little Prayer" and "Promises, Promises" is startling. It's no wonder her versions of Bacharach's songs often became the definitive ones. This compilation doesn't cover Warwick's later hits, like the Spinners' duet "Then Came You," "That's What Friends Are For," or her late-'70s/early-'80s adult contemporary fare; for those, look to Arista's The Definitive Collection, which touches on every phase of her career, or the more specific Greatest Hits (1979-1990). But for a sparkling demonstration of everything that made Warwick great, there's no better buy than The Dionne Warwick Collection. ~ Steve Huey
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Pop - Released February 8, 2005 | Rhino

Soulful is a major work in Dionne Warwick's deep catalog, and one worthy of study and appreciation. Starting off with a Top 20 hit from October of 1969, her gutsy rendition of "You've Lost That Lovin' Feeling," the album shifts from songs containing the sweet and ever present voice found on '60s radio to one of a masterful artist in control, renditions of "Do Right Woman" and the tender approach to "I've Been Loving You Too Long" allowing these copyrights to be heard in a different and intriguing light. Recorded at American Sound Studios in Memphis, TN, with the great Chips Moman engineering and co-producing with Warwick, the only place you'll find the names Burt Bacharach and Hal David is on the label: "A Burt Bacharach-Hal David Production Produced by Chips Moman and Dionne Warwick." In her liner notes on the back cover the singer writes, "I hope you will enjoy experiencing with me the joy and excitement I felt in recording Rhythm and Blues -- my way." To quote blues singer Genya Ravan, "and she means it!" Working with the producer of the Box Tops' "The Letter" and Elvis Presley was a wonderful change and stretch for the woman who was so closely aligned with the music and production of Bacharach and David. Recording in the state that has bragging rights to Graceland was in vogue during the final year of the 1960s and into the early '70s, Steve Cropper's production of Mitch Ryder's The Detroit-Memphis Experiment just another part of the story leading up to the legendary Dusty in Memphis album, perhaps this genre's centerpiece. It's easy to see how a pop princess like Dionne Warwick with such a string of hits could get overlooked -- perhaps by virtue of the sheer volume of her output. The same could be said for Tommy James, whose brilliant My Head, My Bed & My Red Guitar went unnoticed by pop fans too intent on hearing his greatest hits time and again rather than investigating the artist that made those hits. Like Tommy James' Elvis-influenced album, Soulful deserves a very special place in rock history. "We Can Work It Out" is what Otis Redding might have done with the material, while "Hey Jude" has a church-like feel, not immersed in gospel but enough of that flavor to lift it above its pop confines. The short fade with the voices bouncing off the horns was a very nice way to close out the album. There are three Beatles covers as well as some Young Rascals, Aretha, Marvin Gaye/Tammi Terrell, and James & Bobby Purify. Moman also crafted Petula Clark's Memphis this same year, and both Petula and Dionne take on Curtis Mayfield's "People Get Ready," indicating perhaps what these Top 40 singers were feeling in their heart -- the need to express themselves on compositions that they found compelling. "You've Lost That Lovin' Feeling" is the standout, not because it was the hit from this collection but because Dionne takes on a new fire, pouring her heart over the great drum work. This version of the song gets little to no airplay on oldies stations, let alone blues and R&B radio, which is tragic. Warwick is a pro as well as a major talent, and Soulful deserves to be treasured as the important musical statement that it is. ~ Joe Viglione
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R&B - Released July 15, 2016 | Arista - Legacy

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Pop - Released April 19, 2005 | Rhino

Turning the spotlight on various rarities, B-sides, and album cuts, Hidden Gems reminds us that some of Dionne Warwick's best work with the prolific Burt Bacharach/Hal David team received little or no radio airplay. In retrospect, it's hard to believe that Warwick's versions of "What the World Needs Now Is Love," "The Look of Love" (also recorded by Isaac Hayes, Anita Baker, and countless others), and "Make It Easy on Yourself" (a smash for Jerry Butler) weren't major hits. They certainly deserved to be, as did the hauntingly pretty "Any Old Time of the Day" ("Walk on By"'s B-side) and "They Long to Be (Close to You)." For those who might have overlooked this fine material, Hidden Gems is quite a revelation. ~ Alex Henderson
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International Pop - Released October 31, 1989 | Arista

Dionne Warwick enjoyed a career revival in the late '70s and 1980s when she teamed with such producers as Barry Manilow, Barry Gibb, and even Luther Vandross. They returned her to the elaborately arranged and structured soul-tinged pop that had marked her finest hits, although the lyrics and compositions weren't as consistent as they were during her Burt Bacharach/Hal David period. This album collects the biggest hits from this second phase of Warwick's career, including such triumphs as "Deja Vu" and "I Know I'll Never Love This Way Again"; it also introduced a new tune, "Take Good Care of You And Me." ~ Ron Wynn
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International Pop - Released April 2, 2010 | Legacy Recordings

The Barry Gibb hit machine of the early '80s kept steam rolling at a frantic pace, and Heartbreaker was a major factor in the equation. While it lacks the genius and soulful grit of Dionne Warwick's earlier classic work, the album was polished and painstakingly produced perfectly for adult pop stations. Heartbreaker was tailor made to be played right next to the soft rock hits of the era and it helped to propel the singer into the spotlight once again. Starting off with a bang courtesy of the title track, Warwick and Gibb go through all of the motions. The track sequencing gives the album a feeling of deflation at first, as tempos gradually decrease until "Take The Short Way Home," which is so Gibb-esque that it could be an outtake from Spirits Having Flown. There are a few fragments of filler, most notably with "All I Love in the World," which is almost a redux of the title track. This is not the most definitive album of Warwick's career, but is definitely one of the few highlights that a pop-heavy '80s afforded her. ~ Rob Theakston
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Pop - Released February 8, 2005 | Rhino

Make Way For is Dionne Warwick's third long-player for Scepter Records. The album would eventually be her first to make the charts and was undoubtedly propelled by the hits "Walk on By," "You'll Never Get to Heaven," and "Wishin' and Hopin'" -- all of which became key components of Warwick's performance repertoire. Interestingly, the latter track as well as "I Smiled Yesterday" had also been included on Warwick's debut album, Presenting Dionne Warwick. However, that didn't seem to deter listeners eager for new tunes. Warwick's musical mentors and collaborators Burt Bacharach and Hal David also presented the singer with several additional compositions that would become signature songs for other performers in the ensuing years. "(They Long to Be) Close to You" became synonymous with the Carpenters, while Dusty Springfield shared some of Warwick's notoriety with her own hit version of "Wishin' and Hopin'." The trio of tracks not derived from the voluminous Bacharach/David catalog include Jule Styne's "People," from Funny Girl, as well as a few numbers from a pair of other well-known Brill Building teams of pop songwriters. Gerry Goffin and Carole King serve up "Make the Night a Little Longer," while the arguably lesser-known pairing of Howard Greenfield and Helen Miller offer the somewhat antiquated "Get Rid of Him." ~ Lindsay Planer
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Pop - Released February 8, 2005 | Rhino

Vocalist Dionne Warwick returned to the Burt Bacharach and Hal David stable on 1970's I'll Never Fall in Love Again after the previous year's hugely successful Soulful, an endeavor consisting of R&B covers cut in Memphis, Tennessee, under the direction of Chips Moman. Once back into the fold, Warwick picked right up where 1968's Promises, Promises left off, most notably with "I'll Never Fall in Love Again," a holdover from the Bacharach/David-penned Broadway production Promises, Promises. The upbeat and optimistic "Knowing When to Leave" had likewise been gleaned from the show, which premiered December 1, 1968 at the Shubert Theatre, ultimately running for 1,281 performances. While Warwick would not be a part of the stage cast, she contributed significantly to the popularity of the tunes as she took the title track from this LP and Promises, Promises into the Top 20. "Raindrops Keep Fallin' on My Head" is given an arrangement strikingly similar to the hit version and was a wise inclusion, as B.J. Thomas' reading would tread familiar ground with listeners. As was her trademark on the vast majority of the Bacharach/David collaborations, Warwick gives the song an appreciably expressive interpretation that seems to effortlessly fit the composition. The same can be said of the infectious jazzy groove on "Paper Mache" and the timelessly quirky and samba-influenced "Loneliness Remembers, What Happiness Forgets," as well as the lightly scored "Odds and Ends." Although exceedingly soulful, the horn section incorporated into George Harrison's "Something" negates much of the melody's inherent intimacy. Conversely, Jimmy Webb's "Didn't We" is stunning with an old-school approach that underscores the gorgeous pop standard balladry. The platter concludes with Paul Anka's "My Way," incrementally building from an airy yet affective take into a full-blown orchestrated epic. ~ Lindsay Planer
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Pop - Released March 20, 2001 | Rhino

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R&B - Released December 18, 2015 | Legacy Recordings

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Pop - Released February 8, 2005 | Rhino

Dionne Warwick's early- to mid-'60s Scepter Records catalog stands as some of her finest and most prolific work in conjunction with the songwriting team of Burt Bacharach and Hal David. By the time of Here I Am in 1966, the superhuman nature of the trio's relationship had resulted in five long-players in three years, not counting soundtracks and live albums, which would bring the total to seven during the same time. Although some of their most successful collaborations were still ahead of them, the marriage of the duo's well-crafted and distinct pop songs with Warwick's light, supple vocals again resulted in several masterpieces. "Are You There (With Another Girl)," "Window Wishing," "Don't Go Breaking My Heart," and "Long Day, Short Night" are but a few of the hits and listener favorites on this album. In addition to the eight Bacharach/David pieces, Warwick truly demonstrates her versatility as an interpreter on the inimitable cover of the Gershwin standard "I Loves You, Porgy." Her voice conveys the noir tale with haunting resonance. In direct contrast is the joyous "This Little Light," which furthers the evidence supporting her skills as a performer and features Warwick's solo piano accompaniment. ~ Lindsay Planer
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World - Released October 1, 2015 | Arista - Legacy

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R&B - Released April 5, 2019 | eOne Music

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Pop - Released December 7, 2009 | Rhino

The aptly titled Presenting Dionne Warwick (1963) was the vocalist's first long-player and quickly established the artist as a suitable vehicle for interpreting the quirky pop melodies of Burt Bacharach (music) and Hal David (lyrics). She met the pair during the summer of 1961 as a background singer during the recording session for the Drifters' minor hit "Mexican Divorce," which had been penned by the lucrative pair. Their initial outing, "Don't Make Me Over," became the first of the alliances between Warwick and the songwriting team to hit the pop chart. The prolific nature of this collaboration resulted in Bacharach and David providing three-quarters of the tunes on this dozen-track album. Interestingly, despite having hits almost instantaneously, Scepter Records co-founder Florence Greenberg initially rejected "Don't Make Me Over" until it began to outperform "I Smiled Yesterday," which had been chosen as the A-side. It was not only her first hit, but in time it likewise distinguished itself as a signature catalog entry when it crossed over onto both the pop and R&B charts, respectively. Warwick's inviting voice was at the core of their successful working relationship, coupled with the undeniably unique and expertly crafted material, yielding a host of classics such as "Wishin' and Hopin'." The version here predates Dusty Springfield's rendering and was likewise much of the reason Springfield chose to cover it to begin with. Other seminal entries featured on Presenting Dionne Warwick are "Make It Easy on Yourself" and the lovelorn melancholy ballad "I Cry Alone," as well as the unique arrangement of "Zip-A-Dee-Doo-Dah." In 1995, Sequel Records began reissuing vintage Warwick LPs, pairing Presenting with the 1964 follow-up, Anyone Who Had a Heart, on a double-play CD. [Collectors Choice reissued the album in 2007.] ~ Lindsay Planer
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Pop - Released February 4, 2004 | Rhino

Dionne Warwick concluded an eight-year run on Scepter Records with 1970's Very Dionne. The album's wide variety of styles summed up much of what made Warwick's back catalog so universally appealing. In addition to a handful of new Burt Bacharach and Hal David sides, the platter boasts tasteful reworkings of pop music staples. As Bacharach and David were ensconced in their own careers -- together and separately -- Warwick, along with her other arrangers, concocted an interesting mix of classic and familiar contemporary tunes, including a live take of "Make It Easy On Yourself," a cut she initially recorded for her first Scepter long-player, 1963's Presenting Dionne Warwick. Although the singer would subsequently state that "Check Out Time" was one of her least favorite Bacharach/David compositions, she opens Very Dionne with an emotive and slightly angst-filled intonation. The mood is immediately contrasted by the pensive and reflective nature of Marty Paich's score on "Yesterday," which Warwick duly matches by way of her generous and soulful interpretation. Larry Wilcox's treatment of the Jimmy Van Heusen standard "Here Comes That Rainy Day" is a perfect example of the vocalist's significant middle-of-the-road allure. This carries over to the decidedly more modern "Going Out of My Head" and "We've Only Just Begun." One unmitigated zenith is "I Got Love" from the Ossie Davis Broadway production Purlie. Once again, Warwick -- under Paich's direction -- equals if not surpasses Melba Moore's stage presentation. In 2004, an expanded edition of Very Dionne increased the running order by 16 selections, highlighted by a ten-song mini-concert held July 23, 1970, at the Garden State Arts Center in Holmdel, NJ, the same show that had yielded "Make It Easy On Yourself" on the original LP. ~ Lindsay Planer
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Pop - Released July 28, 2017 | Rhino - Warner Bros.

Dionne Warwick is best known for her collaborations with songwriters and producers Burt Bacharach and Hal David on a series of hits in the mid- to late '60s on Scepter Records. Warwick left Scepter in 1971 and signed with Warner Bros. under a production deal that had Bacharach and David coming aboard as writers and producers. When the legendary songwriting team was forced to part ways after the critical and commercial failure of their musical remake of the film Lost Horizon, Warwick was not only left without the best creative team she ever worked with, she was legally forced to sue them to get out of their production deal in order to protect her own assets and recording contract. She remained with Warner Bros. until her contract was up in 1979, when she signed with Arista Records. Bacharach and David did produce one album for Warwick at Warner Bros. before troubles arose, 1972's Dionne, but she also worked with Thom Bell and the Holland-Dozier-Holland team while at Warner Bros., so while it wasn't as bright a period as her Scepter one, it was still a decent recording period for her. The label has reissued all the singles from this period, both A- and B-sides, in the original mono single mixes as The Complete Warner Bros. Singles, and this set, which features 19 tracks also recorded during the same Warner stay but never issued, is a companion of sorts to that volume. With productions from Bacharach, Bell, Holland-Dozier-Holland, and Nickolas Ashford and Valerie Simpson, it shows that Warwick's Warner years were far more productive and creative than the pop charts of the time reflected, and it becomes a welcome addition to the Warwick legacy and catalog. ~ Steve Leggett.
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R&B - Released December 18, 2015 | Arista - Legacy

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In the early '80 Warwick experienced a career renaissance thanks to "Déjà Vu" and her singing to Arista, a label seemed to be more sympathetic to her needs. This 1983 album pairs her with producer Luther Vandross. Vandross, who also produced Aretha Franklin's Jump To It in 1982, is a much better teaming of singer and producer. Although "Got a Date" and "I Do It 'Cause I Like It" are both disposable pop-based filler, this album has phenomenal versions of some of Vandross' unsung gems. The poignant title track is a duet with Vandross and Warwick, and finds their voices blending extremely well. The gentle "So Amazing" and the gossamer and touching "What Can a Miracle Do" have Warwick's all-encompassing and raspy vocals cohering in Vandross' trademark lush surroundings. She also tackles Michael McDonald's grade A weeper "I Can Let Go Now" and brings a deeper sense of longing and hurt than the great original. In the same vein, "Will You Love Me Tomorrow" shows up as a reflective ballad featuring the Shirelles. This album features arguably Vandross' best players, including Nat Adderley, Jr. on keyboards, drummer Yogi Horton, bassist Marcus Miller, and great emotive synth work by Skip Anderson. While a few tracks fall short of the mark, the best here makes How Many Times Can We Say Goodbye an absolute necessity for fans of Warwick and Vandross. ~ Jason Elias
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Pop - Released November 14, 2006 | Rhino

The distance between the Brill Building and Broadway is literally nothing at all in real geographic terms; the Brill Building is located on Broadway, in fact. And it was not unusual, even as late as 1967, for a performer established in pop music to seek crossover success by performing standards from the Broadway stage. Dionne Warwick had dipped into the musical theater songbook previously, but, as its title indicated, On Stage and in the Movies consisted entirely of songs from shows and films, or almost so, anyway. (In an awkwardly arranged medley, "One Hand, One Heart" from West Side Story was fused to "With These Hands," an independent song originally introduced by Nelson Eddy and recorded for hits by various artists including Eddie Fisher and, most recently, Tom Jones.) And all but one of them actually originated on-stage, the exception being "The Way You Look Tonight" (from the 1936 Fred Astaire-Ginger Rogers picture Swing Time), although several were used in the movie versions of the musicals in which they were first sung. Warwick's regular songwriter/producers, Burt Bacharach and Hal David, produced the disc, and Bacharach served as arranger/conductor. The result was mediocre, both because Bacharach's charts were pedestrian for the most part, and because Warwick displayed no particular feel for the material, sounding as if she'd first encountered the songs at the recording sessions. An exception was the playful reading of "Anything You Can Do," actually an uncredited duet with Chuck Jackson that took liberties with the melody. Warwick's alto, with its dark edges and occasionally swallowed syllables, may have been ideal for the irregular, minor-key melodies of Bacharach's own compositions, but it was not suited for the more presentational style of songs like "He (She) Loves Me" and "I Believe in You." "Anything You Can Do" showed that she and Bacharach were not necessarily out of their depth on Broadway, but the rest of the album revealed that they hadn't put a lot of thought into giving Warwick's Broadway move her personal stamp. ~ William Ruhlmann
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Pop - Released January 1, 2006 | Concord Records

My Friends & Me, Dionne Warwick's collection of duets that revisit her classic recordings, benefits from her many talented friends in the music industry, but most of all from a family member. Her son Damon Elliott has worked with his mother for close to ten years, when he's not producing for contemporary hitmakers Pink, Destiny's Child, Jessica Simpson, Kelis, and Mya. Elliott's production for this record is engaging and charming, right up to the minute digitally on the rhythm end, but with plenty of space within the tracks to echo the airy productions of Warwick's long-time producer, Burt Bacharach. Also, Elliott kept most of these versions piano-based and added a tight backing chorus that is virtually necessary for anyone familiar with the original "Walk on By" or "Anyone Who Had a Heart." Dionne Warwick's voice, however, hasn't aged as well as her contemporaries, and the record often resembles a tribute album whose subject only stops by occasionally. (More often than not, the guests are featured more than Warwick herself.) The only track with radical changes is "The Windows of the World," which is presented with no less than four vocal guests (Angie Stone, Chanté Moore, Deborah Cox, Da Brat) and in a version that allows Da Brat to rap on the state of the world between the lines of the verses. Elsewhere, highlights come with Cyndi Lauper's quiet, pleading version of "Message to Michael," Kelis' "Raindrops Keep Fallin' on My Head," and Wynonna Judd's surprisingly smoky "Anyone Who Had a Heart." ~ John Bush