NINA SINGS THE HITS OF DIANE WARREN
Nina
Rating: B
The success of the multi-platinum selling live album of Nina is undeniably one of the biggest in recent local music history. That album is just short of perfection. I mean it should be, she has supposedly sung those songs for the most part of her singing career so it’s just natural that she render each track superbly. The band, the repertoire, the album concept, the marketing and the timing - everything was just, for lack of a better word, perfect.
So as predicted, Nina releases another all-covers album, this time rendering the classic love songs penned by the Queen of Ballad, Diane Warren. The track listing is pretty much the same with that of the 2004 compilation album save for three songs (Cher’s If I Could Turn Back Time, LeAnn Rimes’ Can’t Fight The Moonlight, and Whitney Houston’s I Learned From The Best). Covering high profile songs presents a high risk for singers - it’s either a step towards being critically-acclaimed, or a leap to one’s career suicide. Much like in American Idol, the singer should make sure that her version is distinct, and more importantly better than the original piece. Nina tried to make the record pass for the easy-listening genre - it’s just her voice and a few acoustics. Sadly, it did not work. Not for me anyway.
I DON’T WANNA MISS A THING
The beauty of this song lies in its grand, orchestral production which was perfected by Aerosmith. Nina’s version is stripped down to its most basic - a mellow, piano-based ballad. It was probably done to avoid being comparisons. It’s tolerable but it’s a terrible choice to make it the album’s opener - not only will it lull listeners to boredom, but it will also set them up for a disappointment.
… And I’m wondering what you’re dreaming, wondering if it’s me you’re seeing…
I TURN TO YOU
The opening notes warned me that this will be another downer. While Christina Aguilera’s version makes me confident enough to walk through a heavy downpour, Nina’s makes me want to seek the nearest shelter. Hers is just plain lazy when it should have been sung with such conviction.
… And when I need a friend, you’re always on my side. Giving me faith, taking me through the night…
LOVE WILL LEAD YOU BACK
Taylor Dayne pulled this well because you can feel the longing in her voice as she sings each line. Also, I think Love Will Lead You Back is a tailor-made song so it’s understandable that Nina won’t be able to sing it as well as Dayne. And as for Kyla, she just shouldn’t.
… But I won’t try to stop you now from leaving ’cause in my heart I know…
BECAUSE YOU LOVED ME
For a Celine Dion song, I should say that this is actually good. It’s one of those heartwarming songs that I would die to hear someone sing it to me. Reciting it would be alright as well. It’s just so romantic. Sigh. Oh, Nina? Her’s is just a passable, note-by-note imitation. Except at times, her notes fail to exactly duplicate Celine’s.
… You gave me faith ’cause you believed. I’m everything I am because you loved me…
HAVE YOU EVER
Westlife covered this song on their latest album, Back Home. It was good actually because it managed to make me emote (read: cry) similar to how Brandy’s version never fails to make me recall every heartbreak and let downs that I’ve had since time immemorial. Nina’s, however, doesn’t.
… Have you finally found the one you’ve given your heart to only to find that one won’t give their heart to you…
UN-BREAK MY HEART
Toni Braxton may not be as big as Aretha but girl’s got enough soul in her to give justice to this song. Nina made a huge mistake in including this song on her latest effort. For someone dubbed as the Soul Siren, Nina sounds exactly the opposite. She has zero soul and her wailing just makes it more blatant. Even Rihanna has more soul on her (thanks to a vocoder and auto-tune).
… Time is so unkind and life is so cruel without you here beside me…
THERE YOU’LL BE
I’ve always thought that There You’ll Be is a weird song. It was a hyped up track which aimed to match My Heart Will Go On’s success. But as I’ve said, there’s something wrong with the song that I just can’t put my finger on. Nina’s version is quite alright, but still, the weirdness stops me from fully appreciating it.
… I’ll keep a part of you with me and everywhere I am there you’ll be…
I’LL NEVER GET OVER YOU (GETTING OVER ME)
The first track that I actually enjoyed listening to. I love the piano intro, and the backing vocals made it sound like a studio cut (even if this is an actual studio recording). This is the Nina that I would have wanted on this album. This is really good. And I thought that I was forever damned to remember MYMP’s ruination of this classic.
… Loneliness found me, looks like it’s here to stay…
BLUE EYES BLUE
Sorry but I’m having a hard time trying to feel this song when I know for sure that Nina’s eyes aren’t blue.
… You were only playing. You were only playing with my heart. I was never waiting. I was never waiting for the tears to start…
HOW CAN WE BE LOVERS?
I was dead bored with Michael Bolton’s version. I mean, it took me quite some time to feel (not understand) why it was included on the compilation album before. And I don’t want to spend the same amount of time pondering why Nina chose to cover this instead of Cher’s If I Could Turn Back Time. I want my Cher!
… How can we start over when the fighting never ends…
WHEN I SEE YOU SMILE
You know how some songs are meant to be performed by a specific gender only? I think that this is one of the tracks that should only be sung by guys. Nina’s version sounds weird with all those ill-timed pitch changes in the accompaniment, and she murdered the bridge part as well. Sad to say but that local talent who briefly dated Jasmine Trias did a better version.
… Sometimes I wonder how I’d ever make it through, through this world without having you I just wouldn’t have a clue…
SAVING FOREVER FOR YOU
I would’ve chosen this track to be her first single for two reasons - it’s a catchy, feel-good song thanks to her new pop arrangement, and it’s actually the best song off the album bar I Don’t Want To Be Your Friend. It’s the track wherein I feel she’s most comfortable singing. And even if her voice is a bit shadowed by the production, it’s still good.
… I’ve never been so sure about anything before but this loving feeling, gonna be a feeling I feel forever more…
HOW DO I LIVE
It’s the sole reason why I have a Trisha Yearwood album, and why I watched ConAir (I’m not a big fan of Nicolas Cage). And I hate Nina for ruining it. Not only did she made it saccharine, but she missed out the best line in the song.
… Baby don’t you know you’re everything good in my life…
I COULD NOT ASK FOR MORE
I understand why this is the album’s carrier single, it’s one of the three bearable songs on it. Sure that it lost everything that Edwin McCain’s version has but at least it sounded like a studio cut and not a cheap karaoke version. And it has that cute vibe that will surely make people swoon all over again, much like how Love Moves In Mysterious Ways made everyday V-Day years ago.
… And right here in this moment is right where I’m meant to be, here with you, here with me…
I DON’T WANT TO BE YOUR FRIEND
It’s the same version that can be found in Diane Warren’s compilation album, and in Nina Live!. I loved this song when I first heard it and I still do. What I don’t love though is its video. It scarred me for life.
… You take it so casually, and baby it’s killing me…
This album lacks heart, life and soul, she might as well have credited this work to Kyla.
I really wanted to like this album. I have waited for three years for another covers album from Nina. But much as I want to push myself to find something worth being ecstatic over this record, I can’t. And I’m blaming it on the songs’ arrangements, it was 80% crappy. Also, the producers should have known better than turn big, sappy ballads into sugary, watered-down versions. Why would you mess with a winning formula? The entire world knows each track inside out, they would expect an output which sounds similar. And Nina’s cutesy voice doesn’t help at all. It’s like listening to a mic-hogging amateur doing one karaoke staple after another. And speaking of karaoke, at least the album comes with a Minus One CD. It’s the best part of the record actually.
Fortunately, Nina already has a captured market so expect this to be multiplatinum in a week’s time. But it’s really not bad, it’s just mediocre. And in the industry, that’s ten levels below bad.