Workin' Overtime
Track Listings
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1. Save the Overtime (For Me)
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2. You Don't Have to Say I Love You
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3. It's the Same Old Song
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4. I Will Survive
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5. Friendly Persuasion
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6. Landlord
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7. Hero
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8. Baby, Baby Don't Waste My Time
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9. Ain't No Greater Love
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10. Friend of Mine
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Workin' Overtime,Gladys Knight,Sony Special Product,Motown,Pop,R&B,Soul
Workin' Overtime
Average customer rating:
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Workin' Overtime
Manufacturer: Motown
ProductGroup: Music
Binding: Audio CD
Classic R&B
| R&B
| Styles
| Music
Motown
| R&B
| Styles
| Music
Similar Items:
- Take Me Higher
- Red Hot Rhythm & Blues
- The Force Behind the Power
- Blue
- Why Do Fools Fall in Love?
ASIN: B000F5OA7E |
Product Description
Original Motown 1989 Release Mastered on Compact Disc.
Average customer rating:
- Gladys had survived!
- survival instinct
- EXCELLENT BLEND OF GLADYS' TALENTS
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Workin' Overtime
Gladys Knight
Manufacturer: Sony Special Product
ProductGroup: Music
Binding: Audio CD
Classic R&B
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| Music
General
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Motown
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CDs Under $7
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Similar Items:
- Streisand: Live In Concert (2 CD's)
ASIN: B000002Z3Q
Release Date: 2001-01-01 |
Tracks:
- Save The Overtime (For Me)
- You Don't Have To Say I Love You
- It's The Same Old Song
- I Will Survive
- Friendly Persuasion
- Landlord
- Hero
- Baby, Baby Don't Waste My Time
- Ain't No Greater Love
- A Friend Of Mine
Customer Reviews:
Gladys had survived!.......2001-04-01
I heard a ballad version of the Gloria Gaynor hit, I Will Survive, while staying on Rhodes in 1992, and fell in love with it immediately. This album is worth buying just for Gladys Knight's superb live performance of this hit, making it a completely different song. Knight has weathered the years very well, and still has that 'superstar' status - definitely a survivor in the fickle world of showbiz. And as a bonus, you get Hero (Wind Beneath My Wings) - again, in my opinion, the difinitive version. The rest of the album is quite up-beat, but certainly worth adding to any collection.
survival instinct.......2000-03-06
Knights ballad version of "I will survive" alone is worth the price of this cd - you also get "save the overtime", "hero" and others. A nice, inexpensive package.
EXCELLENT BLEND OF GLADYS' TALENTS.......1998-11-30
GLADYS KNIGHT RANGE OF MUSICAL TALENTS IS HEARD WITH SO MUCH GUSTO AND LIFE IN THIS RECORDING. BRAVO GLADYS !!!!!
Average customer rating:
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Workin' Overtime
Adam Harvey
Manufacturer: Open Road
ProductGroup: Music
Binding: Audio CD
General
| Country
| Styles
| Music
General
| Bluegrass
| Country
| Styles
| Music
ASIN: B00030WW6W
Release Date: 2007-01-08 |
Tracks:
- House That Jack Built
- One & One & One
- She's Gone, Gone, Gone
- Workin' Overtime (An A Good Time)
- Shake Of A Hand
- Two-Steppin' Fool
- What It Used To Be
- Beauty's In The Eye (Of The Beerholder) Featuring The Beer Holders
- Boats To Build
- I'll Drink To That
- One Of A Kind
- Little Bitty Thing Called Love
- I Feel Like Hank Williams Tonight
Average customer rating:
- Diana's worst
- Diana Sheds Her Diva Image
- The Divas' Long Awaited Return To Motown
- Tryin' to be Paula Abdul?!
- Say We Can!
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Workin' Overtime
Diana Ross
Manufacturer: Motown
ProductGroup: Music
Binding: Audio CD
General
| R&B
| Styles
| Music
Motown
| R&B
| Styles
| Music
General
| Soul
| R&B
| Styles
| Music
CDs $7 - $10
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ASIN: B000008K8P
Release Date: 1989-05-12 |
Tracks:
- Workin' Overtime
- Say We Can
- Take the Bitter with the Sweet
- Bottom Line
- This House
- Paradise
- Keep On (Dancin')
- What Can One Person Do
- Goin' Through the Motions
- We Stand Together
Customer Reviews:
Diana's worst.......2005-09-09
Diana had hit rock bottom musically in the late 80s. Her 1987 album Red Hot Rhythym and Blues was a flop, and this album, an attempt to stay trendy and youthful, did even worse.
In my opinion, it's Diana's worst album. Diana tries her best but producer Nile Rodgers surrounds her voice with hip-hop/R&B beats that sounded dated even in 1989. By this time, Rodgers had peaked as a producer. The magic that he brought to Chic projects and to albums by singers such as David Bowie and Madonna was no longer there.
The title track is not bad, and the single "Paradise" is actually much better in its remix version. But there's not much else to recommend.
Thankfully, Diana's albums in the 90s showed a re-energized Diana, particularly "Take Me Higher" and "Every Day is a New Day". Those are excellent albums and I recommend those over this dreary collection.
Diana Sheds Her Diva Image.......2005-05-30
Released in 1989, the album Workin' Overtime represented Diana Ross's return to Motown Records, the company that had raised and groomed her. In 1981, when she left the company, she was arguably at the pinnacle of her career. However, by 1989, she had not had a U.S. top 40 hit in 5 years.
It is perhaps this need for a hit that led Diana to experiment with hip-hop, a form of music that made stars out of Bobby Brown and Jody Watley, and would soon launch Janet Jackson's U.S. career into the stratosphere. Though the album failed to succeed because of the incongruity between Ross's diva image and the street-based underpinnings of hip-hop, it is one of the better works of her solo career. Indeed, the title track of the album was the 8th biggest hit of her solo career on the U.S. R&B Charts, reaching #3. It was a staple on many urban radio stations in the late-1980s.
The album is dominated by beat-heavy tracks reminiscent of Janet Jackson's soon-to-be-released Rhythm Nation. Diana's vocals are clear and energetic, and are far superior to the languid vocals that characterized her years at RCA Records. On "Take The Bitter With The Sweet," "Keep On (Dancin')," and the title cut, Diana sings with the energy she exhibited on "The Boss" album (though admittedly her voice in 1989 was not as supple as it was ten years earlier).
Despite the youth-oriented nature of the instrumental tracks, the subject matter of many of her songs is far more mature than that of her then-contemporaries, many of the tracks -- including the impeccable dance-floor cut "Paradise" -- center on personal struggle, achievement, and personal reflection.
The CD also features two strong R&B/soul ballads. The album's closer "We Stand Together" is one of the true highlights. It features Diana belting her heart out against a stark instrumental track, calling for unity "Stand Up, Stand Tall, And Be Counted." It is one of her better 1980s performances. "This House" is a personal reflection about days-gone-by (the video featured clips from her early days at Motown).
If the listener can get past the idea of Diana Ross as a hip-hop star and listen to the quality of her vocal performances and her phenomenal lyrical interpretations, s/he will find that this album is an overlooked treasure in Diana's legendary catalog of music. I highly recommend it. This is the CD that made me a Ross fan.
The Divas' Long Awaited Return To Motown.......2005-02-04
In the 1980's, Diana Ross' diva-like status increased rapidly. By the close of the 80's, Diana Ross became something more of a novelty celebrity because of her solid past at Motown Records as she began having trouble selling records in the latter half of the 80's.
After a shaky stint at RCA Records between 1981-87, Ross returned to her roots in 1988 - Motown Records. In a deal with Berry Gordy who was now retiring from the company, she became part owner in stock and was to maintain an active role in all of her recording work which was partly a reason she had left Motown Records in the first instance.
Predictably, the Motown publicity machine churned out stories of a grand come-back for the Soul Diva. For her highly anticipated return-to-Motown album, Ross worked with Nile Rodgers, one half of the 70's disco group Chic who had worked with Ross back in 1980 on the classic diana album which still remains her biggest selling solo album to date.
Hip Hop had become a renowned new musical trend in black music by the late 80's. After the surprisingly disappointing sales of her excellent 1987 studio set, Red Hot Rhythm And Blues, it must have perharps seemed a logical step for Diana to take. To her credit this was Diana Ross being adventurous.
The results were an album comprising of ten tracks that were all produced by Nile Rodgers and was released as Workin' Overtime.
The results were rather differing. Jamming, streetwise grooves with short beats and pounding funk were coated with razor sharp and sassy performances from Ross who really managed to quite effectively update and modernise her over-all style and sound. However the albums shortcomings came in the fact that there was a distinct over-crowding of too may sound-alike numbers.
The first batch of titles on the album: Workin' Overtime, Say We Can, Take The Bitter With The Sweet and Bottom Line are instantly contagious numbers with driving beats and dominating Hip-Hop musical arrangements.
The title track, Workin' Overtime was the premiere single. It instantly met a negative reaction from critics with some claiming that she was merley mimicking the likes of Janet Jackson in a too highly concious bid to be perceived as youthful and trendy. Workin' Overtime didn't even crack the U.S Top 100, though did enjoy some success in the U.K where it briefly entered the Top 40 charts, peaking at No.32.
Say We Can and Take The Bitter With The Sweet continue in vastly the same formula as Workin' Overtime though both work well with an undeniably catchy hook to both of them.
The bouncy Bottom Line imposes a threat of the album becoming too formulaic at this point though the track is still another infectious number though the mood steers direction with the delightful soft-Funk sounds of This House which contains nice musical arrangements but is flawed in some way with its slightly syrupy lyrics.
Paradise is more Pop/R&B flavoured than Hip Hop but with its distinctley commercial feel it was inevitable that Motown would choose to issue this track as a single though this too quickly slid into the dumper.
Keep On Dancin' and What Can One Person Do were two other contemporary Hip-Hop numbers that sound dated now whilst there is slight more ignition and spark in Goin' Through The Motions.
The album then bows out with possibly the best track on the album, We Stand Together, an easy-going R&B/Pop number that was slightly similar to This House though boasted a a strong and assertive vocal performance from Ross who enhances her introcate, delicate soprano to vast effect.
On the whole, Workin' Overtime was certainly a noble and ambitious experiment and though there are areas where it works it does admitedly sound dated now. This album was deleted from Motowns catlogue in the early 1990's following disastorous sales in the U.S where it failed to crack the Top 100. However once again the publics reaction in the U.K was more favourable where despite the lack of any major chart hit (only Workin' Overtime cracked the Top 40), the project briefly entered the Album Top 30 Charts, stalling at No.23.
Ian Phillips
Tryin' to be Paula Abdul?!.......2003-08-26
Well, after the break up with RCA, she returned to MOTOWN now without Gordy!. Workin' Overtime was an album that tried to update Diana to the New Jack Swing and the new rhythms of the late 80's kind of Ross Paula Abdul. Produced by Nile Rodgers, this long time awaited reunion of Diana with the creator of her best album yet, failed short to be a reminiscence of that glorious album. Full of filler cuts without any true outstanding singles this album is not that bad, it just a feel good album that sadly fades fast out of your memory. Diana will stand out more fairly in Take Me Higher or Everyday is a New Day.
Say We Can!.......2003-03-30
In the late 1980's Diana returns back to Motown.
Tracklisting:
1) Workin' Overtime
2) Say We Can
3) Take The Bitter With The Sweet
4) Bottom Line
5) This House
6) Paradise
7) Keep On (Dancin')
8) What Can One Person Do
9) Goin' Through The Motions
10) We Stand Together
Diana commented at the time 'Workin' Overtime': "It's a new day for both Motown and myself. For me, it's an opportunity to put back into the music industry some of the knowledge that i've gained. I especially want to use my experience to guide younger talents as they start their careers. My return also reflects my belief in Motown as a label capable of tapping the energy and style of today's youth".
The Results, Sadly the album was a commercial disaster. With all its hype, it disappointed a lot of fans and although it climbed to No.23 on the U.K album charts it just went by unnoticed.
Product Description
Out of print original first pressing from Japan on Toshiba-EMI label, part of the collectible/sought after "CP32" series. Featuring one exclusive Japan-only bonust rack "Workin' overtime (Club dub)" for a total of 11 tracks.
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