Roberta Flack

Killing Me Softly With His Song (Ben Liebrand Rework)

Killing me softly

Donny Hathaway

Our Time (Live New York '71)

Endel

Killing Me Softly With His Song (Endel Focus Soundscape)

Killing Me Softly With His Song (Endel Relax Soundscape)

Killing Me Softly With His Song (Endel Sleep Soundscape)

Ten Songs for you

Sweet Fruits

Dinner with Friends

The Girl That I Adore

You Only You

Without Words

Gone Away

Sweet Bitter Love

I Told Jesus

Falling Star

Music Banquet

Only Playing

Funky Fiesta

Words Of Wisdom (Live)

Killing Me Softly With His Song (DJ Spinna Remix)

Chapter Two (50th Anniversary Edition) (2021 Remaster)

Quiet Fire (50th Anniversary Edition; 2021 Remaster)

First Take (Deluxe Edition)

What's Going On

Ain't No Mountain High Enough

Trade Winds (2020 Remaster)

Roberta Flack - Live

The Live Sessions

First Take

The Christmas Album

Chapter Two

Quiet Fire

Killing Me Softly

Set The Night To Music

Let It Be Roberta: Roberta Flack Sings The Beatles

We Can Work It Out

Feel Like Makin' Love

Roberta

Blue Lights in the Basement

Live & More

Oasis

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Only a strong album could adequately follow First Take, and she does so. Roberta Flack's strong sensitive voice is surely one of God's great musical gifts.
"Reverend Lee" is a song to play over and over again. She just tears up "Let It Be Me", and anyone listening to "Gone Away" soon after the breakup of a loving relationship assumes the risk of suicide. "Do What You Gotta Do" makes me want to pick up and run to wherever she might be when she pleads "come on back, and see me when you can".



"Quiet Fire", Roberta Flack's third solo album, has been unfairly overshadowed by the incandescent "First Take" and its masterful follow up, "Chapter Two". Unfairly because it is in every way an equal partner to its two luminous predecessors in constituting the third instalment of a triumvirate of great Roberta Flack albums. Significantly, even its immediate successor, the excellent "Killing Me Softly", doesn't quite measure up artistically with anything she did before that. Just as "Chapter Two" surprised with inspired covers of familiar standards, "Quiet Fire" serves up majestic versions of Paul Simon's "Bridge Over Troubled Water", Goffin & King's "Will You Love Me Tomorrow" and the Gibb brothers' "To Love Somebody" which Nina Simone had a huge UK hit with in 1969. Unlike Aretha Franklin whose penchant for turning melodies inside out is legendary, Roberta's approach with a song is more conservative. She may slow it down a tad but always tries to preserve the melody and the cadence of the song. What she does is use her peerless phrasing and majestic performance to transform a song into something precious and personal. Listening to Roberta's voice build and rise above the piano is akin to a religious experience and it can't get more seriously churchy than "Go Up Moses", the opening track, which has Roberta feverishly incanting over a racuous rhythmn. Continuing in the same vein is "Sunday and Sister Jones", featuring the album's most powerful moments and a tour de force performance from Roberta that has to be heard to be believed. Winding up are sensitive treatments of "Let Them Talk" and the Dinah Washington standard "Sweet Bitter Love" which are at least equal, in my opinion, to the best versions ever recorded, including Aretha's in the case of the latter song. "Quiet Fire" is indeed the middle name of Roberta Flack and the sound of velvet melting... 


Robert Flack has a beautiful voice. Who can argue that? That's why I was so disappointed by this colelction of songs. It would have been lovely if she had recorded them with a more traditional and orchestral arrangement. The pop synthesizer sound of the songs hear just don't work. It pains me to say that.
Roberta Flack is a wonderful chanteuse. I gave this 3 stars which is generous. Her voice is the only thing that may redeem this album. 




Like one other reviewer, Roberta Flack is my all time favorite vocalist. Her voice is nothing short of magical. It can be soft and gentle and powerful. On this album, she shows both ends of her spectrum.
I saw her in concert, now some twenty five years ago. It was like no other concert I have ever seen in life, before or since. She was magical, from the very first moment she came out onto the stage with one word: "Hello". From that moment, she had the audience in the palm of her hands.

Clint Eastwood may not have discovered her, but he sure gave her a wider audience by including her signature song "The First Time Ever I Saw Your Face" in his dark movie, "Play Misty For Me". It was a classic, and propetic; the first time ever I heard her voice I knew that I was hearing something unlike anything I had ever heard before.

Along with that wonderful piece, this album includes "That's No Way To Say Goodbye", and "Tryin' Times". These works sure make this album worth having. Her voice is a gem, to be treasured.

The rumor was, back in the day, that Roberta Flack could make good music when she was happy, but could only make great music when she was unhappy. I am ashamed to say it, but if this is true, an awful lot of her fans sure got a lot of pleasure as a result of her pain. For her sacrifice, we owe her a great debt, and hopes for her happiness. 



For my money, this is one of the best of Flack's albums. She really changes pace here, recording some really upbeat tunes such as "Why Don't You Move In With Me" and "Fine, Fine Day", but it's the ballards where her voice soars. "Twenty-Fifth Of Last December", "The Closer I Get To You" (with Donny Hathaway) and the myserious and lush "Where I'll Find You" are all breath taking. In fact, "Where I'll Find You" is one of my favorite tunes ever recorded by Flack. I understand that it is from a Ken Harper (The Wiz) production called "Bamboo" of which I've never been able to track down any information on. Also, unfortuately, some of the lyrics (especially in the bridge) are difficult to decipher. If anyone can supply more info on this song, please e-mail me. And back to the album, this is a must for anyone who cherishes Flack's lush interpretations and consistently smooth products. 


Roberta Flack is Roberta Flack's self-titled album. It represents here eighth album overall and was released in 1978. Roberta Flack is an American singer-songwriter and musician who is notable in the areas of jazz, soul, R&B and folk.

In 1988, Roberta Flack made a comeback after a long hiatus away from the recording studios with a new album of songs in the adult contemporary vein. Using a vast array of top session musicians whose names would easily fill a page and crowd out liner notes, "Oasis" was released to public indifference, even though the title track did hit #1 on the R & B charts. Significantly though not surprisingly, it didn't achieve the crossover success Roberta had hoped for in the pop market. By the late 80s, other 70s female black artistes like Diana Ross were also finding it difficult to stay relevant with a new generation of music fans, so she wasn't alone in her plight. Nevertheless, Roberta is to be commended for giving it her best shot with a new contemporary sound that was miles away from "I'm the One", her last solo album from 1982. Regardless of one's musical tastes or admiration for Roberta as virtuoso performer or adult contemporary (MOR) artiste, the best way to judge "Oasis" is in the context of its place as the predecessor and natural companion piece to "Set The Night To Music", released four years later. On that score, "Oasis" emerges head and shoulders above STNTM. The session musicians may have made the backing a little too anonymous for my liking but there is a seamlessness about the quality of the material and production values that gives the album a coherence totally absent from the later album. At least, they didn't try to mix in standards with the new songs and risk coming up with emotionally sterile performances of great classics. It's hard to pick highlights from an album like "Oasis" but the tracks that impressed me most were the title track, "All Caught Up In Love", "And So It Goes", "You Know What It's Like" and "(His Name) Brazil". "Shock To My System" is the one dud/filler that is unworthy of a talent like Roberta. The producers could have stuck just about anybody in front of the mike and it wouldn't have made a difference. The rest are mainly MOR ballads given the contemporary treatment. This is not Roberta's finest hour. Neither is it her worst. That dubious honour belongs to "Set The Night To Music". "Oasis" was Roberta trying to stay current and reaching out to a new audience in the late 1980s. Today, it would be of historical interest only to fans wanting to be acquainted with all the phases of her illustrious career and extensive discography.  


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