Cyndi Lauper Album: “True Colors”

I recall reading one very perceptive review, I believe it was in the Village Voice, when this album first came out in 1987, that insisted that THIS was the album on which Cyndi Lauper set out to prove herself as a SINGER. SHE'S SO UNUSUAL her solo debut, had any number of moments that showed off Cyndi's multi-octave range to good effect, but it was more about sass and image and "girls having fun." I had been listening to (and enjoying) the first two singles on the radio for a few months before I heard the entire record. There had been some mention in the rock press of Cyndi's considerable vocal prowess. But I didn't really get what might distinguish her from any other pop princess of the time (including you-know-who) 'til I actually heard her wail torrents of regret and anger and Lord knows what other emotions at the close-out of "Money Changes Everything." It was one of those hair-stand-end moments, like Janis' "Try," when I realized what all the excitement was about.

But aside from that spinetingler, SHE'S SO UNUSUAL was not a record that let Cyndi pull out all the stops vocally. The focus was on something else, creating a great pop record, not a vocal showcase. On her second release, she tried to do both. The vocal pyrotechnics are there on numbers like "Boy Blue," "Calm Inside the Storm," and "911"--she gets the chance to belt and not just embellish. On the other hand, unlike so much of the current diva-driven product, the songs remain the thing. The vocals are still at the service of the lyrics and melody, not the other way around.

Lauper's detractors sometimes mock the little-girl voice apparent on the title track, and such affectations are to some degree a matter of taste. But "True Colors" represented only one of the colors on the artist's palette. (I happen to like it still, especially after seeing her perform it again last year on Cher's "farewell" tour--but even for those who don't, Lauper has much much more up her sleeve.)

Like its predecessor, TRUE COLORS has its pure pop pleasures, guilty or otherwise. Guest spots by the Bangles, Billy Joel and, in a non-musical spot, Pee-wee Herman, add to the fun quotient. A more somber tone is achieved on "What's Goin' On?"--perhaps the most controversial song on the record. Some critics seemed to think it was sacrilege: others just thought it was too Viet Nam era! Maybe she should have updated the lyrics to read,"But who are they to judge us/just because our hair is...purple." I thought it was a nice tip of the hat to the late, great Marvin Gaye and a creditable performance in its own right. Cyndi Lauper was taking some chances with this record. For the most part, she pulled it off.

This was the album that got me into cyndi lauper. This album will take you to a musical soundscape, its as if each song is connected all throughout. It exhibits the psychidelic playfulness of Cyndi's music. I would even dare to say that this is better than She's So Unusual. Tracks are:

1. Change of Heart - Rock, soundblasting, exhilirating, and exciting!

2. Maybe He'll Know - a trip to the oldies

3. Boy Blue - A bit long, but the overall trip is good, i like the synths.

4. True Colors - quite different from ballad formats at the time it was released.

5. Calm Inside the Storm - I dunno what to make of it, it doesn't seem to fit in any genre that I know, or i could be wrong.

6. What's Going On - the single version is much better, her vocals are weak here.

7. Iko-iko - cute track, I like it a lot.

8. Faraway Nearby - cute track, compliments iko iko.

9. 911 - the weakest tracks on the album, but I heard it on her 'Live in Paris' performance, and it sounded much better than on this record.

10. One Track Mind - One of my favourites. Its different, it takes you to a trip, the lyrics are a bit odd though. A good ender for an album

From the opening bass and rattling attack of Linn drums, "Change Of Heart" indicates a radical shift in style for Cyndi Lauper. As the song says, "it just takes a beat to turn it around." The keyboards are more in tune with the notes rather than the loopy wall of synth on She's So Unusual. It's still one of the best songs here. And what really makes this a winning second single is special guest harmony vocals from the Bangles and guitar from Nile Rodgers.

The toe-tapping "Maybe He'll Know" features Billy Joel as guest vocalist. With the programmed Linn drums and keyboards added to something like Del Shannon's "Runaway" or similar 60's song. Lauper repaid the favour by singing on "Baby Grand" on Joel's The Bridge, also released the same year.

The mid-paced "Boy Blue", was the fourth single, about a lost boy on the streets. Barely avoids being filler.

Another of the 80's prime songwriters, Tom Kelly and Billy Steinberg, give Cyndi Lauper the best song here, the gentle title track, underscored by guitar and soft keyboards. A classic song of all time despite its crass misuse in Kodak commercials promoting better quality colour. Rather, it tells one to cheer up despite the dark world. Cyndi's vocals are the tenderest in the verses. And when she sings that immortal chorus, Phil Collins later did a decent cover of this as a new track on his Hits CD.

Rick Derringer gives Cyndi some co-writing and guitar hoochie-coo in "Calm Inside The Storm" in this rollicking "I'll be your emotional support-type song." "I'm like a rockin' ship/on your rollin' sea/you know crash lightin' never frightens me, nah."

She does two decent cover songs next, the first being Marvin Gaye's protest song extolling the virtues of racial brotherhood and peace amidst the dying days of the Civil Rights Movement and continued conflict in Vietnam, "What's Going On." She conveys the poignancy of the song very well. Guest guitarist are Adrian Belew and 'til tuesday's Robert Holmes. That segues into the Dixie Cups' "Iko Iko", the original of which later got renewed popularity following its use in Rain Man. Cyndi's rendition makes it more a campfire sound.

Another upbeat song, "The Faraway Nearby" has yet another guest vocalist. I'll give you 'til tuesday to figure out who. If you guessed Aimee Mann, ten points to whatever house you belong to.

Unfortunately, the last two songs shows the creativity sapping. "911" tries to emulate something from her She's So Unusual era but the different sound plays havoc with it, and Pee-Wee Herman's contribution at the end of the song as the phone operator is pointless. "One Track Mind" is a throwaway track. These two songs is why I can't give this five stars like I did its predecessor.

Not as wild as She's So Unusual, True Colors shows a less crazy Lauper, but one whose unique sweet Betty Boop-ish vocals have developed to become more tender (True Colors) and poignant (What's Going On). Still, on the better tracks, Cyndi acquits herself above average, thanks to her vocal talent and help from some friends.

I've been a big fan of Cyndi Lauper since her first hit in the 1980s. I guess you could say that I grew-up on her. I like the CD album because it has many (but not all) of her classic hits, as well as, a few new covers. The album will take you back in time. Always so delightfully enjoyable as Cyndi Lauper can be.

Because each of her albums is a distinct departure from its predecessor, no two Cyndi Lauper albums are alike. I like to think of TRUE COLORS as the record Cyn made in the attic, while decked out in her grandmother's clothes, changing eye shadow with every blink, and wearing more jewelry than Mr. T. The result isn't simple and quiet, because its creator isn't. Rather, it is Cyn at her lovable best: fun-loving and fearless. While each track is a wild new get-up, "True Colors" is the moment the masquerade is over. Her performance of this poetic classic is so unforgettable, you are likely to have a story about the first time you heard it. I do.

As the dead-on editorial has noted, the songs aren't very revealing, but it is great fun to hear just how unique and endearing Cyn can be with her work. "Boy Blue" is one of the most unusual songs you will ever hear. Childlike but elegant, carefree but urgent, it is one of her most fascinating pieces. It isn't very catchy, but you'll always remember it. I guess with all of these contradictions, it's no wonder it failed to chart higher than No.71. No matter. Cyn has every reason to be proud of TRUE COLORS. Who else would follow "What's Going On" with "Iko Iko?"