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Jennifer Warnes's fourth album was her Arista Records debut and the first LP on which she was billed under her full name. The album appears to be a classic case of commercial compromise: Eight of its ten tracks were produced by horn player Jim Price, who had been producing Joe Cocker lately. 1992 Heritage Softail Review. The other two, 'Right Time of the Night' and 'I'm Dreaming,' were produced by country producer Jim Ed Norman, and both were released as singles. One can infer that Arista didn't hear a single in the Price songs and sent Warnes back into the studio, or that the label hoped the L.A.-based and -bred singer could cross over to country music with the right song. If the latter was the case, Arista was right: 'Right Time' hit the Top 40 in the Country charts as well as the Top Ten in the pop charts and the top of the Easy Listening charts. ('I'm Dreaming' charted pop and hit the Easy Listening Top Ten.) The singles, while the most accessible tracks on the album, were also the least impressive.

'Right Time,' with its coy sexuality ('You and me, baby, we can think of something to do'), was one of those embarrassingly awkward erotic songs, almost on a par with the Starland Vocal Band's wretched 'Afternoon Delight,' which had been a hit the year before. On the other hand, the bulk of the album consisted of well-sung mediocre L.A. Pop material, the highlights being covers of 'Love Hurts' and the Rolling Stones' 'Shine a Light.' As her previous albums had demonstrated Warnes had a warm, inviting voice and a strong sense of phrasing.

But she suffered from the basic disadvantage all interpretive singers faced in the 1970s: the paucity of good available songs. Minus its singles, Jennifer Warnes might have been a more consistent album, but it probably wouldn't have sold. And for the 29-year-old Warnes, her third record deal must have seemed like her last chance. ~ William Ruhlmann.

Jennifer Warnes became a household name in the '70s with her hit 'Right Time of the Night' and scored equally big with the Righteous Brothers' Bill Medley on 'The Time of My Life' from the film Dirty Dancing. She also wowed critics and fans alike with Famous Blue Raincoat, her album of Leonard Cohen songs. In all, she's sold over 35 million records worldwide, but she's hardly a household word in the post-Madonna world. Warnes has returned to the recording scene for the first time since 1992 with The Well, a collection ten songs co-produced with Martin Davich.

And what a collection it is. As a singer and a songwriter, Warnes knows her strengths well.

She understates lyrics and musical phrases as a way of getting them to open up on their own through her gorgeously wrought singing. She's no acrobat; she doesn't reach for the note that breaks the pitch-meter. Instead, she allows her voice to come up from the heart of the lyric she's singing. She wears the song and allows the song to adorn her as well, whether plaintively, as on the title track, one of her co-writes with Texas legend Doyle Bramhall, or her lilting, haunting, spiritual tome 'Prairie Melancholy.' When doing takes on the songs of others, such as Tom Waits' nugget 'Invitation to the Blues,' she imbues them with the soft, bluesy swing inherent in the original, but adds depth and dimension with her dry, reportorial storytelling (with fine guitar work from Doyle Bramhall). The songs on The Well seem spare and open, layered lightly, and full of room for Warnes' warm voice to reveal the wealth of emotions in the tunes themselves.