Here is yet another great album from Michael. When you take into consideration, the crossoever he accomplished from his Blackjack rock over to slighly less rough, yet truely wonderful work of "Everybody's Crazy" to his continuing efforts to refine his talent thru all the softer style albums he put out in the 90's straight on thru to his current work on his talent for Opera; every one of his albums was a wonderful piece of work. The man should be considered one of the most talented singers we've ever had the privilage of hearing. As for any critics, just ask yourself one question; who else do you know has been making music, successfully for as long as Michael Bolton, with as many different styles, and with as many loving fans to this day?

Apparently Michael Bolton underwent a transformation After "Everybody's Crazy." The biggest change? This is a great album! It comes with a killer package of hard rock and soft ballads, making it a beautifully put together record. Although I wasn't a big fan of "Take A Look At My Face," it just sounded too 80's for me. But otherwise, good stuff, Michael.

As many earlier reviews have stated, this was the CD where Michael Bolton started to change over from a hair-metal rocker to an AC balladeer. I like many of the songs here, including both the rockers like "Gina" and "Hot Love" as well as the wonderful ballads "That's What Love is All About" and "Walk Away". Now, you would have to be smoking crack to say that his version of "(Sittin' On) The Dock of The Bay" surpasses Otis Redding's original. However, I do recall at the time that Mr. Redding's widow said that she enjoyed Michael's remake.

So much ink has been spilled saying how truly bad is Michael Bolton. Well, I will stick up for him and say that although listening to his strained vocals for hours would get old, I certainly don't mind throwing on one of his CD's every now and then.

What I always find amusing is that critics often deride AC artists like Mr. Bolton, Celine Dion, Barbra Streisand, etc. During Michael's hits period of the late 80's and early 90's, some of the artists that were praised by critics included Arrested Development and Soul II Soul in the R&B category and Blind Melon and Soul Asylum in the rock category. Well, all of these critical darlings have faded into obscurity, while artists like Michael, Celine and Barbra who are thrashed by the critics have strong fan bases that continue to support their albums.

I certainly don't recommend this CD to any Bolton haters out there, but for those of you who became fans later, you might want to go back and buy this CD and enjoy some of his earlier music.

In many ways, this is the AOR/soft-rock fan's "last" Michael Bolton album. After this, he shifted towards pop, huge commercial success and a scarily diminishing hairline. While the schmaltz factor is cranked up high, there are two songs here which any self-respecting AOR fan will lose their mind over. These songs are Wait On Love and Gina. It is still these two songs - far more than the ballads elsewhere - that cause my stomach to flip over at the memory of the girl I loved and lost. These songs soundtracked the heartwrenching collapse of a very volatile and emotionally charged relationship that I "enjoyed" in the mid-80s. Wait On Love is a real killer: a note of crazy optimism in Michael's lyrics as he explains how the right girl might always be just around the corner. Meanwhile, Gina is all busted heart and mad, lonely longing. I often cry when hearing both songs. And it's been a long time since "she" walked out of my life. Help me someone, help me.

...was Michael Bolton's decision to put his powerful and soulful voice to its best commercial use. He had already proven himself a great rock singer with Blackjack as well as with his first two solo albums. Instead of beating the proverbial dead horse of the AOR spectrum, he chose to sing in a fashion that would earn him chart-topping singles and albums, Grammy nominations, and the freedom to explore other genres he had passion for. If he has chose to spin his wheels in the mainstream rock world, he never would have had the acclaim or opportunity to sing alongside such greats as Percy Sledge, Ray Charles, Patti LaBelle and Luciano Pavarotti.

Now, to this particular album. The songs shine with expert musicianship, compliments of the better part of the band Journey. Great melodic hooks and harmonies reign throughout. "That's What Love Is All About" is a pop lyrical masterpiece with a message that many people can relate with, and it is sung to absolute perfection. "Walk Away", along with "Call My Name" from "Everybody's Crazy", were signs of great things to come, as evidenced by this album's follow-up, the masterful "Soul Provider". "The Hunger" is an album that has something for both Bolton's melodic rock and pop fan bases, and was a critical turning point in his highly successful and hard-earned career.