ALL SAINTS ` SAINTS & SINNERS (London)
Reviewer: Nigel Packer
14th October 2000 - BBC Ceefax

With two hit singles, one cinematic disaster and a mountain of tabloid gossip to their name, it's been an interesting 12 months for All Saints.

Now they round off a year of decidedly mixed fortunes with an album to match.

Given their high media profile, it's easy to forget that three years have passed since their debut album.

Recently they seem to have become more of a celebrity soap opera than a functioning group, leaving them with a point to prove on this comeback.

All Saints follow in the footsteps of Madonna by calling on the services of top producer William Orbit. But he shares the billing with previous All Saints collaborators Karl Gordon and Jonny Douglas.

The decision to use Orbit's liquid sound sparingly was smart in terms of avoiding Ray Of Light comparisons, but it gives the album a disjointed feel.

His contributions are easly the best here, and they sit uncomfortably beside the more traditional pop/R&B efforts.

Shaznay once more proves the driving force, as she takes on the lion's share of lead vocals and writing duties.

But All Saints' most striking quality remains their velvety vocal harmonies.

Lyrics are served up with bags of their usual attitude, although the strong melodies of their debut are thin on the ground.

Highlights include Pure Shores ` with its deep-sea bass and dolphin-splash keyboards ` and the pure pop of its successor Black Coffee.

The sensual Surrender marks another successful launch into Orbit.

For a change of style there's Mel's (over) ambitious ballad I Feel Love ` with string quartet and gospel choir.

And Nat takes a co-writing credit on Dreams, an unusual creation in which Orbit seeks the missing link between 21st Century pop and ancient prog rock.

It's a sign of what might have been with Orbit at the helm throughout. Instead we're left with a strong EP trapped inside a run-of-the-mill album

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