Beverley Knight: '100%'

A lot has happened in the world of contemporary soul in the 14 years since Beverley Knight burst onto the scene. As a point of comparison, Whitney Houston went R&B (My Love Is Your Love), went off-the-rails ("crack is wack") and went AWOL before bringing it all back for this year's well-received comeback album. No such fireworks for Knight, who has instead confidently and competently cemented her status as the Queen of British Soul with five albums of consistently successful music.

After the shamelessly commercial Affirmation in 2004, Knight threw something of a curve-ball with 2007's Music City Soul, a reverent nod to the old-school sounds of the 1960s that impressed the critics. For 100%, she's parted company with EMI and set out on her own. The record, she says, "is on my label and it's 100% me". However, it doesn't suffer for the lack of big money behind it. It's neatly-produced and never falls into the self-indulgence risked when an artist is freed from the restraints of a major.

Despite Knight's admitted goal of making a "contemporary soul record", it's the more old-fashioned songs on 100% that shine the brightest. The deep soul of the title track is the best thing here, evoking the likes of Bobby Womack with its classic dynamics that perfectly match Knight's impressive vocals. 'Bare' is another highlight, a stripped-down Whitney-esque torch ballad that frames what is still one of the best voices in British music. Punning duet 'Soul Survivor' features Chaka Khan and is as daft, fun and energetic as the title suggests.

Some of the more modern excursions are successful too. Opener 'Beautiful Night' boasts a slick, modern sound and is poppy enough to compete with the chart upstarts who've arrived since Knight first started performing. 'Gold Chain', meanwhile, is a funky little number about love 'n' money that offers a surprising bit of sexual emotion ("I'm not gonna be a possession/ So your friends will stare/ Every time we make a connection/ Do you feel it down there"). Sadly, not everything is quite so impressive. 'Breakout' is too trashy and throwaway for Knight - you can't quite believe it when she tells you to "get your fine ass on the floor" - while 'In Your Shoes' is a misguided attempt to keep up with the Spearses. It even slaps Auto-Tune on Knight's vocals, a crime akin to smothering a Michelin-starred meal in ketchup.

Elsewhere, Knight's incredible tones are let down by the lack of the giant tunes they deserve. Songs like 'Every Step', 'Moneyback' and 'Square Peg' are pleasant enough, but they'd be much better if they featured a killer hook. Complete misfires, like soporific closer 'Too Much Heaven', are rare though, and overall 100% is a solid and likable record from an enduring British talent.


> Click here to read our recent interview with Beverley Knight