Personnel: Laura Branigan (vocals); Michael Landau, Dan Huff, Paul Jackson Jr. (guitar); Larry O. Williams (saxophone); Robbie Buchanan (piano, synthesizer); Harold Faltermeier (synthesizer); Nathan East (bass); Carlos Vega, John Robinson (drums); Thomas Kelly, Steven George, Bill Champlin, Richard Page, Tommy Funderburk, Jon Joyce, Jim Haas, Joe Chemay, Beth Anderson, Joe Pizzulo
Recorded at Image Recording, Inc., Los Angeles, California and Arco Studios, Munich, West Germany.
Personnel: Laura Branigan (vocals); Beth Andersen, Jon Joyce , Joe Pizzulo, Richard Page, Steve George, Tom Kelly , Tommy Funderburk, Bill Champlin, Joe Chemay (vocals, background vocals); Dann Huff, Michael Landau, Paul Jackson, Jr. (guitar); Larry Williams (saxophone); Robbie Buchanan (piano, synthesizer); Harold Faltermeyer (synthesizer); John "J.R." Robinson , Carlos Vega (drums); Jim Haas (background vocals).
Recording information: Arco Studios, Munich, Germany; Image Recording Studios, Hollywood, CA; Music Grinder Recording Studios, Hollywood, CA.
Unknown Contributor Roles: Harold Faltermeyer; Steve Kipner.
Laura Branigan's third album capitalized on the Euro-dance-pop and affecting ballads that made her an international star while allowing her to grow as a vocalist. Her collections, always uneven in terms of material, benefit mostly from her stellar voice, and this is no exception."The Lucky One" and "Heart" start slow and build to a crescendo, perfectly showcasing her range without being obvious. The title track, about finding sex in the seamy side of town, sparked a bit of a controversy, but ended up being her second biggest hit. The song itself works, but Branigan was never a sex bomb, so the fact that she pulls it off is indicative of her power as a performer. "Ti Amo" is the album's theatrical ballad, which works well with breathy, dramatic vocals. She even pulls off a graceful cover of "Will You Still Love Me Tomorrow" that is clear and simple, while "Breaking Out" and "Take Me" are perfect examples of synthesizer-driven '80s dance ditties. The only slow moments come with "Silent Partners" and "With Every Beat of My Heart," and that's not because they're ballads. The production bogs them down, and the lyrics are so pedestrian, you won't find yourself moved by them except to skip to the next song. ~ Bryan Buss