Philip bailey's flowing voice was one of the glories of pop music in the '70s and early '80s – a sumptuous, soaring soprano counterpointed by Earth, Wind and Fire band mate Maurice White's torching tenor. So one can't help but be a little disappointed by Philip Bailey, although the singer is sometimes served well by the cast of songwriter-producers brought in – from P.M. Dawn and Robert Brookins to Chuckii Booker and Brian McKnight.

In the hands of a lesser talent, some of these songs might barely seep through the cracks, less than memorable fare conjured up to please a legend. But Bailey's grace and magic, apparent throughout, redeem the recordings.

On "Just Like Summer," Bailey rides a mellow groove undergirded by a prancing bass as he sweetly surrenders to love's power. And on "Yours," Bailey's upper register glides with ethereal ease, aided by a touch of strings and alto sax. The beautiful effect of Bailey's voice and these bits of real instruments make a telling contrast to the mechanized soul that now dominates black music. Bailey manages to escape being a vocal chameleon in the hands of distinct producers, all the while highlighting their strengths.

So "A Diamond Just Like You" underscores the symphonic jazziness of P.M. Dawn, while "Something's Missing" features Chuckii Booker's signature throbbing bass and digitally scratched hesitations that make bursts of repetition a sonic virtue. And Brian McKnight's flair on ballads and midtempo mesmerization are shown to advantage as Bailey features a pure falsetto on "Call Me," where he seeks to turn a chance meeting into a lifetime affair.

What's remarkable above all on this album is that Bailey's brilliant falsetto retains its sweet purity, even as he employs more of a pleasing baritone than he has revealed before. While that alone doesn't compensate for some of the just-OK stuff he has to work with, it delights nonetheless. (RS 691)

MICHAEL ERIC DYSON