The luxury of being a producer's singer is that when things go wrong, the producer gets blamed, and when things go right, things go right. On the latest releases from two producer's singers extraordinaire – Cherrelle and Karyn White – things definitely go right.

Cherrelle has long been the stalwart of the Jimmy Jam-Terry Lewis camp; though she's yet to score a major pop hit, she's been the model for Jam and Lewis's success with other artists, such as Janet Jackson. On Affair, Cherrelle flies through some pneumatic funk, then opens up the tear ducts on the title cut and "Keep It Inside," a beguiling duet with Alexander O'Neal (the two make up the most formidable boy-girl team since Marvin Gaye and Tammi Terrell). But when Jam and Lewis hand the reins over completely to Cherrelle for the album's closing trilogy – "My Friend," "Crazy (for Loving You)" and "Lucky" – she throws off the high heels and desperately aches. Even when a church choir washes over her on "Lucky," it is her own silvery tones that resonate. Cherrelle has learned well from her mentors. Affair deserves to be a huge success, but it has sadly gone unnoticed outside black radio.

Karyn White, on the other hand, has hit the big time on the first try. Under the aegis of the very hot producers L.A. Reid and Babyface, she has already crossed over with "The Way You Love Me," a jaunty romp similar to the Whispers' 1987 "Rock Steady" (which they also produced). White's not exactly in the background on the song – evidenced by the acrobatic scatting she does on the bridge – but it's as much Babyface and Reid's record as it is hers, as they inundate her with chants, squeals, count-offs and synth adhesive. It's a contest for White to keep up.

But she does, and even shows some versatility on "Superwoman," a humble feminist anthem derived from Aretha's "Ain't No Way." White clearly takes direction well: the next test will come when her ego starts to exert itself. (RS 548)

ROB HOERBURGER