Here one must first preface an historical digression: After the hits of the 70s, various experiments in the 80s and a withdrawal from the showbiz MR had chosen 1989 her comeback to his day's hottest producers on the fine line between pop and pop, Harald Steinhauer (Werding, Spider Murphy, de Angelo, etc.). With him were the Pops albums "We burn the night" (1989) and "And you can not do anything" (1991) emerged. In 1993 the last album in this constellation "Fire Roses". Then the ways of artist and producer parted. Now, therefore, be explained quite naturally when "Fire Roses" a closer examination subjects. Cooperation with Steinhauer was obviously already during the development phase is no longer the best, it has not only the separation out after this album, but also the fact that the artist would like to thank all sorts of people in the booklet, and only somewhere at the end of the "also-rans "the producers. These lines correspond to what can be heard: This is crunched in the transmission simply at the production stage. Were brilliantly produced from the first the two previous albums to the last second, so it looks here as if someone had taken the call of duty, but passion is not. Without question: Much of it is still great, and better than many others of his time, but still remains the enthusiasm when listening. While the albums of 1989 and 1991 took quite stand up to any international comparison (the first appeared as "set the night on fire" to law in England), affects the production of fire roses, as if you have missed the boat. Although it is still close to it in the international sound and far away from the hit, but "just there" is not "in the middle". "Without love, without hatred" and "C est la vie" Although chipping away at the level of 1993 trendy pop music, but they do not reach, remains the rest of the album sounds behind as she or Ace of Base, Pet Shop Boys other this time were presented. And where the music fits the tangled texts prevent as in the case of "C est la vie, my little prince" (verklausuliert meant is probably the conception of her son) traceability and sympathy as well as the black and white cover of ash - (and not: fire) Rose does. It lacks the color, the shine, the fun and the spirit of the predecessor. Although "The only man" and "If I cheat you" have been quite exciting single releases, which come even from the pen of the artist herself (and as a remix on the respective maxi-single were almost hipper than the original), but they are "sometimes" such nullified by a musical full disaster as from the same spring that the listening of the whole album will be affected: MR has certainly set out with the two music titles that you not only as a singer, but also as a songwriter over seriously is to take, but "sometimes" is so ridiculous that any respect for this talent will be canceled immediately. Not even the relatively inconsequential production of "Flourishing Nightmare Land" (sometimes with b, p times with in the booklet) and the yawning boring "No man is like you" are as bad as this unspeakably superfluous track. Less would have been more. The whole record suffers from such dropouts and pull the level down so much that quite listenable tracks like "Who's that girl" or "Every war is far" almost perish. The latter is nice, but the artificial Oboe annoying (unlike in the 89er-work "And my smile will follow you") in the high passages as well as the Schrammel-pop guitars otherwise actually spherical-raised Playback to "Superstar". You can clearly see: here lack the instinct that proved the same team in previous years. There was not just noise in the woodwork because they wanted to fulfill a contract, to then go as fast as possible separate ways. Too bad, because there are definitely highlights on this CD, but they seem like not produced to the end. The commercial failure can therefore hardly have been surprising. Pity! All those involved deserved more.
