unexpected touches are always popping up on Fordham's album, like an African vocal chorale in "Happy Ever After" or third-world percussion in "The Other Woman." Likewise, Fordham's verbal stance is as analytical and gender aware as Mitchell's. She has her forced moments, like "Happy Ever After," which somehow tries to align romantic disappointment with apartheid. But she's fully convincing in tracks like "Woman of the 80's," where she candidly admits to possessing more vulnerability than the times will allow.

Too bad the effect of all this is blunted by the murky production. One hopes next time she'll have a firmer, more precise sound to play off of. But for right now, Fordham holds considerable promise, offering both a point of view that piques and a voice that envelops. (RS 539)

JIM FARBER