bring things into the Nineties. And that's where Tracy Chapman and Toni Childs come in.

There are substantial differences between the two. One is a tough-minded Easterner, the other a Southern California dreamer. But there are also similarities. Both are authoritative, individual personalities, songwriters who have a point to make and singers who've figured out how to give those points a voice. Both have the potential to be what Joan Armatrading has often threatened to be but has never quite been: a forthright woman with a feel for modern urban music and the guts and talent to force herself into the pop mainstream.

Childs is the Californian, the dreamer. You notice her voice first: it's full, deep and flexible, and she often somehow manages to make it throaty and breathy at the same time. Her voice is her album's commanding centerpiece, surrounded by layers of keyboards, backing vocals and percussive effects. Like David and David's album Boomtown (that duo's David Ricketts is Childs's associate producer), this is a lavishly arranged album that would sound slick if the arrangements weren't so intelligently constructed, so marvelously atmospheric.

That atmosphere fits in perfectly with Childs's lyrics, which tend to be elusive and impressionistic: if her songs are hard to pin down and sum up, you could say the same for the emotions about which she usually writes. As the title suggests, Union is an album about the precarious dynamic between men and women, an album full of first-person songs about losing love, finding love, remembering love. And though the opening song, the brassy "Don't Walk Away," confronts a departing companion who's "ripping out the root of love," the album is suffused with a sense of peace and restfulness: by the end of side one's closer, "Let the Rain Come Down," Childs sounds downright triumphant, buoyed by her faith in the renewal that comes with time and distance and a cleansing rain.

"Let the Rain Come Down" is typical of Union in the way Childs's voice rides the grooves she has crafted with Ricketts and producer David Tickle – and in the way she paints an emotional landscape by looking to the physical world around her. At times the lavish arrangements only serve to obscure the fact that some of these songs are lushly framed sketches rather than worthy compositions, but on most of the record – especially on "Let the Rai