100% (Beverley Knight album)

After the release of her 2007 album Music City Soul, Knight's record contract with Parlophone had come to its natural end. Knight decided she was at the stage in her career where she needed to take full creative control and no longer wished to be tied down by the constraints of her record company.[6] In an interview with Ronnie Herel on BBC 1Xtra on 26 May 2009, Knight revealed that the album would be titled 100%. She further explained that throughout her entire career, she felt that she had given 100% of her effort whether it be recording albums, performing live or through her philanthropic work. Knight went on to say that she considered the title a dedication to her partner and that for the first time she had given 100% to a relationship. This is further illustrated by the title track "100%" which she dedicated to partner James.[7]

100% featrues guest appearance from singer Chaka Khan on the track "Soul Survivor," which was co-written by Knight and Guy Chambers.[8] Originally written for Tina Turner as a testament to her longevity, upon recording it Beverley loved it so much that she decided to keep it and recorded it with Khan. Knight commented that they "both see ourselves as soul survivors, we have rode through the ups and downs of our musical careers, and we are both still here and loving it".[7] Other notable collaborators on the album include Jimmy Hogarth, Guy Chambers, Amanda Ghost, Jimmy Jam and Terry Lewis, The Rural, DJ Munro and DC Joseph, and Kevin Bacon and Jonathan Quarmby.

Professional ratings

Review scores
Source	Rating
Allmusic	[9]
BBC	favourable[10]
Digital Spy	[11]
The Mirror	[12]

100% received generally positive to favorable reviews from music critics. Allmusic editor Jon O'Brien found that the album "appears to have jumped on the ubiquitous '80s revival bandwagon [echoing] the classy soul balladry of Anita Baker, the synth-heavy funk of Alexander O'Neal, and the acid-jazz leanings of early Brand New Heavies. It's a change in direction which, unlike her recent output, feels like a natural progression, its authentic groove-fueled production, thankfully free of Auto-Tune, allowing Knight's effortlessly smooth and expressive vocals to shine."[9] In his review for BBC, critic David Quantick commented that "the title track, which is a full on Anita Baker croon tune, is predicated not on a lot of timbales sprinkling about over some nice chords, but an ambient ripple running under it like Brian Eno leaving his bath taps running."[13]

Mayer Nassim from Digital Spy remarked that "the deep soul of the title track is the best thing here, evoking the likes of Bobby Womack with its classic dynamics that perfectly match Knight's impressive vocals. 'Bare' is another highlight, a stripped down Whitney-esque torch ballad that frames what is still one of the best voices in British music."[14] A mixed review came from Andy Welch of The Telegraph who wrote that "at once vintage-Atlantic-soul-sounding yet defiantly British, her nickname as the UK's Queen of Soul couldn't be more apt. Despite this, she's never really had the material her vocal talent should have. On this, her sixth studio album, nothing has changed."[15] However, Serena Kutchinsky of The London Paper rated 100% two stars while commenting that "yes, Knight has a syrupy smooth voice which is used to full effect on tracks such as 'Beautiful Night,' but the dearth of catchy pop hooks and too much schmaltzy gospel render of it little more than pseudo-soulful tripe."[16]

• Official website
• Beverley Knight interview by Pete Lewis, 'Blues & Soul' July 2009