In 1998, she recorded a salsa version of the song on her album No Lo Voy a Olvidar, as "I Still Believe/Creo en Ti." The Spanish version peaked at number 20 on the Billboard Latin Tropical Airplay chart. Starr also recorded the song in Spanish, as "Yo Creo En Ti," which she released as a single. Its music video comprises scenes of Starr singing the song in a warehouse intercut with scenes of her walking past many romantic couples. Billboard Hot 100, becoming Starr's first-and only-top twenty single on the Hot 100. It was released as the second single from Starr's self-titled album in 1988, and peaked at number 13 on the U.S. Justin Kantor of Allmusic praised the track for being "passionately dramatic and heartfelt". To deal with her emotional pain, Armato wrote and composed the song in collaboration with Cantarelli. Even though Armato loved her boyfriend at the time, she stuck to her convictions and the couple broke up. He was not pleased, and pushed her into an ultimatum: to get married or break up. It is a pop ballad based on a real life relationship of one of its songwriters, Armato: Armato's former boyfriend had proposed to her, but she felt that the timing was not right. The song was written and composed by Antonina Armato and Giuseppe Cantarelli, and produced by Eumir Deodato. Starr recorded "I Still Believe" as one of the songs for her self-titled second album, which was released in 1987. 1 Background and authorship/compositionīackground and authorship/composition Īfter releasing her first record, I Want Your Love (1985), and not achieving success with it, Brenda K.It's just hard to discern that for certain in this guise. Krayzie tries to keep it interesting by varying the flow, never putting too many similar tracks next to each other, but who the hell can make it through 38 tracks of this without a breather, even if some cuts are skits? It may be a cliche to say that this double-record would have been much more potent if it was trimmed to a single disc, but that doesn't make it less true, especially since there are enough songs to make a very good record, possibly one of the best things Krayzie has been involved with. Even though there is more depth than there was on The Art of War, there's a whole lot of filler cluttering these two discs, including several tracks that feel as if they're designed to launch developing artists. A lot more of it: 38 tracks, to be precise. In fact, other than the occasional cut that veers toward urban territory, there isn't a whole lot to differentiate this from the average Bone release - there's just more of it. Some of these cuts are positively smoove, which stands in direct contrast to the gangstafied lyrics, but that's always been a part of the Bone trademark. Freed from the group setting but not necessarily the members - who fill some of the obligatory guest slots, along with Bone family members such as Relay - Krayzie doesn't hesitate to accentuate the already smooth surfaces of his music. Nowhere was that more true than Bone Thugs-N-Harmony's overwrought third album, The Art of War and, unfortunately, that same sense of hubris characterizes Thug Mentality 1999, the ridiculously inflated debut solo album from Krayzie Bone. Theoretically, an epic hip-hop album could be compelling, but almost of all of the sweepstake entries are tedious, serving to diminish the artist's music instead of enhancing it.
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