The saga of the 57th Miss America pageant has two endings. The first story is the one most of us are familiar with: winner Vanessa Williams resigns near the end of her reign after Penthouse published nude photographs but she prevails, becoming a multi-award-winning entertainer. The second story is of Suzette Charles, the first-runner-up who was crowned for the final two months. Unlike Williams, Charles couldn’t capitalize on the notoriety of that year’s coronation and after several stalled attempts at a recording career, she stepped away from the music industry.

However, this year, Charles is ready to have her day in the spotlight and the buried tracks she recorded in 1993 with Mike Stock (of Stock Aitken Waterman, the trio that gave the world Kylie Minogue) have finally been released along with several new songs. The album – pointedly self-titled as if to assert herself – is an opportunity for Charles to prove herself.

The first thing that listeners will notice is that Charles is a very good singer. She has a pretty, pleasant voice. It’s not the most distinctive instrument, but she acquits herself well with this batch of dance-pop and HI-NRG tunes. The other thing that leaps out to the listener is that even though Stock and Charles may have updated the material before releasing it, it doesn’t sound like much was done because the songs sound like lite house-pop of the early 1990s. That isn’t as bad a move as it sounds. Yes, the songs can sound somewhat dated, but as a work of redemptive art, it more than makes the case for Charles as a talented pop star.

The first track “Free To Love” actually saw the light of day in 1993, being released as the first single from the shelved album. It charted in the UK but was not a major hit. It’s a great, canny bit of ’90s neo-disco that sounds very typical of Stock’s work in the era. The beats are thick and juicy, the keyboards loud and glassy, and the homogenised harmonies suggest the joy of church. (If that church was housed in the Top of the Pops studio.) In the midst of all this plastic coating, Charles’ silky vocals sit comfortably, blending into the music.

The great thing about “Free To Love” is that it sets the tone for the whole record, which is fun, frisky, and fabulous. It’s clearly influenced by Euro-pop acts of the 90s like Kylie Minogue, Lisa Stansfield or M People. So, it’s fascinating to hear some of the new songs, including “We Lost The Beat” that bears the trademarks of Stock’s sound—the chunky percussion, the polish, the synthesized strings. The song doesn’t really sound like anything playing on the radio which makes it quite novel.

A song like “What The Eye Don’t See” is a standout because it embraces the inherent silliness and camp of dance music, especially mainstream dance music. It’s gloriously cheesy and self-aware. Charles has the makings of a dance diva and “What The Eye Don’t See” should be a staple for drag queens.

Even when the tempo slows down, as it does on “Every Time We Touch” it doesn’t stray away from the established sonic soundscape. Though a ballad, the song saunters on a lush path of pillow synths, wailing sax, and programmed beats. Charles’ smooth voice is very pretty on the song – very elegant with a pure tone and glass-like clarity. It’s a dreamy tune.

Charles’ career was unfairly overshadowed by a media controversy in which she was a supporting character. Williams deservedly ascended to superstardom from that ignominious setback, but Charles’ story was unjustly set aside. Suzette Charles is a good indicator that she deserves a devoted following of her own, and hopefully, this release means she will be making more music.

Rating: B

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