“…a musical gourmet…she has had time to appreciate and sing a little rock, jazz, soul, gospel, Latin-flavored pop, and her informed respect for all those genres is evident…the tunes are smartly written both lyrically and melodically.  Beghe’s singing style is variously reminiscent of Carly Simon, Basia, Bonnie Raitt and best of all, nobody you ever heard of. She should be welcomed with open ears and arms, except perhaps by those record-store clerks who have to decide what bin to put her in.”

- Ralph Novack

“…the kind of stunning, poised debut they don’t make anymore…her tough, tender but no-nonsense style was influenced by the diversity she found in the Big Apple. “Just in my neighborhood we have Haitians and all kinds of Hispanics-Puerto Ricans, Dominicans, Mexicans. I open my window and I’ve got Haitian music and salsa blasting all the time…one listen is enough to convince cynics that the lady is a find.”

Leonard Pitts 

 “Francesca Beghe…(at the Paramount, NYC)…has a breathtaking voice…hers was a short set and Beghe had to deal with the problem of an audience that bought a ticket to see someone else…At first the crowd was noisy in anticipation…but Beghe’s big talent subdued the chatter, and by the close of her set I was surprised that the hot applause didn’t bring her back for an encore number.If you see her name on a marquee, buy a ticket and treat yourself to a very special performer.”

Dan Aquilante 

“Francesca Beghe: Sincere Passion and Crisp Images…I really like this record. I like it for the way Francesca Beghe sings in a strong, direct voice highlighted by passionate little whispers. I like the songs she sings, too-the way they go from soft-edged pop romanticism to take charge anthems of love without ever feeling false or contrived. Beghe incorporates bits of R&B, rock, jazz, country, burglarizing each genre with a certain gutsy, appealing self-confidence. The lady is also a formidable composer, as evidenced by the album’s best track, the plaintive, meditative Names on a Wall. Her lyrics etch sharp indelible images—“The cold sweet morning air surrounds a crop of blank white crosses”—as she sings of the Vietnam Memorial Wall in Washington. The song evokes with undeniable force the wall and all the anguish and loss it represents—yet it never follows the temptation to lapse into cheap, maudlin sentiment. I like Francesca Beghe. I think you will, too.”

Leonard Pitts