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On the strength of the single, Mercury decided to market Waters full strength. Helligar called it "the hook heard round the world" and Rolling Stone's reviewer declared that the song's "deliciously nagging chorus `La-da-dee-la-da-da' was indisputably the Hook of the Year." The critic also christened it "a rare bright spot of originality and blessed simplicity amid a '91-long plague of Identikit house records and overwrought remixes." Amy Linden recalled the song's rise for People in 1994, writing that in the "club-music world, dominated as it is by big-mama belters, Waters was a postmodern minimalist, her weirdness a breath of fresh air." Daniels summarized the single's reputation when she recalled that the "song and it's unforgettable, infectious, catchy hook la-da-dee, la-da-da became a little legend in itself." In fact, almost every critic who even briefly mentioned the single immortalized that hook on paper. "Gypsy Woman" topped both the dance and pop charts on the former, it stayed at Number One for six weeks, and on the latter, it maintained a respectable spot in the Top Ten.
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The recording had the production nurturance of the Basement Boys, who were known for their hit-making skills. The producers were so taken by her rendition that they drew up a contract with her for that one song, never passing it on to Ultra Nate. In one of her assignments as a demo writer, Waters penned a song called "Gypsy Woman" for dance diva Ultra Nate and recorded a demo cut of the song. While many performers ply their trade for years before being declared an "overnight sensation" by the music press, in 1991 Waters actually did burst into celebrity on the basis of what appeared to be a fluke. Given the character and progress of her life to that point, Waters's emergence into the show business spotlight was wholly unexpected. She secured a writing contract with Mercury Records in 1989.
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Consistent with her business experience, Waters first approached the music world in 1987 as a behind-the- scenes worker, writing demos for a production team known as the Basement Boys. After earning her college degree in 1985, Waters secured a job with the Washington, D.C., parole board, making a living from her business and computer skills that would support her two children. She studied business at Howard University not surprisingly, her creative work dropped off during this period, since she found less time for it. The shape of Waters's life as a young adult seemed to be directing her towards a practical, middle-class self- sufficiency-nothing glamorous, but highly respectable. And I would ask, `How do you know about this stuff?'" She took her writing seriously enough to be inducted into the American Poetry Society when she was 14, the youngest person ever to receive that honor. Waters's mother, Betty, described her daughter's childhood activities for Interview's Jeremy Helligar, telling him, "At eleven or twelve was writing poetry about the soul and other deep things. Music made its way into the Waters home on the strength of family history: Crystal's father, Junior Waters, was a jazz musician her great aunt, Ethel Waters, was one of the first African-American vocalists to appear in mainstream Hollywood musicals. Talking with New American's Karu Daniels, Waters described "south Jersey" as a place where "there is really nothing to do except open fire hydrants and go out and play." She would eventually try to capture that atmosphere in a song, "Ghetto Day," for her second album. Since she remains very private about her personal life, the curious can only speculate about the date of her birth, which appears to have been sometime in the early 1960s in Camden, New Jersey. Waters arrived as a music celebrity in adulthood, after a full stint of education and nine-to-five employment necessary to support two children. This time, critics declared that the quality of her work didn't surprise them-they had always known she had something special to offer house music: an uncompromising house beat that also managed to carry substantial intelligence. She was consequently filed away under "one-hit wonder." Nonetheless, a few years of hard work and careful repackaging saw Waters back in the market, garnering praise and sales with her second album, Storyteller, and another slew of dance hits. After she topped the Billboard singles charts in 1991 with a dance hit called "Gypsy Woman (She's Homeless)," her ensuing debut album failed to impress critics. House music songwriter and vocalist Crystal Waters has the odd distinction of making a comeback with the release of her second album.