A passionate declaration of commitment from a man utterly consumed by love.
There are certain songs, aren’t there, that feel less like music and more like a warm, faded photograph you stumble upon in an old album, instantly transporting you back to a specific time, a specific feeling. Chris Norman’s rendition of “Woman In Love” is one of those timeless touchstones. It’s a track that, while perhaps not reaching the towering chart heights of his earlier work with Smokie or his breakout duet, “Stumblin’ In” (a US Top 5 smash!), holds a special, resonant place in the hearts of those who lived through the era of sophisticated soft rock and reflective ballads.
The original “Woman in Love” is, of course, a global phenomenon, a soaring 1980 hit for Barbra Streisand penned by The Bee Gees’ Barry and Robin Gibb. However, Chris Norman, the voice famed for its distinct, husky texture, often described as ‘gravelly’ or ‘raspy,’ delivered a cover that breathed a different kind of life into the classic. His version, released on his 2004 album ‘Heartbreaking Hits’, or possibly earlier on various compilations, is less about the diva’s dramatic power and more about the tender, weathered perspective of a man looking upon his beloved. It’s a quiet, profound nod to the original’s meaning: a soul utterly, irrevocably devoted to a partner, sacrificing all sense of self for the all-consuming fire of love.
What makes Norman’s interpretation so compelling for older listeners, especially, is the palpable nostalgia interwoven with his delivery. While this track does not have a single defining chart position from a major original release like his 1986 European smash “Midnight Lady” from the album ‘Some Hearts Are Diamonds’, it lives on as a testament to his lasting solo career and his knack for selecting material that perfectly suits his unique vocal fingerprint. The song itself is a simple, yet profound story: it’s the eternal pledge of a lover who sees his entire world reflected in his partner. The line, “I am a woman in love, and I’d do anything to get you into my world,” is changed, subtly but significantly, in his masculine phrasing, creating a reciprocal, deep commitment. It becomes a reflection of his own personal stability—a grounding force he found in his long and happy marriage to Linda.
For those of us who grew up with Norman’s voice—first as the frontman of Smokie, singing anthems like “Living Next Door to Alice” and “If You Think You Know How to Love Me”, and later as a successful solo artist in the European market—this cover feels like a conversation with an old friend. The rasp in his voice has matured, adding layers of experience and depth to the song’s already powerful emotion. It isn’t a youthful declaration; it’s the quiet, certain statement of a man who knows what genuine, lasting love costs and yet embraces it fully, without reservation. It’s about enduring passion, the kind that survives the decades, and that, for the reflective older soul, is the most meaningful kind of melody. It truly is a soundtrack to the enduring, beautiful complexity of a life spent in love.