#MWE February 2025
Another February, another #MWE (now on Bluesky)
I started out doing this on the hellsite back before it was such a hellsite (2020!), moved it to IG at one point, half-assed it on Bluesky last year, but went all in again this year — it helped that Gary Suarez, the #MWE OG, is now on the last site and was talking it up again. Got behind a couple of times, but caught up repeatedly, finishing on time. (For those who don’t know, the premise of #MWE — aka Music Writer Exercise — is simple: listen to an album you’ve never heard all the way through, each day in February, and write a skeet (formerly tweet) about it. The primary point it to not only listen to new-to-you music, but to distill your thoughts/review to a brief, succinct number of characters.)
Lyle Mays (1986): Pat Metheny Group’s right hand goes solo w/predictably gorgeous results. His piano playing is very Jarrett-influenced, while his waves of heavy synths are something almost otherworldly. Jazzy and percolating at times, contemplative and new agey at others.
Xscape, Hummin’ Comin’ at ‘Cha (1993): So So Def’s first, a femme quartet styled hard, equal parts Jodeci and TLC in their DNA; Jermaine Dupri knew what he was doing. Mostly good songs, & they can sing so ballads aren’t a problem either. Pick hit: “Understanding.”
Sara Isaksson & Rebecka Törnqvist, Fire in the Hole (2011): A genuine stunner. 2 Swedish singers strip down selections from the Steely Dan catalog to vocals & mostly just piano/keys, focusing on lyrics and some beautiful harmonies. Can’t recommend enough.
Deodato, Love Island (1978): Occ disco-y jazz fusion from the Brazilian Fender Rhodes master, mostly riding an instrumental ‘70s EW&F vibe. No surprise that the arrangements and prod are immaculate, great for both dancing (“Whistle Bump”) and at-home listening (title track).
Doechii, Alligator Bites Never Heal (2024): She’s a great rapper - “Nissan Altima” alone proves that - & the beats here are fun, but this leaves me cold as it never entirely coalesces. I recognize this as good (& Doechii as an exciting queer talent) while not really enjoying it.
Heart, Passionworks (1983): At their commercial nadir, rock had seemingly passed them by, but this is actually prep for their ‘85 comeback, only w/o the catchy songs & prod. Linn drums were a bad move for ‘em, but Ann Wilson still sounds great. Pick hit: “How Can I Refuse.”
Shalamar, Friends (1982): Their sole US #1 R&B LP spun off 4-count-em-4 top 15 UK singles at a moment when US radio was largely allergic to post-disco soul popping like this. Leon Sylvers III’s glistening prod ably supports the trio, great singers individually & in harmony.
Britny Fox (1988): I like a good b-list hair metal LP, but this ain’t it. “Girlschool” is a hoot, like Cinderella if they weren’t as good. But much of the rest is barely d-list: dull lyrical tropes, competent-at-best playing, not enough of Dean Davidson’s screeching vocals. Great hair tho.
Eddie “Cleanhead” Vinson, Cleanhead’s Back in Town (1957): Kind of a post-Louis Jordan jump bluesman: he even covers “Is You Is...” and “Caldonia,” along w/ Gershwin, Big Joe Turner, lots of originals. Mean saxman but his singing is a little (uh) clean for my taste.
AHNONI and the Johnsons, My Back Was a Bridge for You to Cross (2023): AHNONI has a powerfully distinctive voice & she uses it to great effect on this successfully ambitious cross-genre record, rooted in classic soul but not afraid of art-rock either. & those lyrics: wow. Trans rights now.
Olivia Newton-John, The Rumour (1988): I’m a stan for the perky Elton/Bernie title track, but there’s more here, esp thanks to Davitt Sigerson’s tough, commercial prod. ONJ makes these tracks work, singing the hell outta them (no surprise), cf. “Big and Strong.”
Ray Barretto, Acid (1968): His first Fania record is a classic for good reason: this is some hot-ass music. Like much boogaloo (and its child salsa), it’s incessant percussion, incredible trumpet riffs & not-alot lyrics, perfect for dancing. & his congas! This band is *so* well-oiled.
Gerald Albright, Just Between Us (1987): You might hear the prod here and think it’s by LA & Babyface, but no, the saxman did his debut all by himself. It’s v au courant ‘87 R&B, mostly but not all instrumental, & sounds great from start to finish. This is ‘80s Smooth Jazz perfection.
Richard Simmons, Reach (1982): An orig album of uptempo L.A. studio pop sung by Simmons, written by him w/ pro tunesmiths & played by session kings, w/ his occ aerobic exhortations atop, & you know what? This isn’t half-bad, & is actually quite charming.
Chappell Roan, The Rise and Fall of a Midwestern Princess (2023): She is *thoroughly* an original, isn’t she? A smart young queer woman making pop the way she wants it, forging what feels like her own path. Her pop star breakthrough is delightful. And what a songwriter!
Fela Kuti & Afrika 70, Zombie (1976): Kuti was an unqualified genius, capable of locking his band Afrika 70 into a groove and riding, mutating, doing whatever he wanted with it for as long as he wanted. That’s what he and they do here on 4 tracks of varying tempos.
Dinosaur L, 24->24 Music (1981): Avant-garde NYC disco rec’d in ‘79 by a composer/musician (Arthur Russell) who could seemingly do anything. Very proto-Ze Records; it’s disco but it’s *weird* alt-universe disco in all of the ways you might hope. Note: orig LP only has 6 trax.
Sister Sledge, All American Girls (1981): Post disco, prod by Narada Michael Walden and themselves - but still fairly disco. & I’m good with that; these songs, prod, & of course singing are pretty hot. Title track and “Happy Feeling” ride a Chic groove w/o Chic.
Prepared, Module (2025): An astounding album on which a tight German trio of bass clarinet, prepared piano and drums make not jazz by most views, but very Reich-ian almost-drone almost-techno. This is hypnotic, worthy of close listening but also great background for reading. Breathtaking.
Olly Alexander, Polari (2025): Sweet queer baby Alexander’s first non-Years & Years-branded LP is very solid dance-pop, in a league with Troye Sivan’s last (though not quite that good). V good prod by him & Danny Harle, & I love the confidence with which he sings & writes. & it's *gay*.
Sonny & Cher, Look at Us (1965): Their quickly-assembled debut is cover-heavy (8 of 12 songs), but considering most of Sonny Bono’s songs, that’s not so bad. Poor song selection doesn’t help either; the same for his vocals. But goddamn if Cher didn’t have IT right from the start.
Dexter Wansel, Time Is Slipping Away (1979): I was excited for the 4th from the Philly Int’l stalwart thanks to the Terri Wells-featuring “Sweetest Pain,” a gorgeous Quiet Storm landmark. But most of this is warmed over disco-funk, even w/ pros like the Jones Girls involved. Disappointing.
KC & the Sunshine Band, All in a Night’s Work (1983): Casey just couldn’t figure out how to move fwd from his massive disco success: this is an odd, occ catchy mix of synths, ‘80s arr, his patented horns, and uh a lot of horniness. “Gimme Some More” and the deathless “Give It Up” are highlights.
Bertrand Chamayou, Ravel: Complete Solo Works for Piano (2016): The expressiveness, precision, emotions with which this French pianist plays mostly romantic Ravel piano compositions! Rare instance in which I wish a double album went on longer, because I can’t stop swooning.
Erasure, Snow Globe (2013): Evenly mixed between standards & origs, this feels like Vince Clarke musically going back to his early (Yaz, DM) yrs. Most of it works, & those that do, excel (“Bleak Midwinter,” astounding Kraftwerk-meets-high Latin “Gaudete”). Andy Bell sounds good too.
Marilyn McCoo & Billy Davis Jr., I Hope We Get to Love in Time (1976): Long-married couple from 5th Dimension make lush pop-soul on their debut duo album, sounding completely in sync on both disco-y uptempos and love ballads (go figure). Every single track here works.
United Future Organization, Jazzin’ (1992): Early singles comp by the Japanese proto Acid Jazzers does what all the best jazz is supposed to do: it grooves & swings effortlessly. Their use of both samples & breakbeats is smart; this could’ve been on Mo’ Wax. These cats were pacesetters.
Mary J. Blige, Gratitude (2024): An assortment of writers & producers give Blige all they can, w/ ‘90s rappers (Fabo! Fat Joe! Jadakiss!) & influences peppered throughout. She brings it all together as few can, her voice a little deeper now, still singing heartache better than anyone.