other writing, March 2023
Where I start the not-really-a-hashtag un-#MWE.
Soon after re-starting #MWE on Twitter in February, I decided two things: 1. I was going to keep it going past month’s end, like I did in 2020. 2. I wanted to start a parallel, albeit non-daily project, wherein I write tweet-length reviews of albums I do know. I ended up giving it the slightly waggish name un-#MWE, writing about whatever albums I’m so moved to write about, whenever I’m so moved.
In March, I posted 4 such tweets, and here they are. Look for more of these this month, and continuing.
Kenny G, Duotones (1986): Such a jam. The musicality, the *lyricism* of the songs - not just the hits, but the likes of "Sade," "Champagne," "Slip of the Tongue" - just kills me. Mr. Gorelick's sax tone is all his own. & "Songbird" is eternal.
The Black Crowes, The Southern Harmony and Musical Companion (1992): They weren’t Southern rock at all, but forebears of Americana à la Neil Young, as their soph/best LP proves. No weak songs in 51 min, and a few minor masterpieces (“Salvation,” “Thorn”).
Linda Tillery (1977): One of my favorite LPs of ‘70s women’s music, a gorgeously-prod soul album outside of Olivia Records’ typical sound of the time, from a stellar drummer/vocalist. “Womanly Way” is the funkiest expression of lesbian love you’ll ever hear.
Enya, Watermark (1988): When I’m stressed out or anxious, I generally turn to instr music. But if I want to hear comforting vocals as well, it’s almost always Enya; the castles she builds from her own layered vocals & synth programming are towering & magnificent. [Note: highly recommend you read this great Jenn Pelly p4k piece from 2020.]
I didn’t write any pieces for my typical non-Substack/Twitter home, Rock and Roll Globe, this past month, so nothing to link to there. (But have some things in the hopper for April - stay tuned.)