un-#MWE April 2023
Bite-sized reviews of albums I already know, and maybe love
I hit a stride with un-#MWE tweets last month, posting one on average every two-and-a-half days. I love the format, and it’s fun to look back at various albums I’m already familiar with on differing levels. There’s not a one of these I didn’t enjoy a fresh listen to.
Steve Lacy, Gemini Rights (2022): Indie pop for now people - only, y’know, *good*. His songwriting is tricky-clever, words trip off his tongue in interesting syncopations. “Bad Habits” is a tidily summarizes the LP in miniature, & I still can’t believe it was a massive #1.
Ryuichi Sakamoto, Smoochy (1995): On this mid-’90s global ~pop album, Sakamoto leans into Brazilian influences, though not exclusively; songs appear in Japanese, Spanish, English. It shouldn’t cohere as well as it does, but when you’re a genius you can make it work. [RIP]
Prince, For You (1978): A lot is made of the fact that he played everything on the album; less is said about the songs. While perhaps not SOTT caliber, there are so many hummable melodies & catchy couplets on display, it’s shocking to realize he was *still a teen*! [posted on album’s 4/7, 45th anniversary]
k.d. lang, Ingénue (1992): Thoughtful to take Owen Bradley’s countrypolitan prod into a more easy-listening realm. Successful thanks to these songs (some of her/Ben Mink’s strongest) and lang’s soaring, crooner-y vox. The care w/ which this was made is audible.
STR4TA, STR4TASFEAR (2022): One of 2022’s best takes the Brit-funk revivalism of “Bluey” Maunick and Gilles Peterson and refines/expands it. Instrumentals bubble & pop, guest vocals lift things up, it vibes, it thumps (politely) - & there are no ballads! Perfection. [posted in conjunction with #MWE Theme Week: Brit funk]
Stephanie Mills, If I Were Your Woman (1987): Obv the voice is sheer perfection. 7 producers across 8 songs (+ several songwriters) could lead to disjointedness - but not here. The smooth, glossy sounds of late ‘80s R&B tie it all up nicely, & Mills is the bow. Her finest.
Cher (1987): Is “I Found Someone” Michael Bolton’s best song? [thumbs up emoji]. Is “We All Sleep Alone” JBJ/Richie Sambora’s? [2 thumbs up emojis]. But in both cases, & across this entire comeback LP, they’re improved by Cher’s magnificent vox & great, over-the-top, late ‘80s rocked-out prod.
Michael Sembello, Bossa Nova Hotel (1983): Occ a little cluttered, yes, but a v self-assured LP from a knew-what-he-was-doing studio pro. “Automatic Man” vibrates excitedly, while “Lay Back” is perfectly smooth. The #1 you know. Love his voice, and the album’s tone.
Marvin Gaye, Dream of a Lifetime (1985): A mixed, albeit somewhat worthwhile, posthumous cash grab, w/ a few trax rec’d during the Midnight Love sessions (v sexually graphic, fine contempo prod), the rest lush ‘70s soul that doesn’t match at all. Disjointed listening.
We’ve Got A Fuzzbox and We’re Gonna Use It!!, Bostin’ Steve Austin (1986): And they did!! These 4 Birmingham women had a gloriously DIY aesthetic, v punk/pre-riot grrl but w/ a more pop edge. Think early Bananarama but w/ guitars. Messy yet tuneful, & so much fun.
Peter Allen, Bi-Coastal (1980): A Yacht Rock cornucopia (Foster prod, he and Graydon, Lukather, multiple Porcaros play), but that wouldn’t matter w/o the good songs. Allen’s pen touched all 10 (Foster assisted w/ 5); his committed vox shows how invested he is.
BeBe & CeCe Winans, Heaven (1988): Greatest sibling duo in music nailed it on 3rd/secular breakthrough, crafting smart contempo R&B/gospel w/ help of prod/co-writer Keith Thomas. BeBe (writing cred on 9/10) & his sis sound superb, & Whitney-feat “Light” is *exciting*.