It may not represent a very promising direction, but the languid intimacy of “Quiet Storm,” the intricate instrumental arrangements on “Backatcha” and “Love Letters,” and the prominence given to Tarplin’s classy guitar throughout the album are evidence that one of black music’s brightest lights is still a dynamic creative force. Even “Happy,” a Robinson/Michel Legrand opus from Lady Sings the Blues that fairly oozes sentimentality, succeeds as believable pop because of a soulful, crying vocal and a careful, varied arrangement. His production and singing carry the album. In fact, Robinson’s much touted abilities as a poetic lyricist aren’t very important here, the sexy directness of “Storm” and “Backatcha” notwithstanding. “Wedding Song” is burdened by the sappiest words Robinson has written (“Oh what a beautiful day to take a vow on/Pray that the things we say will last from now on”), but a recurring guitar riff, performed with great sensitivity by Marv Tarplin, redeems it. On “Love Letters,” a hesitating fuzz-tone bass pattern is repeatedly undercut by an atempo flute/synthesizer unison. The album offers irrepressibly upbeat lyrics, mellow and jazz-tinged instrumental passages, bouquets of sweetness and restrained funk flavorings. Ironically Storm and the first single excerpted from it, “Baby That’s Backatcha,” took off immediately. There were no seven-minute songs on Pure Smokey, an album of brilliant singles which produced no hits. How True Is 'Respect'? Fact-Checking the Aretha Franklin Biopic
0 kommentar(er)
