The Tape Deck: UptightComputerTimeVooDooAgainKing

Friday, May 14, 2010

Six songs I'm feeling at the always dish about your songs of the week in the comments.

Oh, my! It was Stevie Wonder's 60th birthday yesterday! The obvious gesture is to play the man's music, and that I did. There are times I wish I had been Denise Huxtable (fictional character be damn), especially when she got in a fender bender with Mr. Wonder, where he, in return, invited her whole family to a recording session. If that had happened to me it would've been so "jamming on the one" (couldn't help it). Seriously, I would love to even see Mr. Wonder work magic on the keys in person, alas, I ain't lucky, or a Huxtable. While there are many many many Stevie Wonder songs to adore, "Uptight (Everything's Alright)" is one of my favorites because it is so gleeful with those spirited horns and Stevie's exuberant voice bouncing all over the place. It's a song that clearly does make even the most cruddy of moments truly alright and "out of sight".

I dished about Nabhia last week, and since I liked what I heard, I decided to have the full experience with her debut, Cracks. The album is MIGHTY good. In fact, her album is what I would like all R&B vocalists to model after as it was effortless and it didn't scream bloody "Look at me!! I'm trying hard!!!" as it was original and the production didn't drown out Nabhia's soulful wail. Refreshing to say the least. Oh, and this song off of Cracks, sizzles. No it's not a Zapp & Roger remake, which I was kind of curious at hearing at first, but it's just as good, if not better as this song beeps, jabs and electro-shocks you throughout.

Been skipping around on Skeptic Street concerning the new Queen Latifah and Common flick, Just Wright, which hits theaters today. Why? Because I want it to be a great romantic comedy since the concept of rom-coms for all (meaning guys don't feel like they are being dragged into seeing them) finds itself on a dead end street, and lost on a lonely highway. You should know the two film stars by now, and they have also come together in song for the sake of the Just Wright soundtrack. This laid-back groove thang is perfect right down to Common's lyrical spill (love the little nods to School Daze and Sandra Bullock) and Queen's crooning in the background. Sadly, the Queen wasn't flowing rhymes alongside Common, but at least we get these hip-hop royals in a track together. And a great one at that. The song is also featured on Common's upcoming greatest hits album, Go!: Common Classics, coming soon later this month. 

Long before teen queens such as Tiffany and Debbie Gibson cruised the malls, there was Rachel Sweet. She was kind of a Britney Spears back in 1978 (appearing to look older than she actually was), yet she sounded more like a baby Stevie Nicks but with a salty edge this side of Pat Benatar. She was only 19 singing this song, off of her last album, 1982, Blame It On Love, but you can't tell from the sound or the way Sweet appeared in the accompanying video. Age really is nothing but a number....This song has that nighttime new wave rock vibe I sorta like. It's just the right amount of creepy and sexy mixed together, with the sound of a keyboard and a nice fat electric guitar in the background for support. Fun fact: Rachel worked on film soundtracks for 1988's Hairspray and 1991's Cry-Baby, as well as did Nickelodeon's Clarissa Explains It All theme song...way cool.

We don't get duets like this anymore. Okay, maybe we do (see Eric Roberson and Lalah Hathaway), but if there were two vocalists that sounded like they were meant to be together, it was these two. Some people like "The Closer I Get To You", and it's all well and good, but many times have we've heard that sap? Flack and Hathaway were just as good (if better) singing stuff that was a little more upbeat, and this was it. One great little dance floor swiveler that was written by Reggie Lucas and James Mtume, that is a more sophisticated slice of disco. Also gotta love that bass line!     

It's no "Love Song"...but I'm confident that Sara Bareilles will be delivering a grand follow-up to 2008's Little Voice, and this is reason why. The biting lyrical wit makes this (along with Yahzarah's "Why Don'tcha Call Me No More") the best middle finger given to a ex-lover. 

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