I'm Still Here!

Hello all! I do apologize for my absence, working on several big projects for the weekly I write for & got some new things in mind and in the works for The Blend. Look for the new pieces to start hitting next Wednesday, thanks for the support. Be well.-QH

Melanie C: "Northern Star," 10 Years Later

Departing a group is never an easy practice, with the eternal rule of the whole is greater than the sum of its parts proving true most times. Melanie "Sporty Spice" Chisholm, or as she is usually known, Melanie C has spent ten years defying this age old truth. While undoubtedly great in the Spice Girls, Ms. Chisholm stepped to the solo plate, striking a home run with her eclectic debut Northern Star (1999).

History
Melanie C first tested her wings on a duet with Canadian rocker Bryan Adams entitled "When You're Gone," released on 11/30/98. Also at this time, the first post-Geri Halliwell four-piece Spice Girls single "Goodbye" was smashing into the global charts in the winter of 1998. Work on what was to become Northern Star began tentatively during this hectic period. Melanie C was signed as a solo Spice Girl through Virgin Records, like her fellow group members, she was to deliver her solo debut on the same label that housed the group.

By the advent of 1999, and despite the initial start of the recording for the third and final Spice Girls album Forever (2000), a collective hold was placed on the group, as each member began to branch out into her own solo-related projects.

The Record
At her core, Melanie C is a pop singer, hence genre shading came naturally to her. With Northern Star, it allowed this shading to take on a more cathartic tone, one she could explore on her own merits and whims. This was a young woman after all, whose influences in music ranged from Blur to Madonna.

Mentioning Madonna, she along with Stevie Nicks, Prince, Björk, Mariah Carey, Macy Gray were just some of the artists that many of the songwriters/producers assembled to work alongside Ms. Chisholm had or would work with. A delightful batch that included: William Orbit, Rick Rubin, Rick Nowels, Craig Armstrong, Mauries De Vries, Rhett Lawrence, and Richard Stannard (who had worked with Ms. Chisholm in the Spice Girls) worked to bring a cohesion to the stylish, if slightly schizophrenic twists on Northern Star. These individuals also brought creative and commercial clout in equal doses as well.

Melanie C herself was the premiere writer on all twelve songs that made the final cut, which brought a previously stated level of emotional weight to the project. The album itself was named in honor of her Liverpool heritage, the area in England in which she was raised.

Her songwriting addressed everything from dreams deferred, yet keeping faith in the face of adversity ("Northern Star"), the labyrinthine confines of intimacy ("Closer"), and balancing it all ("Feel the Sun"). These songs in particular stood with the intensity of their stories in their arrangements, lush, oceanic constructs that relied on symphonic pulls and pushes. All of it led by the crystal clear tone of Melanie C, who proved her mettle as the more obvious vocal presence in the Spice Girls.

"Be the One," a lounge-y, acoustic gem glided along on a relaxed vocal from Ms. Chisholm, and "Goin' Down" moved into a more menacing, but sexy Benatar flavor that let her cut loose with the best alternative rock femme singers.

"I Turn to You" was a poised and gracefully sung number, navigating a dark and stormy piece of electronica. She pulled the meaning out of every word she sang, conveying sincerity and vulnerability. Sadly, the soul of "I Turn to You" was lost in the translation of remixing when redone by remixer Hex Hector for its single edit. Thankfully, the album version keeps the poetry of this song intact.

Switching from the rock throbbing pulse of "Go!," to the more conventional urban slide of "Never Be the Same Again," featuring the late, great Lisa "Left Eye" Lopes from TLC, Melanie C took the pop hallmark of genre dabbling and created a unique sound all her own.

The Impact

Upon its United Kingdom release on October 18th, 1999, Northern Star was buoyed by a steady bed of critical acclaim. All Music Guide hard nosed critic Stephen Thomas Erlewine said of the record:

"Melanie C has a fairly strong voice, a good sense of melody, and carries a tune with some personality, which is one of the reasons why the genre-hopping of Northern Star works. She can convincingly deliver everything from the pop balladry of the title track to the snarling, neo-industrial punk statement of purpose "Goin' Down." "

Barry Walters of Rollingstone also echoed a similar sentiment:

"...the distorto-punk first single, "Goin' Down," more than compensates with a butt-kickin' Low-era Bowie homage. Give it up for Gifted Spice."

Commercially, the record measured up to the critical adoration pound for pound. No less than five singles were released from the album between 1999-2000 in England: "Goin' Down" (9/29/99, #4 U.K.), "Northern Star" (11/29/99, #4 U.K.), "Never Be the Same Again" (3/20/00, #1 U.K.), "I Turn to You" (8/7/00, #1 U.K.), and "If That Were Me" (11/27/00, #18 U.K.). In Britain the record went on to move over 900,000 units, certifying platinum three times there. Globally, the record sold gold units in Australia, Austria, and Canada. Additional platinum sales were racked up in Germany and Sweden. The album fared poorly in the United States, peaking at a lowly #208, though "I Turn to You" did well within the dance charts Stateside. It also is one of the only three solo Spice Girl albums that received an American release.

"Northern Star"
Directed By: Steven Green


Overall, Northern Star has sold well over three million copies worldwide at the time of this writing, making it the most commercially successful solo-Spice Girls related recording to date.

Melanie C's solo successes were being met by similar feats from her group mates solo efforts, most notably Geri "Ginger Spice" Halliwell's 1999 released debut Schizophonic. Also, the Spice Girls Forever LP began its short, but victorious run around the time the promotional period for Northern Star was winding down.

Melanie C toured the album around the world starting in 1999, well into 2001. Melanie C's star would continue to streak highly in the sky, subsequent releases included Reason (2003), Beautiful Intentions (2005), and This Time (2007), the last two released independently through her own label Red Girl Records, and all three were toured as Northern Star was.

Northern Star holds a specific space in the Spice Girls discography, and the overall "turn of the millennium" pop records released ten years ago. A high standard of quality, mixed with passion and heart is what has assisted in making this recording a neo-classic in the making. It allowed a reinvention least expected to take place and without question, another ten years will be kind to Northern Star, and the still growing legacy of Melanie C. Five stars.-QH

[Editor's Note: In print, Northern Star can be purchased Stateside in specialty stores or online, otherwise Northern Star is quite common in British, European, Japanese, etc. music retailers to this. For more current information on Melanie C, visit: http://melaniec.net/
-QH]

Kylie Minogue Does Chicago, 10/7/09!

It's hard being a Kylie Minogue fan in America, more specifically in the Midwest. My long enduring relationship with Ms. Minogue began when I was 17, and she broke Stateside with the already internationally successful blockbuster album Fever (2001), her eighth album at that time. My musical romance has only increased through the years, as evidenced by my massive CD/DVD collection (majority of it imported). Her 22 year span rivals that of Madonna in terms of musical/visual reinvention, placing her as the original "pop princess," sorry Britney. However, she hasn't been able to crack the U.S. scene, our loss really.

Imagine my glee when I received an e-mail notification from her fan club (yes, I am a member), announcing her first North American/Canadian tour. Immediately I snatched my ticket up for her 10/7/09 Chicago, Illinois gig, the closest to yours truly in Dayton, Ohio. Only a clutch of major U.S. cities, and one major Canadian city were to be visited by the pop pixie.

As the summer wore on, details emerged as to why she hadn't toured the States prior, which wasn't really news since I was aware why. More interestingly enough, she discussed that the "For You, For Me" Tour was to include the best segments of her globe spanning tour spectacles from 2000-2008. Of course these segments were to be tweaked and re-worked, so they would still be slightly recognizable to the faithful, but fresh to the uninitiated.

Last Wednesday evening, at the University of Illinois Pavilion Center, amidst a sea of gay men (varied in age and color), women, curious students, and a few international supporters who traveled to Chicago, she graced the stage atop her gigantic glam glittering skull to the euro-thump of her fan favorite cut "Light Years."

Two things Kylie Minogue established right off, one despite her pop strutting, she managed to not only be humble and sincere in her appreciation, but approachable and humorous too. Two, Minogue stands next to the likes of Björk and Róisín Murphy as a pop performer who combines arena theatrics with deft vocalization. Her intense live version of her creative milestone "Confide in Me," was beautifully delivered.

Additional highlights that showed off Minogue's range included her a capella rendition of the cult classic "Your Disco Needs You" from Light Years (2000), this was first show where she actually finished the whole song, to the rapturous reception of the crowd. "Better Than Today" had Minogue belting out with bodied attitude, and matching the late '70's kissed groove of the track well. The song is from the sessions from her currently unnamed eleventh studio project, in the works now.

The setlist included a mixture of songs from her SAW/PWL days, notably the more juicy jams such as "What Do I Have to Do?" & "Shocked" from her Rhythm of Love (1990) LP. The overall medley was from her Showgirl tour, which included other snippets from her SAW/PWL album tracks. This segment is where the true fans were established from the neophytes. Most of those that didn't know these songs were nodding and dancing along, proving these songs could've made it Stateside if Minogue had the proper U.S. push.

Of course she touched on her newer material from this decade: "2 Hearts," "Can't Get You Out of My Head," "In Your Eyes," "Slow," the list goes on. Noticeably absent, outside of the previously mentioned "Confide in Me," was any material from her mid-period albums Kylie Minogue (1994) and Impossible Princess (1997), arguably her most interesting era and my favorite. To be fair, she has covered this period well on her last two shows, it just would have been nice to have seen those songs featured more, but Minogue didn't disappoint overall with her setlist selection.

The songs shined with a full band, featuring a three-piece brass section, two backing vocalists. Complimented by a slew of male and female dancers of all colors and genders, Minogue had plenty of support, but led all of these elements with poise and control. Minogue's own stage presence allowed her to break into a few dance steps, but mostly she relied on her singing and immaculate costuming (sci-fi heroine/screen goddess/'80's party girl/sultry siren) and her own aforementioned charm to sell herself. All of this was hosted on a sleek, modern stage set, with one of the best laser shows ever witnessed, elaborate video screen/effects which only added to the dramatic scope of the show.



Two and half hours, the show went smoothly, the crowd was wildly receptive. Minogue kept the pace with space to introduce songs to the audience that they didn't know, but service the varied segments that made up her audience. A success! Personally, I was just blown away, Kylie Minogue is the type of pop music icon that America simply doesn't make, and to see her (finally!) in the flesh was truly an experience. The rest of America "should be so lucky."-QH

[Editor's Note: For more information on Kylie Minogue, and her remaining live dates, visit http://www.kylie.com-QH]

The QH Blend Fall & Winter Listening Selections

I tend to be very seasonally driven, and that is reflected in the records I begin to spin. As we move into the fall, and a subsequent winter, I thought it'd be nice to share my picks for albums that are perfect for those cool, dreary days. Check these out & see what they do for you on those cold days approaching.


a-ha, East of the Sun, West of the Moon (1990)

Reimagining the sound of a-ha was the main victory of East of the Sun, West of the Moon. Departing from the synth driven work of Hunting High & Low (1985) and Scoundrel Days (1986), the initial turn toward the band based feel of East/West began with Stay on These Roads (1988).

The "a-ha mood," melancholic vocalization from lead vocalist Morten Harket, and equally intense songwriting from Paul Waaktaar-Savor and Magne Furuholmen, stayed intact and was accentuated with the open, at times guitar driven pop mined on this record.

The exquisite cover of the Every Brothers staple "Crying in the Rain" is a delicious example of the feel the overall album has.


Tori Amos, Scarlet's Walk (2002)

Another epic in Amos' discography, Scarlet's Walk reads as a sonic novel detailing the journey of a young woman in a recent post-9/11 America. Underneath that actual thematic conundrum is a beautiful and surprisingly accessible portrait of the human condition.

The dramatic, mesmeric quality in Amos' voice is displayed in a variety of tones here: mournful siren ("Scarlet's Walk"), eloquent phraser ("Your Cloud"), and seasoned traveler/story teller ("Don't Make Me Come to Vegas," "A Sorta Fairytale").

The sound of Scarlet's Walk is textured, tastefully caressed by the familiar pianist skills of Ms. Amos.

Björk, Vespertine, (2001)

Vespertine is the musical equivalent of a turbulent winter ocean. Everchanging, evolving, but at the same token still consistent. Björk's own powerful voice matches the untamed fury and beauty of said ocean, charging the operatic scopes of "Hidden Place," and "Pagan Poetry."

Björk levels life affirming prose at her audience on the cautionary "It's Not Up to You," and declares her ability to yield to her lover, yet still remain wholly herself on "Unison." Brisk interludes ("Frosti"), or more esoteric alternative pop chamber music ("An Echo, A Stain") pad Vespertine, making it a challenging, but fascinating listening experience.

The Delfonics, La-La, Means I Love You, (1968)

The crisp, full, and colored sounds of Philadelphia offered a different slant on R&B music. Native Philadelphia producer Thom Bell headed one of the most definitive groups of that movement, The Delfonics. Brothers William and Wilbert Hart, with Randy Cain hit the ground running on their debut, La-La Means I Love You.

Many know of the shimmering title track, other examples of Philly excellence can be seen in the two other singles released from this set: "Break Your Promise" and "I'm Sorry." Both are somberly sweet tracks, platforming Hart's sensitive vocal styling, and his brother and Mr. Cain's airtight harmonies.

They even explore the American songbook with turns at "Alfie" and "The Look of Love," with plush results all around.

Diana Ross, Diana Ross, (1970)

Proving, once and for all, that she could make it on her own two feet outside of The Supremes, the Nicholas Ashford & Valerie Simpson produced eponymous debut for Diana Ross remains a stalwart showcase of the talent of Ross as a song reader.

Her cover of fellow Motown label mates Marvin Gaye & Tammi Terrell's "Ain't No Mountain High Enough," was even more soul stirringly spectacular than the original. Nearing jazz-like enuciation on the love shattering "Wouldn't Change the Man He Is," to the more Sunday morning glow of "These Things Will Keep Me Loving You" evidence that Ross could do more than her classic, if cutesy, vocal preening style she had been known for.

Swing Out Sister, Somewhere Deep in the Night, (2001)

After the modish experimentation of Filth & Dreams (1999), Swing Out Sister made a more overt return to the orchestrated pop that characterized Kaleidoscope World (1989) and Shapes & Patterns (1999).

Loyal producer-in-arms Paul Stavely o'Duffy, with Andy Connell (arranger/songwriter), and Corinne Drewery (vocalist/songwriter) constructed their perfect winter vehicle to soundtrack the greatest spy movie never made. Surreal, and sumptuous, the record sprawled outwardly with the sinewy, snow dusted openers "Through the Sky," and the title track.

Songs recycle themselves brilliantly into instrumental vignettes, that engross the listener even further into the album. The urgent rush of "Touch Me Now" is an evocative number worth noting as well, as Drewery's singing is simply clean and sublime without effort.-QH

Ten Years of Macy Gray

Macy Gray stepped into the spotlight ten years ago, riding the crest of the neo-soul movement in modern R&B. Many could argue that Gray is "old news" as she hasn't been a large standing commercial presence in her overall recording arc. What Gray has done is craft consistent albums between 1999-2007. The albums undoubtedly sound as fresh, vivacious, and wild as they did upon release. With the 2000's closing, these albums should be celebrated.

Her debut, the Grammy award winning On How Life Is (Epic, 1999) went on to certify platinum three times in the United States alone. A whipped blend of vintage soul, jazz, and hip-hop touches made up Life, and Ms. Gray's unique vocalization matched well with the driven arrangements on that LP. The confessional inspired hit "I Try" still stirs emotions as effectively as ever.

The thumping explicitness of "Caligula" and "Sex-o-matic Venus Freak" are doused in uncompromising sexuality, and compliment the maniacal murder groover "I've Committed Murder." On the latter, it started the trend of Gray placing a murder jam on each subsequent recording.

In 2001, Gray proved creatively she wasn't just another flash in the pan, even if sales were slightly subtle compared to On How Life Is. The Id (Epic, 2001) was a colorful, at times cartoonish update of '70's funk and soul. The bold romanticism of "My Nutmeg Phantasy" showcased Gray's penmanship, as she examined the complexities of relationships. Her take on European disco spawned "Sexual Revolution," one of the most underrated singles released this decade. An elastically voiced Gray tears into the track with humor and panache. Additional noteworthy cuts include the charmingly delivered "Sweet Baby" featuring fellow soul oddity Erykah Badu, the witty wordplay of "Relating to a Psychopath," and the tense "Boo."

If On How Life Is was the seduction, and The Id the actual act, than The Trouble with Being Myself (Epic, 2003) was the blissful, golden afterglow. To date it stands as her most balanced effort, managing to dial down some of the overt attitude of The Id, without sacrificing Gray's freakish musical explorations.

The songs hold a more intimate portrait into Gray's point of view. The introspective turn on "Happiness" burns with a solemnity that gives a weight that Gray's work previously lacked. That emotional bareness is also seen in the rending "Things That Made Me Change," and unfazed dedication to love on "Speechless." The arrangements aren't so much sparse on these songs as "just right," between Gray's characterized vocal, she adds just enough spice to the proceedings. Again, she still bumps hard on the block party starter "When I See You," the tongue lashing "She Don't Write Songs About You," and social commentary stab of "It Ain't the Money."

A customary best of, and contractual obligation on Epic's end, came in 2004. There were two new songs included, the lovely violin topped "Love Is Gonna Get You," and her Sly & the Family Stone inspired take of Aerosmith's evergreen song "Walk This Way."

Partnered with will.i.am (of the Black Eyed Peas), Gray released her fourth album, BIG (Geffen, 2007). Her most tame effort at this writing, Gray tailored her eccentric R&B tastes to adult soul well. She does shine on ballads such as "Slowly" and the ridiculously pretty "One For Me" where her range as a singer is demonstrated. The violently cool bombast of "Ghetto Love" is the "Gray of old," replete with its brilliantly borrowed James Brown reworking of "It's a Man's, Man's, Man's World."

Macy Gray
"When I See You," from "The Trouble with Being Myself" (2003)


The ensuing two years since BIG have mostly quiet for Macy Gray musically, though rumors of an album to include a hilariously titled song "Slap a Bitch," are floating around. Gray has also enrolled in the reality hit show Dancing with the Stars. What this will mean for her as a singer, one can't know just yet. However, if Gray is to never step foot into another recording booth, or write a single note, she has left behind four strong albums. These records will continue to excite, intrigue, and move those that they find. Sometimes, one has to step back and simply appreciate what isn't appreciated.-QH

[Editor's Note: All of Macy Gray's albums are still readily in print, and can be easily located at any music retailer.-QH]

The Pointers Sisters: Remastered in 2009

An investigative listen into the annals of The Pointer Sisters (Bonnie, June, Ruth, and Anita) discography reveals that the Pointers, arguably, are one of the most versatile girl groups ever.

From their jazz standards washed in disco and R&B glamor from the early to mid-'70's, to the rock-soul of their late '70's/'80's cusp work, and the more commercial, but never unenjoyable dance-soul of the late '80's, and A/C format sounds that closed their recording career in the early '90's, The Pointer Sisters have done everything under the sun musically. Vocally, these women could do it rough, sweet, and in between on the same track, and that type of changeability is a rarity.

Several albums from The Pointer Sisters' golden transitional period have been resurrected by reissue specialist label Wounded Bird Records. Energy (Planet, 1978), Priority (Planet, 1979), and Black & White (Planet, 1981) have been issued on CD. These particular LPs are important to The Pointer Sisters tale, as they showed a very integral turning point in their history.

Recovering from the pleasant, if uninspired Havin' a Party (Blue Thumb, 1977), and the departure of sister Bonnie for a solo career, Anita, Ruth, and June reconvened, ditched the vintage soul pastiche of old, and became rock/soul glamazons. Pairing with Richard Perry (Carly Simon, Rod Stewart, Ray Charles, Diana Ross) and signing to his Planet Records imprint (later to be absorbed by RCA Records in 1982), Perry and the Pointers were ready to reinvent their wheel.

Energy was a high class, but raucous, covers recording of rock music. Notably, their take on "Fire," originally from Bruce Springsteen, became an instant Pointers staple. Slow burning, smoky, yet feminine and yearning, Anita's lead propelled the single to become a hit with both pop and R&B radio formats. The Allan Touissant penned "Happiness" was a synthy/funky/rocky burst of excitement and flirtaciousness, while "Dirty Work" leaned toward an almost country slanted approach in its guitar play. With songs like this, The Pointer Sisters turned Energy into a surprise success. "Happiness" wasn't the first song written by Mr. Touissant that the Pointers turned to gold. He also wrote their debut single "Yes We Can, Can" from their eponymous debut, The Pointer Sisters (Blue Thumb, 1974.)


Unfortnately, their second album of rock standards, Priority, wasn't the same commercial victory, though critics and fans raved. Perry's production (who would go on to stay with the Pointers through 1988) wrapped the Pointers in bluesy, gritty sounds. Aquitting themselves with ease, the Sisters, Ruth especially, sounded right at home on songs like the searingly delivered "Who Do You Love." Bordering on gospel flavoring, it was solid punch to the musical solar plexis of those listening, and a welcome one.

They would smooth it out with Special Things (Planet, 1980), which contained the sly classic "He's So Shy." This was reissued by Wounded Bird Records in 2007, and is currently out of print, (yours truly of course has a copy).

That leads us to Black & White, which included the "Fire" styled "Slow Hand" which became another hit, but also continued with slick R&B MOR original fare found on Special Things. The doo wop girl group posturing on "Should I Do It" is cute, but featured some of the spikiness characterized on Priority.


Additional highlights include the light lowering love jam "What a Surprise" and playfully uptempo dancer "Sweet Lover Man (Now)," performed coyly by the tarty June.

Included as a bonus track from the sessions of Black & White, previously unreleased, is a version of "Holdin' Out For Love," initally performed by Latin songbird Angela Bofill . It appeared on her third album Something About You (Arista, 1981). As fan of both songs, I do think the "definitive" version lies with Ms. Bofill (which was produced by Narada Michael Walden), but The Pointer Sisters' version is in a close second.

The release of these records is extremely important today. With the landscape of music thriving on unoriginality, and a lack of a little something fresh, hearing these albums in 2009 is a true treat. The excitement doesn't stop here, the whole Pointers portfolio is challenging, but these are definitely watermark pieces rightfully restored.

[Editor's Note: For more information on The Pointer Sisters, visit http://thepointersisters.com/. Energy, Priority, and Black & White are available at all indie and online music retailers/outlets.-QH

"Everywhere is Summer..." a few more summer LPs

In effect, once August closes the summer will officially have drawn to a close, and fall will be nigh. In late spring I did a piece here on The Blend about summer recordings, for the most part I covered all my bases. Though there were a few records that I wasn't able to include in the list initially. With the summer closing, I've dug these albums out to give them a good spin or so, just for the season's sake.

Check out these few albums & give them a try while the weather is still hot.


Because I Love It (Amerie)
One of the better mainstream R&B records this decade, Because I Love It (2007) was released only abroad, and not in the United States. Quite an unfortunate turn of events because this was not only Amerie's best moment (thus far), but a record that grabs hold of the listener and refuses to let go. Amerie assumed creative control by writing, arranging, and assembling a barrage of fresh talent to assist in the construction of the album.

Composed of a cool mixture of '80's R&B production touches with modern flairs, Because I Love It lives up to is passionate title. The rousing anthemic stomper "Gotta Work" interpolates the Mighty Dog Haynes classic "Hold On I'm Coming" to awesome effect. Wrapping her tarty, versatile voice around the seductive skip groove of "That What U R" and Prince doused "Crazy Wonderful," Amerie furthered her vocal personae. Because I Love It is danceable, seductive, sweet, and vulnerable.


Autoamerican (Blondie)
Moving forward with rapid speed in their creative trajectory, Blondie continued to blaze brightly breaking genre barriers. Deborah Harry (vocals), Chris Stein (guitar), Jimmy Destri (electric keyboards), Clem Burke (drums), Frankie Infante (guitar), and Nigel Harrison (bass) remained tight as a band, but allowed other varying musical elements (orchestras, session players, etc.) to add more tone their power pop.

From their definitive cover of The Paragons track "The Tide is High," and street life fable "Rapture" are the most well known from Autoamerican (1980). There are other gems amongst the diamonds however, such as the prolific sprawl in "Europa," part orchestra swells and detached social commentary from Ms. Harry. You also get the humorous jazz-lite fun found in "Here's Looking At You," and the strobe throbbing "Live It Up."

For some it is a bit too adventurous, but for the daring, Autoamerican is a delightful turn at varied pop sounds.

Universal Mind Control (Common)
Under its working title Invincible Summer, Common promised a late summer 2008 release, full of party jams to fill floors, and kindle commentary occasionally. The record was pushed back and released during December of 2008, and titled Universal Mind Control, after its lead single. Most Common fans really didn't know what to do with the electric kinetic hip-hop throwback, with current tweaking.

For what it is, a feel good hip-hop album, Universal Mind Control sounds quite fresh in the sun. Between the Kanye West, Pharrell, and Cee-Lo's beat tossing, Common is a halfway decent lothario on "Punch Drunk Love" and "Sex 4 Suga." The record does lyrically rebound to more familiar territory on tracks such as "What a World" and the beautifully built "Everywhere," where this piece draws its title from.

Compellingly MC'ed and delivered, Common took a detour to just relax and chill, and that is still more stimulating than say...Soulja Boy Tell 'em.

Floy Joy (The Supremes)
After an amazing run with producer Frank Wilson, The Supremes (Cindy Birdsong, Mary Wilson, and Jean Terrell) paired with fellow Motown icon Smokey Robinson for Floy Joy (1972). A dreamy, almost hypnotically lush, album that continued to emphasize the intricate harmonies that the '70's Supremes became known for.

The title track was the hit, but beauties such as "Now the Bitter, Now the Sweet," "Over and Over," and the Wilson-led "A Heart Like Mine" glide over measured percussion, strings, guitars, all evocatively warm and glowing. Ironically, while new Supreme Lynda Laurence was pictured on the cover, as stated Ms. Birdsong is the voice along with Terrell and Wilson featured. Ms. Birdsong was pregnant however during the photography and promotional period for Floy Joy. She wouldn't return to the Supremes fold until 1975, after Laurence recorded one album with The Supremes, The Supremes Produced & Arranged By Jimmy Webb (1973).

Either way, Floy Joy was another welcome addition to The Supremes underrated '70's oeuvre.

Indeed, "everywhere is summer" and these records prove just that, so check them out. You will definitely not be disappointed. Enjoy.-QH