Mary Jane Blige is back making music and looking pensive as ever on the cover! #Blessed! During her My Life II album she had to really stop promoting it due to the Burger King commercial fiasco, so it didn’t perform as well as she might have hoped. She put out a Christmas album last year (with a pensive ass cover as well) but that doesn’t really count to me as new music. I was happy to hear her on the DIsclosure remix and curious when I found out that she was going to London and recording with a bunch of Brits for her next project. Was it a last grasp to remain relevant? Would she do a 180 musically? Well the album has dropped so my questions have been answered. Here are my initial thoughts, track by track:
Therapy: This was the lead single from the project. It was written by Sam Smith and has his knack for writing hella emotional lyrics stamped all over it. The beat is simple and allows Mary to showcase her bluesy chops. Truthfully, I didn’t get why it was chosen as the lead single/opening song, but now I get it after a few listens. It has grown to be an album standout to me.
Doubt: This is a piano driven song and once again a pretty simple track. I actually imagine Mary sitting at a piano and playing this during concert. No, I don’t think she’s that good at piano it’s just that simple and repetitive and would allow a ‘Look at me be an artist” moment. Anyway, it builds and ends up being an uplifting I mean “I’m gonna be the best me/sorry if it kills you”? How can you not feel like taking on the world when you have Mary telling you not to doubt yourself? .
Not Loving You: If Therapy, seemed like it could have been penned by Sam SMith, “Not Loving You” sounds like Mary covering a Sam Smith song. This song is just so damned beautiful.that it instantly resonated with me. Vocally, I think Mary nails it.
When You’re Gone: This song almost feels like a follow up to “Not Loving You” Here, she is vulnerable and the lyrics to this song are sweet as well.
Right Now: This was the first song that I heard from the album. This has been my jam all fall. It was produced by Disclosure and written with Sam Smith. When I heard that she was working with Disclosure again, I was expecting another “F For You” and was slightly disappointed that this song wasn’t faster paced. Clearly, I figured out how hard this song. It has such knock and a groove that makes makes me always want to nod my head. I’m sorry I ever doubted you, Disclosure.
My Loving: I was actually surprised that this wasn’t a Disclosure song. It’s a Rodney “Darkchild” Production but it sounds like nothing I’ve ever heard from him. It actually makes me think of an old house remix, but in the best possible way. I don’t know if it’s lyrically that strong, because I get so distracted by the groove of it all.
Long Hard Look: I like the way she attacks the verses in this song. She sounds strong and sells the song with ease.
Whole Damn Year: Emeli Sande wrote on this song and Naughty Boy produced it. This has “Breakup song that you listen to whilst guzzling wine straight from the box” all over it. I like the lyrics,but the way Mary is able to make me feel her pain (even though i really can’t relate on a personal level) is what is most impressive
Nobody But You: This has a loungey vibe to it and builds to a nice chorus. I like it now, but I might LOVE a nasty remix to this song… Go ahead, I’ll wait…
Pick Me Up: This, like “My Loving” makes me think of a house remix, but a bit more turnt down and loungey.
Follow: This takes the previous song and amps up the vibe to a dancier place. The groove in this song is much stronger. DIsclosure to the rescue!
Worth My Time: Dance time ends, and the album wraps up with a piano driven ballad. Some might feel as if this album ends on a whimper, but I think it ends on classic Mary. Not one of my favourite moments on the album, but not horrible either.
All in all, I have to say that I think this ended up being a solid effort from Mary. MJB came on the scene singing over hip-hop beats so we know and like her doing so. It was a risk for her to step out of that and try something new, but I feel like she executed it well. It doesn’t feel forced and seems like a natural progression for someone in the stage of Mary’s life and career. The writers and producers did a good job of showing a different side of Mary, while still managing to keep it “Mary” I really hope this album does as well as it should so I can look about shipping some other artists over to London for a “London Sessions Makeover”
