has reviewed about 300 albums. Yet, hundreds—if not thousands—of albums have slipped through the cracks. This December, we’re delighted to launch a new series called, in which our core team of critics reviews some of their favorite records we may have missed the first time around, looking back at some of the best overlooked releases of 2019.’s “BASQUIAT.” But whatever you’re thinking, you’d be wrong.
The songs here are keenly aware that America’s history of inequity has left imprints not only institutional but internal, emotional. On opener “BETTY,” the instrumentation fittingly cuts through the decades, beginning with a simple and timeless piano intro that’s joined by skittering, squawking beats. “These great greats won’t let me lie,” Woods sings, their words both keeping her awake at night and keeping her honest.
One of the record’s hardest-won truths is Woods’ own capacity to be heard and loved: “I used to be afraid of myself / Hung my smile on a shelf,” she shares on “EARTHA.” “BETTY” is a love letter as much to funk pioneer Betty Davis as it is to Woods, and to every black woman told she is too much or not enough. An homage to the woman onetime husband Miles called “too young and wild,” “BETTY” sets the stage with its messages of unconditional self-love and independence.
. Each poised syllable lays down another brick for her spiritual and psychological fortress, building to a rousing guitar solo.center the lives and work of female artists, refusing to assent to all the ways women of color are made to feel small. “I’m all out of fucks to give,” Woods proclaims to her unimaginative critics over sparkling, swirling synths on the measured but playful “ZORA,” channeling the ever-original Hurston.
That's gonna be a long series then...
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Source: ELLE Magazine (US) - 🏆 472. / 51 Read more »
Source: ELLE Magazine (US) - 🏆 472. / 51 Read more »