From 1964 until Diana Ross' departure in 1969, The Supremes (as they were known in the beginning) released as few as two albums a year (or as many as five, as in 1965). In 1968, when the trio's moniker became Diana Ross and the Supremes, they released five LPs, including "Love Child" (Motown/Elemental Music), newly reissued in limited edition 140-gram virgin vinyl edition.
The significance of the album, which goes beyond the name change, can't be underestimated, beginning with the cover image, which features members of the usually glammed-up act wearing cutoff jean shorts, a sweatshirt, a fringe jacket, and a leather jacket. It also marks a change in the membership (bye Florence, hello Cindy) and a different team of songwriters (farewell Holland, Dozier, Holland).
With this new set-up, a change in tone, such as the album's semi-controversial title tune, is not all that surprising. Three songs written by Ashford & Simpson, including "Some Things You Never Get Used To," were the roots of a long-creative relationship between Ross and the songwriting/performing couple. Additional highlights include "Does Your Mama Know About Me" (co-written by Tommy Chong!), "Honey Bee (Keep On Stinging Me)," and "How Long Has That Evening Train Been Gone." www.elemental-music.com
It must be a testament to the commitment of the members of the B-52's that each of its remaining long-term members, Kate Pierson, Fred Schneider, and Cindy Wilson, have only released two albums apiece under their own names over the course of the band's 45-year recording career. Pierson's latest album, "Radio & Rainbows" (Long Meadow Music/Crush Music/SongVest Records), arrives 9½ years after 2015's "Guitars and Microphones" (anyone else see a pattern here?).
Dedicated to Pierson's wife, Monica Nation, the album takes Pierson in a variety of musical directions, including dance ("Take Me Back to the Party," co-written with Jimmy Harry, who has worked with RuPaul, Pink, Kelly Clarkson, and others, and the soaring "Wings"), the suitably spooky "Every Day Is Halloween" (co-written with and featuring Sia), the island breeze of "Pillow Queen", the funky "Dream On" and "Living In a Monet" (featuring queer musician Gail Ann Dorsey), and the colorful title cut. www.instagram.com/thekatepierson
After 25 years of releasing albums (nearly a dozen!) on the indie Blue Corn Music record label, the amazing queer singer/songwriter Ruthie Foster is now on the legendary Sun Records label with her newest release "Mileage" (Sun).
Pressed on vivid baby blue vinyl, the 10-song album, consisting of nine Foster originals (co-written with the record's producer Tyler Bryant and Rebecca Lovell) contains Foster's blend of influences, such as gospel ("Good For My Soul" and "Six Mile Water"), searing blues-pop ("Done," featuring sister duo Larkin Poe, "Heartshine," and title cut), a radiant love song ("Rainbow"), and soulful stomp ("Slow Down"), all delivered in her powerful vocal style. www.ruthiefoster.com
I feel as if I arrived late to the cult of experimental singer/songwriter Jerry Paper, only becoming acquainted with the nonbinary artist at the time of the release of their ninth album, 2022's "Free Time." Jerry Paper's new album, "Inbetweezer" (Stone's Throw), on pretty, pink vinyl, while maintaining the artist's distinctive musical perspective, somehow feels more accessible than its predecessor.
Even the chaotic no-wave sax solo on the otherwise shimmery "Moonstruck," isn't a deterrent to the pleasure of the song. Other standouts include "New Year's Day," the bubbly electro of "Scenic Route," the bizarre retro pop of "Everything Angel," the clubby instrumental "Trixter Sez," and the hip-shaking closer "Powder Pink Powder Green." www.instagram.com/jerrypaper_reality
Just when you think you've heard almost every iteration of the female singer/songwriter possible, an artist such as Cassandra Jenkins comes along. With her new album, "My Light, My Destroyer" (Dead Oceans), she takes her place alongside contemporaries such as Mitski, Angel Olsen, and Phoebe Bridgers, to name a few, while also carving out her unique niche.
Not many artists can incorporate field recordings into an album and never once disturb the fabric of the record. Additionally, the way that Jenkins transitions from stunning folk ("Devotion") to full-tilt rock ("Clams Casino") makes it look deceptively simple even though it isn't. Jenkins also elevates a western Chicago suburb into the natural light spectacle for which it's named in "Aurora, IL," while paying unexpected homage to a pet store "Petco." Amazing! Cassandra Jenkins performs on Oct. 13 at Rickshaw Stop. www.cassandrajenkins.com
Queer Canadian musician TR/ST (aka Robert Alfons) has a way with propulsive electronic dance music on his new album "Performance" (Dais). If there were any justice, these songs would be in regular rotation in queer dance clubs across the globe. You can hear the influence of '80s new wave on TR/ST, but the music also feels both timeless and of the moment. Not an easy feat. With a new album by The Cure waiting in the wings, what better time for an '80s revival? We can trust TR/ST with getting this rolling via songs such as "All at Once," "Regret," and the title track.
TR/ST performs on Nov. 20 in San Francisco at Regency Ballroom. www.trstonline.net
Straight rapper Logic probably took his fans by surprise with the music video for his Grammy-nominated 2017 hit single, "1-800-273-8255," which featured a storyline about the outing of a gay, Black, teenager, and the homophobia he faced from classmates at school.
Regardless, the video did a lot of good, as the number in the title was for a suicide hotline. As we all know, sometimes our allies come from the most unexpected places.
Logic has released his 13th album, "Ultra 85" (Bobby Boy/BMG), a double-LP set on blue and white splatter vinyl. When Logic does what he does best, spitting rapid-fire rhymes and raps, the album is ultra-enjoyable. However, there are too many distracting skits that interrupt the flow. www.logicmerch.com
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