Page 6
Black Ink
October 18, 1984
entertainment
1
Stevie's
continues
by Winired Cross
Staff Writer
Stevie Wonder's creativity never
ceases to amaze me. When asked to
write a song for Dionne Warwick to
sing in "The Woman In Red," he
responded by writing seven in about
two weeks, most of which he decided
to perform himself. What Wonder did
in two weeks puts what others have
taken months to do to shame. "The
Woman In Red" is the best sound
track album I've heard in years.
Each song is a joy to listen to.
The album's lead song, the title, is a
spritely R&B number which not only
shows Wonder's amazing insight, but
also his sense of humor. Am I seeing
what I think I see/Or are my eyes
playing tricks on me.../Earth Venus
in broad dayhght/Goddess of love
creativity
standing in my sight.
The album's second song, "It's
You," is a duet with Warwick. The
two create a perfect vocal marriage.
Wonder achieves what Luther Van-
dross only attempted for Warwick; he
not only compliments her voice but
he also gives her something good to
sing.
"It's More Than You," is an okay
instrumental. It is the only song that
Wonder did not write.
"I Just Called To Say I Love
You," the album's first number 1
single, is a cute but very simple pop
song. At first I thought it was too sim
ple to be a Wonder composition. But
when I found out about the movie
scene for the song, I understood why.
The guy Wonder sings about feels so
guilty about cheating on his wife, he
calls her and thinks up every lie he
can to explain why he called.
The second side is by far the
album's better. It opens with "Love
Light In Flight," a fluid mix of pop
and black dance music. For this one.
Wonder pushes his voice to the limit,
soaring skyward over the lilting syn
thesizer riffs.
And the album just gets better
and better. "Moments Aren't
Moments," a solo by Warwick, is one
of the loveliest songs Wonder has
ever written. Warwick's deep, rich
voice does it supreme justice.
"Weakness," another duet, has a
strangely phrased chorus that lingers
with you all day: Everyone has got a
certain weakness in life/Your love
just happens to be mine.
"Don't Drive Drunk," the albums
last song, is the closest Wonder
comes to doing a social protest song.
Actually, it's more of a public service
song. I wouldn't be surprised if
Mothers Against Drunk Driving
(M.A.D.D.) adopted it as their theme
song.
As good as this album is, the best
thing about it is that it is not the album
Wonder has been working on for the
past two years. What that may mean is
there will be two Stevie Wonder
albums out in less than a year.
Have I died and gone to
Wonderland?
Mills burns with energy
by Winfred Cross
Staff Writer
Stephanie Mills voice is like E.F.
Hutton; when she sings, everyone
listens. Since she reached stardom in
the critically acclaimed Broadway
musical "The Wiz", Mills has gone on
to have a very successful recording
career. Her explosive soprano has
made her one of the best female
recording artists in the music in
dustry.
There have been a few dull
moments in her sparkling career,
however. After having success with
producers James Mtume (now of
"Juicy Fruit" fame) and Reggie Lucas
(now producing the dreaded Madon
na) she went for a more glamourous
image and started producing herself.
The results were "Tantilizingly Hot,"
a lackluster album that was neither
tantalizing, nor hot.
Last year Mills got back to basics
with "Merciless," an album filled with
the fiery vocal performances that
made her famous. With "I've Got The
Cure" Mills turns up the heat a cou
ple of notches and continues to sizzle.
The album opens with "The
Medicine Song" a wide open funk
number that burns with energy. The
lyrics are a bit silly but Mills gives
them such a murderous workout that
it doesn't matter. The song and her
performance typify the very ag
gressive mood of the album. On
songs like "Edge of the Razor," "In
My Life," and "You Just Might Need A
Friend," Mills is digging way down in
her huge reservoir of vocal power
and delivering some thundering
notes. On "Outrageous," Mills ends
the song sounding like a gospel
singer with a chip on her shoulder.
No Mills album would be com
plete without a ballad. Thankfully,
she includes two on the album. "Give
It Half A Chance," one of Kenny Log-
gins's best compositions, is, simply
put, beautiful. Mills caresses each
word ever so softly, exploding at a
moments notice for dramatic impact.
But album's showstopper is
"Everlasting Love," a vintage Mills
love song that showcases her incredi
ble dynamic range. As an added
sweetner. The Weather Girls are
featured as background singers on
the song. This song not only proves
Mills' prowess as a singer but it also
proves that The Weather Girls should
stop singing novelty songs and just
sing.
Much credit must be given to the
album's co-producers-George Duke
and David "Hawk" Wolinsky (former
keyboard player for Rufus). They stay
out of Mills' way and let her sing. The
digital recording process that was us
ed picks out every nuance of her ex
pressive voice.
This is a first rate effort.
THE BLACK INK NEEDS:
writers
copy editors
photographers
sports writers
advertising sales
THE BLACK INK NEEDS—YOU!
Editor Albertina Smith
933-6434
J. B. Johnson’s
flSllll Balfour House.
College Stop, Inc.
^ Fraternity & Sororltv insignia...
\ ^ ^ Jewelry wood Products
rl
’ t/ Party Favors Novelties
^Glassware Stationery
Knitwear Gifts Calor
Awards Engraving Service
Ceramics (including mugs)
...other college items including class rings.
1504 E. Franklin Chapel Hill, N.C.
919-929-1820
GET YOUR ORDER IN EARLY!
CALL OR WRITE FOR YOUR FREE CATALOG