“The London Sessions” (cover courtesy of artist’s site)

After arguably releasing an entire album earlier this year as a soundtrack for the big hit sequel film, “Think Like A Man Too”, Mary J. Blige returns with an eclectic sound, deeply rooted in the UK with her new album, “The London Sessions”. The album serves as her first release with Capitol Records since departing from Geffen and Interscope Records. Blige took a month of her time and relocated to London to collaborate with a variety of UK producers and songwriters including Sam Smith and Emeli Sandé.

The opening track, “Therapy,” revisits the beginnings of soul, with doo-wop cadence and an acapella base. The track, written by crooner Sam Smith, carries the concept of a grief stricken individual imposing therapy as an obvious alternative to their suffering. “Therapy” served as the first single for “Sessions”. “Doubt” addresses the internal uncertainties that most face when told by someone that they are incompetent. To the comments of the naysayers and haters, Blige reminds herself, “You should know better.”

“Not Loving You,” another track written by Smith, is the first ballad of the bunch from the album. The melody and sound of the song is strongly reminiscent of Smith’s own “Leave Your Lover.” The acoustic ballad following “Not Loving You” is “When You’re Gone.” “Gone” stands out as one of the most innovative tracks from “Sessions”. The mixture of guitar and symphonic strings makes for a smooth layer within the album.

“Right Now” is a mid-tempo groove that exudes an unpleased woman letting her lover know that she’s fed up with his ways, and is planning on making changes. “My love won’t be the same for you no more.” The song is solid, but is lacking that “it” element that would have propelled it to the top of Blige’s list of female anthems. “My Loving” is the go to uptempo track, produced by American producer Rodney Jerkins, who also serves as the executive producer of the album. “Loving” holds elements of house music that was so prominent in the late 80s and early 90s.

“Long Hard Look” is the transitional record that parallels conceptually with her 2007 album, “Growing Pains”. “Take a long hard look. Grass is never greener on the other side. Every revolution turns a page.” “Whole Damn Year,” another single from the album, metaphorically enumerates how Blige was affected by a tarnished relationship. “Nobody But You” continues the house trend that “My Loving” started on the album. “Pick Me Up” and “Follow” are two sonically groovy tracks that collide without warning. It’s commendable to have these two mix together at a time when singles are more valued; the sound of the two won’t be discovered without observing the album entirely. The album closes with the piano ballad, “Worth My Time.” The song follows the standard Blige formula the most.

The direction of the album as a whole and the bold exploration of new avenues in sound are what I like most about “The London Sessions”. Given that the album is Blige’s first under a new label, and essentially a new sound, the odds are against the success of the album in reference to her many sucessors. It’s apparent that Blige is in a comfortable place in her career where numbers are not of any concern. She just wants to make music that she enjoys. 4/5