For Florida's sole remaining sex surrogate, love is a many splintered thing.
It's not just giant companies cashing in on America's defense industry.
How a throwaway idea at the Barkley ad agency became the "Sonic Guys."
A diner's guide to Texas's oldest Mexican restaurants.
Amerie Rogers has writing credits on all but one song, but this is as much producer Rich Harrison's album. On "1 Thing" the D.C. native has returned to the undeniability of his earlier calling card, Beyoncé's disco-horn-driven "Crazy in Love." Harrison prefers sampling to the futurist synth gleam of Timbaland-style millennial R&B. His classicism might seem like a retreat to the real, but it's not mere retro. His loops are cut together with audacious seam-showing blockiness; we get the comfort of a familiar texture and the thrill of its irruption. On "All I Need" he repeats a sax and vocal scrap until it lifts off into abstraction, like saying "cellar door" over and over again.
The album doesn't lose its feet too much when other producers take over: Lil Jon tries out some tabla orientalism, the Buchanans pass for the Neptunes, and other R&B hands fill out the back half with the twinkly bedroom stuff that the readers of this paper will find totally unconvincing.
The mood is pensive but focused, and more than anything, Touch has a sure eagerness to get it right (Amerie and Harrison's '02 debut, All I Have was just okay). She knows the real romantic trial is with the public, but on "Talkin' About" she's clear: "Couldn't stop if I wanted to/So baby if you take my hand/Every day can feel brand new."