Last we heard from Tank he was swearing off grown folks R&B forever, justifiably angry about the relatively dismal sales of Stronger, arguably the best solo album of his career, creatively speaking. Even the one-two punch of high radio rotation spins for “You’re My Star” and “Stronger” couldn’t raise Tank’s sales to the six-digit sales that once came easily the four-time Grammy nominated artist. He’d reportedly sworn to just release the same vapid, youth-driven urban contemporary and pop fare that so many other former R&B stars had turned to as an answer to their diminishing commercial returns. So, it was something of a surprise when Tank released a free mixtape EP entitled, If You Were Mine, just in time for Valentine’s Day and made every song in his very capable hands a church-drenched R&B classic.
Last we heard from Tank he was swearing off grown folks R&B forever, justifiably angry about the relatively dismal sales of Stronger, arguably the best solo album of his career, creatively speaking. Even the one-two punch of high radio rotation spins for “You’re My Star” and “Stronger” couldn’t raise Tank’s sales to the six-digit sales that once came easily the four-time Grammy nominated artist. He’d reportedly sworn to just release the same vapid, youth-driven urban contemporary and pop fare that so many other former R&B stars had turned to as an answer to their diminishing commercial returns. So, it was something of a surprise when Tank released a free mixtape EP entitled, If You Were Mine, just in time for Valentine’s Day and made every song in his very capable hands a church-drenched R&B classic.
Upon closer investigation of this project, one can hear Tank making something of a political statement about the still present viability of black artists singing black music. Four of the five covers Tank tackles are songs originated by “blue-eyed soul” artists making “black music” that is now largely deemed “pop” or “soul pop,” including: Adele’s “Someone Like You,” Sam Smith’s “Stay With Me,” Justin Timberlake’s “End of Time,” and Robin Thicke’s “Lost Without You.” To say that he equals or bests all of them on the material is subjective, but to this critic’s ears Tank’s technical prowess on these cuts is undeniable and, in some instances, preferable. Moreover, he did the impossible: made me hear John Legend’s pop smash, “All of Me,” and not wince the way audiences in the ‘70s eventually did to such well worn classics like “Feelings” and “You Light Up My Life” after they too were driven into the ground. With just a piano, his voice (on leads and background), and some vocal overlays, Tank makes his point loud and clear. Beautifully.
By L. Michael Gipson