Howard Hewett - I’m For Real: The Elektra Recordings (1986-1992) (Advance Review)

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    Howard Hewett - I’m For Real: The Elektra Recordings (1986-1992) (Advance Review)

    Howard Hewett’s path to recognition as an exceptional soul singer was not a straightforward one. Although he played in several R&B bands before being signed to a label, it was the last-minute invitation to join Soul Train dancers Jody Watley and Jeffrey Daniel of Shalamar in 1978 that brought him his first—and very impactful—widespread visibility. Following the sudden departure of lead male vocalist Gerald Brown, Hewett began appearing with the group on TV and concert dates to promote the hit, “Take That To The Bank,” and the LP Disco Gardens, both which were already completed and climbing the charts.

    Howard Hewett - I’m For Real: The Elektra Recordings (1986-1992) (Advance Review)

    Howard Hewett’s path to recognition as an exceptional soul singer was not a straightforward one. Although he played in several R&B bands before being signed to a label, it was the last-minute invitation to join Soul Train dancers Jody Watley and Jeffrey Daniel of Shalamar in 1978 that brought him his first—and very impactful—widespread visibility. Following the sudden departure of lead male vocalist Gerald Brown, Hewett began appearing with the group on TV and concert dates to promote the hit, “Take That To The Bank,” and the LP Disco Gardens, both which were already completed and climbing the charts.

    Hewett solidified his passionately romantic style over the next seven years with Shalamar on hits including “This Is for The Lover In You,” “The Second Time Around,” and “I Can Make You Feel Good.” By 1985, the group’s material had little connection with the sound for which they had become so revered. Thus, the release of Hewett’s first solo album, 1986’s I Commit To Love, was right on time. Fans were ready to hear more of the kind of soulful repertoire on which he had shined with Shalamar early on.

    I Commit to Love, Hewett’s next three albums, and a generous serving of additional tracks from soundtracks, B-sides, and collaborations, are all collected on SoulMusic Records’ four-CD box set, I’m For Real: The Elektra Recordings (1986-1992).

    Hewett stepped into writing and production prominently from the get-go, working alongside top-tier talents George Duke, Stanley Clarke, Glen Barbee, and Ross Vannelli on I Commit To Love. Amongst the results were “I’m For Real,” “Stay,” and the title track—all out-of-the-gate R&B hits which demonstrated clearly that Hewett was ready to build a career on his own stylistic terms. At a time when synth-driven dance tunes were becoming the flavor of choice on many radio stations, I Commit to Love was comprised of an impressive amount of low-key jams ripe with serenading melodies and quiet-storm flair. Hidden nuggets like “I Got 2 Go”  and “Let’s Try It All Over Again” are key examples.

    Then, of course, there’s the album closer, “Say Amen.” Although it didn’t score nearly as high in single sales (likely because Elektra took over a year to release it—despite much demand from programmers and DJ’s), the inspirational call is perhaps the first number that many listeners think of in the scope of Hewett’s solo discography. David Nathan’s informative liner notes in the box set’s accompanying booklet include extensive quotes from Hewett, who details his personal mandate to include a gospel tune on every album he recorded—and the pushback he got from the label when it came to promoting “God songs” as singles.

    Though not a gospel tune, per se, Hewett’s duet with Roberta Flack, “Let Me Be A Light To Shine”—a bonus track on disc one—carries an equally uplifting message and melody (see our feature on the track here. Also added to the first disc is his first proper solo single, 1985’s “Obsession” from the soundtrack to The Heavenly Kid (which has a chorus strikingly similiar to a 1984 track of the same title by female group Krystol). Here, Hewett exhibits a marked ability to glide beautifully over an uptempo groove—in a structure much more suited to his talent than some of the latter-day Shalamar dance cuts he fronted.

    Disc two, Hewett’s sophomore album, Forever And Ever, includes as a bonus the retouched version of “Say Amen” which was released in 1987. The LP itself focuses more on upbeat fare than I Commit To Love, with particularly appealing tracks being the cool and attitudinal “You’ll Find Another Man” and the motivational, feel-good groover “Challenge.” In the ballad realm, the standout is unquestionably the poignantly melancholy “Goodbye Good Friend.” Along with the similarly structured inspirational title cut, it nicely balances out an album that’s not quite as even as I Commit to Love, but has its share of noteworthy selections.

    Shifting gears at the turn of decade, Hewett made the artistic decision to put production duties in the hands of others for his self-titled 1990 album. Included on disc three of the box set (along with his stellar, self-produced 1991 rendition of The Eagles’ “I Can’t Tell You Why”), his third solo effort includes a favorite of many fans: the atmospheric and poetic “Show Me,” written with the underrated powerhouse duo of Jon Nettlesbey and Terry Coffey. Howard Hewett is notably more versatile than its predecessors, with cuts such as the pensive and anthemic “If I Could Only Have That Day Back,” the jazzy-funky “Shadow,” and brilliantly understated duet with Anita Baker, “When Will It Be,” showcasing his wide-ranging scope of interpretation and phrasing.

    Allegiance, Hewett’s final Elektra album (disc four of the box set), came nearly three years after the self-titled LP. Between a changing soundscape on radio, more divergent public tastes, and some creative uncertainty on both the part of Hewett and his label, it’s the only collection of his career thus far on which he struggled to make a compelling musical statement. He discusses in the liner notes “Save Your Sex for Me,” a song he co-wrote with then-wife Nia Peeples for the project that he didn’t want released as a single. The title alone seemed to turn off many supporters, and it was his lowest-charting single since “Obsession.” The follow-up, the emotive ballad “How Fast Forever Goes,” made a few inroads. The momentum, however, was lost, and Allegiance remains largely forgotten.

    While the consistency of previous albums was missing, there are moments worth savoring on Allegiance: the subtle “Can We Try Again” displays his effortless range strikingly (while also bearing a notable melodic similarity to a later hit, “This Love Is Forever”); the softly gliding, Gerry Goffin/Tom Snow-penned “Ronnie-O” is a unique melding of soul and rock balladry.

    In the three decades since the time period covered by I’m For Real: The Elektra Recordings, Hewett has remained a prolific touring artist as both a solo act and part of a revamped Shalamar. As he hasn’t released a full album in over a decade, this box set is an affirming reminder of his well-rounded abilities as a songwriter, producer, and vocalist with a keen understanding of his gifts—and how to reach listeners’ hearts. Highly recommended.

    by Justin Kantor