Mary J Blige Returns With a New Glow on ‘Good Morning Gorgeous’

Adi Mehta

Three decades have passed since Mary J. Blige’s debut album “What’s the 411?” paved the way for neo soul, and introduced the hip-hop-heavy template that still dominates contemporary R&B today. Her records over the years have leaned heavily toward autobiographical content, with Blige belting with raw emotion about her personal struggles and resilience. Pleas for “No More Drama,” at the pivotal career moment of 2001, appeared to have been in vain by the point of Blige’s last album, “Strength of a Woman,” which chronicled her divorce. Her follow-up, however, finds Blige emerging from the doldrums with a new energy and confidence. “Good Morning Gorgeous,” the singer’s fifteenth album, arrives amid the fanfare of a Superbowl halftime performance in which the “Queen of Hip-Hop Soul” will share the stage with Kendrick Lamar, Dr. Dre, and Snoop Dogg. It’s a fitting rollout for the album’s celebratory turn.

“No Idea” is a beaming start, with Blige instantly letting loose, as exclamations of “What’s love?” give way to a shrug of “We don’t givе a …” in a heated moment that finds Blige lapsing into a slur by the end of line, but finishing the sentence with enough flair in her voice to overcompensate for the suspension of actual words. She proceeds with “Love Will Never,” which rings like something of a ‘90s throwback triumph, with era-specific phrasing scattered for maximal impact, a montage of impulses behind an early impression. The album’s titular greeting seems to have worked its magic, judging from the bold immediacy of Blige’s voice, and effortless resonance of her new tunes.   

“Here With You,” featuring Anderson .Paak, puts Blige in an entirely different environment,“ with Paak appearing in an easygoing, reverb-soaked backing that Blige steps into and quickly owns. On “Rent Money,” the beat slows to a tinkering pulse, with horns sounding off from a distance, in a haze. Blige enters in a reflective mode that gravitates to a sobering chorus line about rent money being due. Dave East drops a verse with a timeless swagger that fits alongside the veteran Blige’s voicings. Single “Amazing” begins with DJ Khaled’s opening call of “We the best music,” it’s quickly easier than usual to overlook the buffoonery, as Blige delivers. When she sings, “I feel good, I feel great, I feel amazing,” it’s clear that she means it, and a track full of goofy air horns and DJ sirens captures the sentiment. The interlude and title track that follow are dutifully stripped-down, with a beat that could have been clipped straight from D’angelo’s “Voodoo,” and Blige’s powerful pronouncements making an especial impression over the barebones backdrop. In her most expressive voice yet on the album, she sings about greeting herself in an affirmation of self-worth. The diva posturing that often accompanies R&B voicings can seem to declare such things in just tone, but Blige rips right through everything, declaring, “I ain’t talking no hair and makeup,” then moving straight to the acceptance of the titular statement. 

The following track, “Come See About Me” finds Blige showing her roots, over a beat that departs from standard practice, creating an atmosphere that, if taken out of context, could easily be a late ‘60s or early ‘70s soul song, avoiding any later temporal signifiers. Next, she adopts the classic crunk beat of Three Six Mafia’ “Who Run It” for a track titled “On Top,” and sounds uncannily at home over it. She ends up actually exclaiming, “Who Run It,” whereupon Fivio Foreign takes over, dropping an animated rap verse. The lighthearted track offers a moment of relief from more onerous material, and highlights the unapologetic, fun-loving brashness that has always been a defining characteristic of Blige’s. 

“Love Without the Heartbreak” reverts to the lugubrious traditions of “No More Drama,” as Blige bares herself with her usual confessional authenticity, and striking a nerve in a final vocal stretch that finds her venting, “I’m just so damn sick of the pain.” “Falling In Love” rings with an instant impact, as Blige’s classic soulful phrasings seem to exude with a spontaneity that showcases Blige’s distinctive vitality. Producer “London on the Track” throws in his name tag, recently muddied by Summer Walker in the scathing criticism of her last album, “Still Over It.” The final act, “Need Love,” finds Blige, having already established her independence, now extending herself and seeking affection. A duet with Usher makes for a pairing of R&B star power that ends on a high note.

“Good Morning Gorgeous” finds Mary J. Blige emerging with new clarity from the darkness displayed on “Strength of a Woman.” That album ultimately bore a theme of resilience, but one that is only now being realized. Blige still devotes a fair share of her latest content to residual amorous frustrations. However, the hopes expressed for “Love Without the Heartbreak” come from the cool disavowal of “No Idea,” the celebratory assertions of “Amazing,” and the lighthearted posturing of “On Top.” The music ranges from echoes of Motown to DJ Khaled’s amusements, with Blige’s famous hip-hop soul on display in its full grandeur, as she takes on a new glow. She consistently delivers throughout the album, beginning with playful retro excursions that scatter soundbites from the years, then changing gears and running through varied pop culture references, ultimately remaining relevant, and making a lasting impression. In the end, she simply sings like she means it, and the vulnerability on display this time around comes in the context of an overall triumph.

“Good Morning Gorgeous” releases Feb. 11 on Apple Music.