Barry White “Beware!”

I like this record a lot. That could be the review, if all I was doing was writing reviews, which is not what I’m doing. Rather, I’m using the “guise” of the review to listen to music—and allowing listening to be both enjoyable and make me think about a few things. I’ve got a few Barry White records from the Seventies, which I listen to as frequently as anything. There are just certain times when Barry White is who I want to listen to (and I’m not even dating). I like his songs and I like his style. I picked up this one cheap—even though I had misgivings about it—well, the thing that potentially scared me off is the date—1981—which is a date that generally scares me off (well, I’m wary of anything after about 1975). That, and the album cover said: “Beware!” A strong word based on a strong feeling. Also, ten songs—which means some shorter songs, which also worried me. Also, the cover looks like a Greyhound bus seat. Actually, there’s probably a story behind the cover image, which might (almost certainly) make it better (or even great?) But as an abstract image, while you wouldn’t mind it in an art museum, and you might even like it—as an album cover? Which is just accentuated by reproducing the entire album cover on back—but in reverse (including “Barry White Beware!”) Mirror image. The huge, all caps, basic block letter “BARRY WHITE” on top is effective, certainly. But oddly, no picture of Barry White, anywhere, why? Anyway, the nice thing to note is that this record is an indication that it’s possible I might really like any Barry White record, regardless of the decade, its popularity, or reviews—and since there are a dozen I don’t have—there’s still a world of Barry White out there for me to discover.

The songs are bookended by two covers from the Fifties—“Beware”—and a long (seven minute) version of “Louie Louie” (a song that’s been covered by literally everyone)—to close it out. I always enjoy anyone’s take on “Louie Louie”—it seems important to try to do something weird with it, for some reason, and this is one of the more experimental ones I’ve heard. Odd, repeated vocal phrases all over the place—and some almost dissonant horns—it gives the impression of a harrowing homecoming more than a happy one. But then, “Louie Louie” was always a harrowing song. Less challenging is the slow, soul song “Beware”—an understated love song with a nice intro. Generally, what I like about Barry White is his intros, with minimal, mellow accompaniment, and then his spoken seductions to an unseen woman usually referred to as “baby.” Even when they’re fairly short, like the second song, “Relax to the Max,” it’s effective. “Let Me In and Let’s Begin with Love” must have been a hit—or is otherwise familiar to me—it’s a little more up-tempo soul number—kind of the centerpiece of the record, feels like—fairly extended. (Interesting side note: it’s got some oddly recorded percussion like I noticed with another of his records—it sounds like it’s in the room with me.) Another odd thing is that there are two just over two-minute songs on the record (“Tell Me Who Do You Love” and “You’re My High”—which are more like intros to longer songs than songs—maybe they just kind of function as intros to what comes after? But I wish both were longer, like seven minutes each! “Rio De Janeiro” is a straight up disco song, my least favorite on the record, but probably someone’s favorite—I mean, you can dance, and it’s about a city. A couple more excellent, soulful, love songs with great titles—the very, very mellow, “Oooo….Ahhh….” and the super catchy “I Won’t Settle for Less Than the Best (For You Baby)”—he can sure come up with the titles.

8.9.24