Though it will feel a little scatterbrained at times, this is a fun and comforting record that will warm listeners’ hearts.
It’s not a comprehensive pop overhaul: Bridges expands his palette while staying true to his soulful roots.
While the record embodies Bridges’ Sam Cooke-influenced vocals, he doesn’t just find himself attached to Sixties soul.
Climbing out of the pigeonhole of a retro R&B act ... Leon Bridges' sophomore record rings as an endorsement of his range. And that's a great thing for Good Thing, which tempers its pop-radio ambitions with unique bends on the age-old love song in this super-tight, 35-minute ride.
If he was indeed once a rehash of the past, this time he can’t be tied to one specific time, past or present.
All these deviations ... seem natural for Bridges, who evidently had much more to explore and express than what was shown on Coming Home.
Good Thing represents a bold shift for Bridges – one that shows his chops aren’t solely fixed in ‘60s-era soul, but one that also risks potential criticism from his audience.
The second, more adventurous album from the Texas soul singer bends toward the present while keeping the warmth of classic R&B in his melodies and songwriting.
Bridges is reaching on this album, looking for a future sound that connects his own past and the sweeping history of African-American music with the present moment.
On ‘Good Things’, Bridges continues to visit the altar of Aretha, Otis and Sam; but bringing Bruno Mars and Pharrell along to church with him.
While Bridges is certainly far from falling on his face, there’s nothing that really raises him above the droves of artists currently mining the sounds of ‘80s and ‘90s R&B either.
Overall, ‘Good Thing’ should fill fans of Leon’s work with excitement. Just three years after his debut, it feels like he’s only just getting started.
With his sophomore effort Good Thing, Bridges brings his classicist R&B chops into the current century—with mixed results.
On Good Thing, Bridges attempts to rattle soul's ancestral institution with an updated finish. And there are these subtle progressive all over the album that guarantees he will keep that promise.
Good Thing takes some steps forward in time, updating Bridges’s Sam Cooke stylings with a little Usher; the production gently eases its way out of the 60s, too.
It’s great that Bridges didn’t do Coming Home again, and decided, instead, to go to someone else’s home where he still felt comfortable utilizing that Sam Cooke–inspired croon.
On the whole this is a disappointing follow-up, a faint echo of the majesty of what preceded it.
Starts well, ends well. The middle is a bit inconsistent production and idea-wise, however it’s really smooth throughout, even if every track isn’t the most memorable.
Unfortunately, inconsistency brings down what could have been a very promising debut.
My song ratings in order: 52 80 70 74 40 57 85 77 63 84
i kno im not supposed to do this but im not able to do it at the right place so im doing it here.
its an ok album, If it feel good issss vry gudd, uplifting
Nice album but I don’t see myself coming back to it. None of the songs were standouts. Best song for me is Bad Bad News.
Rating an album everyday 55 / 365
Not as strong as his debut but a solid piece which has some really nice tunes. It feels a bit more contempary compared to the debut which I'm not complaining about. Just a few songs on here I didn't love.
1 | Bet Ain't Worth the Hand 3:05 | 80 |
2 | Bad Bad News 3:27 | 78 |
3 | Shy 3:14 | 68 |
4 | Beyond 4:00 | 98 |
5 | Forgive You 3:41 | 73 |
6 | Lions 3:02 | 65 |
7 | If It Feels Good (Then It Must Be) 3:14 | 75 |
8 | You Don't Know 2:52 | 73 |
9 | Mrs. 4:02 | 70 |
10 | Georgia to Texas 4:09 | 65 |
#2 | / | KCRW |
#14 | / | DJBooth (Hip Hop / R&B) |
#24 | / | Clash |
#33 | / | Albumism |
#34 | / | Uproxx |
#38 | / | Fopp |
/ | Esquire (UK) |