If there was a black James Bond - no, Shaft did not really count; I'm talking about international espionage-vanquishing, not (albeit awesome) local scuffles with The Man -  this would be his backup band's setlist. Makes me want to wear tuxes daily. Love the clarity of synth-brass sounds and the pairing of strings. Just love the sound.

"Bright Lights, Bigger City" so sounds like its title. And the bass line is a wonderful nod to "Billie Jean."

"Fuck You!" -- if for no other reason, because "she's an XBox, and I'm more Atari."

"Wildflower," unlike "Cry Baby" (below), is a track about someone else that is actually about someone else. One of my favorite on the record. Near-sweeping vocals in the chorus that manage to ground but not undercut great pace.

"Bodies" -- "it takes two to be intimate. So by no means was she innocent." Love the radio-static sound; it's smoky. The instrumental sounds like something you might hear as the background for a voice-over about a 1940s private eye: dark; a little mysterious.

"Love Gun" -- already said this is basically a Bond soundtrack in waiting, right? Because this track is the sound of a car chase montage or fight scene featuring dudes in tuxes.

"Satisfied" -- I can't be the only one who can see backup dancers with big pastel lapels, snapping and doing back steps as part of their best Pips impression.

"Cry Baby" -- "if this makes you cry, girl I didn't mean it. Next time I should lie. The truth is inconvenient." Clear; but at the same time, the kind of thing that should probably stay in your head. Asking why someone bothers to cry about you probably doesn't sound as delicate as it does with your thinking voice. No one wants to hear your assurances. It's indirectly reflective - more about the singer than the one being assured.

"Fool for You" is a banger. Full-on soul revival in three minutes and forty seconds. You might as well just click the single-repeat button on first listen. You'll be caught up in this one for a while.

"It's OK" has hints of doo wop. "Old Fashioned" does sound like the good old days. And I'm curious about mashing "No One's Gonna Love You" with Nikka Costa's "Push & Pull."

The intro and outro are really just bookends (especially the intro). But you should definitely hear this. And then you should buy this so you can hear it whenever you want to.