Wesley doesn't contain himself to just the 70s, however. Classic 80s synth sounds make their way into tracks as well, including the so-old-it's-new-again classic Orchestra Hit sample.
Vocally, he runs the gamut of 70s-90s funk and soul, with layered harmonies that bring to mind the 90s R&B scene. At times, the album practically sounds like a collaboration between George C. Clinton and Boyz II Men – and it succeeds admirably. Wesley has a brilliant voice, equally suited for crooning on ballads or croaking out the funk, without a hint of autotuning even when he gets a bit 'diva'.
Throughout, the production by Stereo Lif is absolutely impeccable. He's got a full array of synthesizers and a full crew of background singers doing call-and-response in classic 70s style. For a private album, as yet unsigned by a major distributor, it's amazingly well-crafted and polished throughout.
Wesley and Stereo Lif also know composition, with some really nice mixtures of synth and voice harmonies, like in the 30-second lead in to Missin U. When they're really rolling, The team creates a blend of R&B both old and new that manages to sound classic and fresh at once.
This is a top-flight album, one that desperately deserves to find a distributor and a wider audience. I usually like to include some criticisms around this point, but in truth, I just cannot find much fault with this album. Unless you simply cannot abide any soul on your iPod, Kenny Wesley has a sound that's infectious for virtually anyone.
Wesley has some major talent, and I can't wait to hear what he comes up with next. This album hints at bigger things in the future, and I can only hope he has the chance to build on what he's created here.