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Raw Like Sushi 1989
Album · by Neneh Cherry ↗ View artist

Raw Like Sushi

When Neneh Cherry released Raw Like Sushi in 1989, she presented a sonic proposal that mixed hip hop with new jack swing and R&B, a cocktail of eighties trends that she knew how to give her personal touch. The album, recorded between September 1988 and January 1989 in various London studios such as Abbey Road and Battery, as well as one in New York, drew on influences ranging from piano and synthesizers to wind instruments and percussion. The lyrics, for their part, reflected Cherry's own experiences, such as her motherhood and upbringing, as well as addressing themes of relationships.

Year
1989
Songs
14
Duration
66 min 14 seg
Listen to the album ★

14 song|s

Song list

# Title Available ⏱
01

Buffalo Stance

Intermediate

4:34 02

Manchild

Advanced

3:52 03

Kisses on the Wind

Intermediate

3:57 04

Inna City Mamma

Intermediate

4:51 05

The Next Generation

Easy

5:06 06

Love Ghetto

Intermediate

4:30 07

Heart

Intermediate

5:09 08

Phoney Ladies

3:55 09

Outré Risqué Locomotive

5:05 10

So Here I Come

4:03 11

My Bitch

Intermediate

5:27 12

Heart (It’s a Demo!)

4:52 13

Buffalo Stance (Sukka mix)

5:22 14

Manchild (The Old School mix)

Intermediate

5:31

About the album

Raw Like Sushi, according to DoReSol

The album came to life with singles that resonated strongly. "Buffalo Stance," which already had a previous version on the B-side of a 1986 Morgan-McVey single, was re-recorded with Tim Simenon of Bomb the Bass and became a global hit, reaching third place in the UK and on the Billboard Hot 100, in addition to topping the charts in the Netherlands and Sweden. Another standout track was "Manchild," which reached fifth place in the UK, and "Kisses on the Wind," which was well-received in the United States and the UK. In production, Cameron McVey, Cherry's husband and known as "Booga Bear," played an important role, as did Jonny Dollar and Mark Saunders. Additionally, Robert Del Naja of Massive Attack co-wrote "Manchild," and Andrew Vowles, also of Massive Attack, contributed to "Kisses on the Wind," "The Next Generation," and "So Here I Come."

The visual aesthetic of the album was also carefully considered, with the cover and interior photos handled by fashion photographer Jean-Baptiste Mondino. Critics of the time, such as David Quantick of NME, described it as "immediate and commercial pop, but made by someone with a very particular worldview," highlighting her wit and maturity. Others, like Selina Webb of Music Week, called it "a subtly provocative and playful collection," and Pete Clark of Hi-Fi News & Record Review noted its "jazzy delight through nonconformity." The album was even included in the book 1001 Albums You Must Hear Before You Die.