In 1990, his fanciful funk keyboard action on Rejoice was masterful; when he later played with Marion Meadows, he became part of smooth jazz consciousness. This follow-up to his debut is a pop, jazz, and soul collection that rivals the first one in likeableness and simple adventure. Most of the cuts convey an easygoing sense of R&B rhythms, along with a propensity by Baldwin to improvise over the tastiest grooves imaginable. His version of Cyndi Lauper's "Time After Time" is so perky, you might not recognize it. The bounciness of "Billy's Funk" and "It's Not Enough (Enuf)" are indicative of the party flavor apparent throughout. And as if Baldwin wasn't impressive enough with his keyboards and occasional bass playing, he adds the sax talents of Grover Washington, Jr. and Meadows and the vocalese of Dwight Sills. A horn section is also used to great effect on "Everything You Want (In Time)." There are a few serious moments, such as "In a Sentimental Mood," but for the most part, this is a fun spirited, let your hair down kind of listen.
The smooth jazz format has lent itself to an unfortunate trend towards sugary and fluffy generic album titles that hardly characterize the grit and energy of the music they represent. Boney James went the route with Sweet Thing and now Bob Baldwin's blandly titled but explosively executed Cool Breeze makes a strong case for not judging a disc by its cover. As with his independent City Sketches earlier this year, the keyboardist never quite approaches the free-for-all soul-fusion jam sessions which marked his early Atlantic albums, yet he throws enough aggressive, improvisational punches into these uptempo romps to remind his old fans of the way he once pounded. Rather than crazed earthquakes, he gives us thoughtful, slickly produced tremors that lean towards gospel every so often. He also twists familiar pop hits like "Summer Breeze" and "Walk On By" into funky blue knots. His artful, no frills jazz trio spins on "Cool Wind Blowing" and "I Give Unto You" make many of the other tracks seem overproduced and machine generated by comparison. While Baldwin knows how to balance electric and acoustic currents to great effect, he should consider stripping down like this more often in the future. Why hide behind smoke and mirrors when you have this much emotion to offer?
A rookie of the year in 1990, superfunk keyboardist Bob Baldwin had plenty to be happy about with his sizzling Atlantic debut.. A sure candidate for the R&B crossover chart, Baldwin assembled immediately likable and upbeat synth grooves with some fancy acoustic interludes to form an eclectic hybrid of styles which he calls "PBJ Music" -- as in pop, blues, and jazz. Having grown up with both jazz and R&B influences, he writes and co-produces bouncy material which proves to be the best of both worlds. While his original material is a marvel, Rejoice is that rare album where the cover tunes bear the most repeated listening. His get down jam on Joe Zawinal's "Mercy Mercy Mercy" is the best example, but his light hearted medley dedicated to Motown legend Marvin Gaye is as sweet as tributes come.
Bob Baldwin wasn't the first artist to name a project after his website -- Fattburger and Jethro Tull both beat him to the punch -- but the funk-jazz keyboard whiz's Bobbaldwin.com devotes its liner notes to reminding us to enjoy technology but not let it take over for our heart and soul. Baldwin puts his music where his words are, using his synth rack to create numerous busy, often retro-soul textures, but, at heart, his graceful yet punchy melodies shine through at all times. He has a good time with titles, moving from the cool hip-hop of "eSmooth" (which features his trademark high-register swirling solos between revisits to the sax-driven hook) through "Westchester Online" (with a playful cat and mouse game between Dean James's soprano and Joey Summerville's bouncy trumpet) and then on to the album's most unusual piece, "Overtime (In the Chatroom)." As if to make a point about what too much cybertalk can do to one's sensibilities, Baldwin offers no defining pop melody, instead darting in and out with percussive avant-garde synth lines, clicking wah-wah guitars, and an occasionally smooth soprano line from Marion Meadows, over floating, hypnotic atmospheres. Most of the other material is smartly played and very in-the-pocket, from the opening cover of "Never Can Say Goodbye" (with crackling guitar passages and harmonies by Chuck Loeb) and the brassy party tune "Funkin' for Jamaica," featuring trumpeter Tom Browne and the harmonic blend of the saxes of Gerald Albright, Marion Meadows, and Fred Vigdor.
Being With You
Bob Baldwin Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I don't care what they say.
I don't care what they think if you're leaving,
I'm gonna beg you to stay.
I don't care if they start to avoid me,
I don't care what they do.
I don't care about anything else but being with you, being with you.
Honey don't go, don't leave this scene,
Be out of the picture, and off of the screen.
Don't let them say we told you so,
They tell me you'll love me and then let me go.
I heard the warning voice from friends and my relations,
They tell me all about your heartbreak reputation.
I don't care what they think about me, and
I don't care what they say.
I don't care what they think if you're leaving,
I'm gonna beg you to stay.
I don't care if they start to avoid me,
I don't care what they do.
I don't care about anything else but being with you, being with you.
People can change, they always do,
Haven't they noticed the changes in you?
Or can it be that like love I am blind,
Do I want it so much 'til it's all in my mind?
One thing I know for sure is really, really real,
I never felt before the way you make me feel.
I don't care what they think about me, and
I don't care what they say.
I don't care what they think if you're leaving,
I'm gonna beg you to stay.
I don't care if they start to avoid me;
I don't care what they do.
I don't care about anything else but being with you, being with you.
The lyrics of Bob Baldwin's song "Being With You" are a testament to the singer's intense emotions for another person, despite what others may say or think. The singer of the song is making it clear that they do not care about what others say or think about them or their relationship. Even if the person intends to leave them, the singer would do anything in their power to make them stay. They are willing to face the judgment and avoidance of others if it means being with the person they love. The singer acknowledges that their friends and family have warned them about the potential heartbreak that may ensue, but their love for the person is so strong that they are willing to take that risk.
The song's lyrics also explore the idea of change and blindness that comes with love. The singer wonders if the person they love has changed for the better, but also acknowledges that they may be ignoring any negatives because of their strong feelings. The repetition of the phrase "I don't care" throughout the song emphasizes the singer's devotion to the person they love, even if it means facing ridicule or heartbreak.
Line by Line Meaning
I don't care what they think about me, and
The opinions of others do not matter to me,
I don't care what they say.
What others speak of me has no impact on me,
I don't care what they think if you're leaving,
Even if others think you're leaving me, it does not concern me,
I'm gonna beg you to stay.
Despite what they think or say, I will plead with you to stay with me.
I don't care if they start to avoid me,
Even if others begin to avoid me, it does not bother me,
I don't care what they do.
What others choose to do is of no consequence to me,
I don't care about anything else but being with you, being with you.
All I desire is to be with you, nothing else matters to me.
Honey don't go, don't leave this scene,
My affectionate term for you, please do not leave my life,
Be out of the picture, and off of the screen.
Don't let others control our relationship or force us apart,
Don't let them say we told you so,
Do not allow others to say they warned us about the potential outcome of our relationship,
They tell me you'll love me and then let me go.
Others have warned me about your reputation for breaking hearts despite professing love,
I heard the warning voice from friends and my relations,
My friends and family have cautioned me about our relationship,
I don't care what they think about me, and
As previously stated, their opinions do not concern me,
I don't care what they say.
As previously stated, their words hold no weight for me,
People can change, they always do,
People are capable of change, it's a natural progression of life,
Haven't they noticed the changes in you?
I have noticed the positive changes in you and therefore believe in the potential of our future,
Or can it be that like love I am blind,
I wonder if my deep desire for this relationship is blinding my judgment,
Do I want it so much 'til it's all in my mind?
I question if my longing to be with you is creating a reality that only exists in my mind,
One thing I know for sure is really, really real,
The one thing I am certain of is the intensity of my feelings for you,
I never felt before the way you make me feel.
Your effect on me is unlike anything I have ever experienced, it's indescribably incredible.
Lyrics © Sony/ATV Music Publishing LLC
Written by: Smokey Robinson
Lyrics Licensed & Provided by LyricFind
Cynthia Haywood
Isn't this one of the smoothest love song you've ever heard.
Изгнанный Котёнок
This song is suitable for my mother. Every time I hear my mother singing-my love my love It's baby my love!
Vaya Woodard
Can't stop listening to this song. Jazz time on Sundays 103.1 kiss Columbia, SC. Melow out
Vaya Woodard
Beautiful song
hellfire
PJ