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.
Funkin' for Jamaica
Bob Baldwin Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
let it get into you
C'mon I've got a groove
you know where I 'll be
Funkin for Jamaica
If ya feel it let it get into you
Jamaica funk, that's what it is
let it get into you
I feel it inside my soul
let it get into you
Cause there's enough to go all the way around
let it get into you let it fill you up inside
This feelin's funk that's what it is
let it get into you
Jamaica funk that's what it is
we be funkin for Jamaica
If ya feel it
and I let it get into me
Jamaica funk that's what it was
let it get into you
That feelin's funk that's what it was
and I let it get into me I let it get into me
woa woa woa this feelin's funk that's what it is
The song "Funkin' for Jamaica" by Bob Baldwin is a funk-infused instrumental track that is filled to the brim with energy and soul. The lyrics, which are sparse and simple, reflect the driving force behind the song - the need to dance and let loose. The repeating phrase "Jamaica funk, that's what it is" is a declaration of the style of music that they are playing and the infectious feeling that it produces.
The verses encourage the listener to let the music get inside of them, to let it fill them up and move them. The chorus then brings it all together, with Bob Baldwin repeating "we be funkin' for Jamaica" as an invitation to everyone to join in the dance. While there are no specific references to Jamaica or its culture in the song, the lyrics create a vibe of tropical warmth and laidback fun that is evocative of the island.
Overall, "Funkin' for Jamaica" is a song about the joy of letting go and experiencing the power of music. It's a song that encourages us to set aside our worries and stresses for a while and just get lost in the groove.
Line by Line Meaning
Jamaica funk, that's what it is
Describing the genre of music being played as Jamaica funk
let it get into you
Encouraging the listener to allow themselves to fully experience the music
C'mon I've got a groove
Asserting the artist's confidence in their ability to create a great musical experience
you know where I 'll be
Indicating that the artist will be fully immersed in the music and enjoying themselves
Funkin for Jamaica
Explicitly stating that the artist is playing Jamaica funk music
If ya feel it let it get into you
Encouraging the listener to embrace and enjoy the music if they are already feeling it
I feel it inside my soul
The artist expressing their own deep connection to the music being played
Cause there's enough to go all the way around
Implying that there is something for everyone in the music being played
let it get into you let it fill you up inside
Reiterating the importance of allowing oneself to fully experience the music
This feelin's funk that's what it is
Describing the emotional state induced by the music as 'funk'
we be funkin for Jamaica
Emphasizing that the artist is playing Jamaica funk music with the goal of entertaining and energizing the audience
and I let it get into me
The artist expressing that they are fully experiencing and enjoying the music themselves
woa woa woa this feelin's funk that's what it is
Continuing to describe the emotional state evoked by the music as 'funk'
Lyrics © Sony/ATV Music Publishing LLC
Written by: THOMAS BROWNE, THOMASSINA SMITH
Lyrics Licensed & Provided by LyricFind
@kenestra123
Pure Baldwin.
@damoncook8342
Rest In His Heavenly, Harmonic Peace and Grace to Singer/Songwriter, Toni Smith. 😪
@felixgarcianazco9496
TONI SMIT FUE UNA GRAS VOZ DEL MARAVILLOSO MUNDO FUNKY
@felixgarcianazco9496
DEP TONI SMITH
@thomwest1724
❤🎼🎤🎹🌈😳The Jam💃🏽🕺🏾
@markusmatheis5318
Probably the best version ever
@MrJrweir
Nice rendition of Tim Browne's classic 😊😊😊😊🎉
@RobinsoneCeliaErnesto
beaultifullllllll
@jameshamilton3607
"Best Party Song I Have Ever Heard"
@felixgarcianazco9496
Great voice