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.
People Make the World Go Round
Bob Baldwin Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
('Round And 'Round And Around...)
People Make The World Go 'Round
('Round And 'Round And Around...)
Teachers On Strike, No More School Today
They Want More Money But The Board Won't Pay
People
Everybody's Talkin' 'Bout Ecology
People
Rrefrain
But That's What Makes The World Go Round
The Ups And Downs A Carousel
Changing People's Heads Around
Go Underground Young Men...
People Make The World Go Round...
Old Folks Judge You By The Clothes You Wear
They'd Swear You're A Hippy If You Have Long Hair
Young Politicians Fight For Poverty
While People Still Cry For Equality
But That's What Makes The World Go Round
The Ups And Downs A Carousel
Changing People's Heads Around
Go Underground Young Men...
People Make The World Go Round...
(Instrumental)
But That's What Makes The World Go Round
The Ups And Downs A Carousel
Changing People's Heads Around
Go Underground Young Men...
People Make The World Go Round...
Bob Baldwin's song People Make The World Go Round is a commentary on the human condition and society as a whole. The lyrics touch on different issues that affect people's lives, from teachers on strike to ecological problems to poverty and inequality. The opening lines of the song, "People round and round and around... People make the world go round," emphasizes the importance of people in shaping the world and their constant movement.
The song highlights the struggles of teachers who are not being paid their due wages despite their strike. The verse "Teachers on strike, no more school today. They Want More Money, but the Board Won't Pay" speaks to the struggle of educators who have to fight for their rights despite their essential role in shaping the future generation.
The song's central message is that there are many issues that divide us, such as politics, poverty, wealth, and age. Still, we all share a connection and the common ground that we are all human beings. The refrain "But that's what makes the world go round, the ups and downs a carousel, changing people's heads around, go underground young man, people make the world go round" encapsulates this notion.
Bob Baldwin's People Make The World Go Round is a timeless classic with powerful lyrics that are still relevant today. It's a reminder that people have the power to change the world, and we should all work together for a better future.
Line by Line Meaning
People...
This song is about people and their impact on the world.
('Round And 'Round And Around...)
The repetition of this phrase symbolizes the continuous cycle of life.
People Make The World Go 'Round
People are the driving force behind the world's progression and movement.
('Round And 'Round And Around...)
Again, symbolizing the cyclical nature of life.
Teachers On Strike, No More School Today
The lyrics describe a scenario of a teacher's strike and the impact it has on students and education.
They Want More Money But The Board Won't Pay
The teachers are asking for better pay, but the board is not willing to give it to them.
People
Referring again to the importance of people in society.
Everybody's Talkin' 'Bout Ecology
People are concerned with environmental issues like pollution and its effect on health.
The Air's So Polluted That It's Hard To Breathe
Pollution has reached a point where it's affecting people's ability to breathe, causing health issues.
People
Once again emphasizing the significance of people in society.
Refraion
The chorus is repeated, to reinforce the idea of people being the driving force of the world.
But That's What Makes The World Go Round
The challenges and issues society faces are what ultimately drives progression and development.
The Ups And Downs A Carousel
Life is full of ups and downs, like a ride on a carousel.
Changing People's Heads Around
Challenging people's beliefs and ways of thinking can lead to progress and change.
Go Underground Young Men...
The line encourages men to stand up for their beliefs and fight for change, even if it means going against the norm.
People Make The World Go Round...
Reiterating the idea that people are the driving force behind progress and development.
Old Folks Judge You By The Clothes You Wear
There is a generational difference in values, with older people judging younger people by their appearance.
They'd Swear You're A Hippy If You Have Long Hair
Older people may assume that someone with long hair is a hippy or has certain beliefs that they don't agree with.
Young Politicians Fight For Poverty
Younger politicians are concerned with ending poverty and reducing inequality.
While People Still Cry For Equality
Despite efforts to reduce inequality, there are still people who are suffering and need help.
But That's What Makes The World Go Round
Repeating the idea that challenges and issues society faces are what ultimately drives progression and development.
The Ups And Downs A Carousel
Again, symbolizing the cyclical nature of life.
Changing People's Heads Around
Challenging people's beliefs and ways of thinking can lead to progress and change.
Go Underground Young Men...
Encouraging men to fight for change and make a difference.
People Make The World Go Round...
Reiterating the idea that people are the driving force behind progress and development.
('Instrumental')
This section of the song does not have any lyrics.
Writer(s): THOM BELL, LINDA CREED
Contributed by Noah E. Suggest a correction in the comments below.