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.
The Way She Looked
Bob Baldwin Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Attracts me like no other lover
Something in the way she woos me
I don't want to leave her now
You know I believe and how
Ooh ooh ooh ooh ooh
Somewhere in her smile she knows
That I don't need no other lover
Something in her style that shows me
I don't want to leave her now
You know I believe and how
You're asking me will my love grow
I don't know, I don't know
You stick around and it may show
I don't know, I don't know
Something in the way she moves
And all I have to do is think of her
Something in the things she shows me
I don't want to leave her now
You know I believe and how
(Something in the way she moves)
(Something in the way she moves)
(Something in the way she moves)
(Something in the way she)
(Something in the way she)
(Something)
(Something, something, something)
Bob Baldwin's song "The Way She Looked" is a rendition of The Beatles' 1969 classic song "Something," which George Harrison wrote. "Something" is widely considered one of George Harrison's finest works and one of the greatest love songs of all time. Bob Baldwin's cover of the song preserves the original melody and chord progression while presenting innovative jazz arrangements that enhance the song's emotional depth.
In the first line, "Something in the way she moves / Attracts me like no other lover," the singer marvels at the irresistible pull he feels towards his lover. There is a certain something she possesses, an intangible quality in the way she walks and acts that draws the singer towards her. This is further elaborated in the next line when he sings, "Something in the way she woos me." He is captivated by the way she woos him, and he doesn't want to leave her now.
The chorus of the song repeats the refrain that he doesn't want to leave her now and that he believes in their relationship. The lines "Somewhere in her smile she knows / That I don't need no other lover" and "Something in her style that shows me" convey the idea that the singer finds comfort in his lover's smile and the way she carries herself.
The final verse of the song further elaborates on the singer's feelings. He admits that he doesn't know if his love for her will grow, but he implores her to stick around as it may show. The song concludes by repeating the opening lines, "Something in the way she moves / And all I have to do is think of her / Something in the things she shows me."
Overall, the song is a beautiful expression of undying love and admiration. The melody and lyrics come together to form a timeless classic that resonates with listeners even today.
Line by Line Meaning
Something in the way she moves
Her movements have an inexplicable effect on me
Attracts me like no other lover
I am attracted to her in an incomparable manner
Something in the way she woos me
Her way of courting me has an elusive charm
I don't want to leave her now
I have no desire to leave her at this moment
You know I believe and how
I genuinely and earnestly believe in our relationship
Somewhere in her smile she knows
She is aware of something and it shows in her smile
That I don't need no other lover
I don't require anyone else in my love life
Something in her style that shows me
Her way of presenting herself gives me a message
You're asking me will my love grow
You are enquiring whether my love for her will increase
I don't know, I don't know
I am uncertain and ignorant about this matter
You stick around and it may show
If you stay, it might become evident
Something in the way she moves
Her movements have an inexplicable effect on me
And all I have to do is think of her
Merely thinking about her puts me in a particular state of mind
Something in the things she shows me
The things she reveals to me have an elusive effect on me
I don't want to leave her now
I have no desire to leave her at this moment
You know I believe and how
I genuinely and earnestly believe in our relationship
(Something in the way she moves)
Her movements have an inexplicable effect on me
(Something in the way she moves)
Her movements have an inexplicable effect on me
(Something in the way she moves)
Her movements have an inexplicable effect on me
(Something in the way she)
There is something special about her
(Something in the way she)
There is something special about her
(Something)
There is something elusive and mysterious about her
(Something, something, something)
There are multiple intangible qualities that make her unique
Lyrics © BMG Rights Management, Universal Music Publishing Group, Royalty Network, Downtown Music Publishing, Warner Chappell Music, Inc.
Written by: George Harrison
Lyrics Licensed & Provided by LyricFind
Buzz Davis
Absolute scorcher, and a personal favorite of mine. This track takes off and never lands. You and your crew nailed this one Bob.
Shirley Leone
My favorite Bob Baldwin song! Its off the chain!
Davil
Oh, Yea!
Shawn Myrelle
Absolutely amazing from 2:36 to the end of this piece. I cannot help but praise the beginning when the sax entered; Bob made it clear, from that moment, this piece was serious. Great work.
Davil
Ride ON!
Edison Mosley II
...I first hear this tune in Detroit back in 2005 and I was hooked on Bob Baldwin's music... Yes, "The Way She Looked At Me" is surely from life's experience of a beautiful woman that was one of a kind... Simply magical indeed...
Davil
Magical, one too, bumpin! With the beauties!
David D. Allen
Love this tune by Bob Baldwin. One day I will try to get this composition down pack, I want to perform this on my keyboard.
William's Jazz Loft
You have my support and encouragement, my brotha. In fact, if you want to cover Bob's material there are three other tunes that i would suggest adding to that repertoire simply because the keyboards are front and center in soloing and thus get more of a workout. They are Neo Jazz; She's Single, Ready To Mingle ( both fr the album Standing Tall ) and Give In To Love ( fr Cool Breeze ) 😊😎
Marlon Berend
The man is an musical genius......