This blog will be about whatever suits my fancy. Chances are, it will concentrate on media misrepresentations of the American "Black community", Black politics, politics in general, and whatever else I want to mentally masturbate about.
It's definitely a singing jazz album. If you think about the movies that have scenes in the smokey jazz club where you have the sophisticated/hipsters/lovers/those getting their mack on, and you have the singer fronting a small ensemble as the hero or protagonist comes in and settles down and orders a shot of some mixed drink or maybe a drink over the rocks from the foine waitress in the slinky dress...
This is it.
You put this on for a dinner with candles or when you draw the bath with bubbles, candles, body oils and incense. This is when you want to do the long slow grind not the bumping uglies slammin mcnasty. This is on when you don't have to rush and you can lay on the bed, butt nekkid without having to worry about kids coming in and seeing the "after glow."
This is chill. This is mature. It sort of hurts that he sounds like Al Jarreau, but this is GOOD MUSIC. "Share My Life" is better than the first release, "Why Would You Stay" and I considered that one to be one of 2010's best songs. There's a "duet" with Jill Scott that's not really a duet but she does have a speaking/spoken word part that displays her spoken word ability, which is damn good.
Back in the day when both were SMOKIN, the debate would be Prince or Michael Jackson? Who was better?
I'd say when it came to music, although Michael was around longer, Prince was on top because he wrote all of his songs and played all of the instruments.
Michael had to be way on top on the entertainment level. Prince could jam and rock and give one helluva concert, but M.J. was in a league all to himself. (Think of all the wannabes, even today cough*Usher*cough, cough*Chris Brown*cough*)
"Old heads" like me remember that it was Michael that caused MTV to play videos of Black artists!
People often say they are offering prayers for the family of someone who died, but in this case, the family needs it regardless.
Radio stations currently pay royalties for the records they play to publishing companies. So, why shouldn't they pay royalties to the artists?
Fundamentally, that's the question that I keep coming around to answering, they should pay royalties to the artists, because that is part of a copyright scenario, correct?
This is especially true when I think about the radio stations/personalities caught engaging in payola and the companies NOT caught engaging in payola. Tom Joyner, a business partner with Radio One, and Larry Young, a morning talk show host on WOLB, a Radio One station, have done a great job in explaining how this will affect radio stations. While I understand that the royalty rates may put radio stations out of business, and I understand how radio stations may not be willing to "break new artists" because they will pay royalties for songs that may be a bomb, aren't radio stations getting a real good deal right now?
When things were going well, they played "hot songs" and put on radio personalities that did a good job and were able to charge decent advertising rates. Now things are not going as well, and the radio stations are put behind a rock and a hard place.
Does the estate of Mary Wells deserve to get some royalty money? Yes. Isn't it the record company's responsibility to pay that royalty? Yes.
Why aren't they doing it now?
BTW, a few years ago I found out why there are not many raps with Motown songs used in the mix. The reason is, Barry Gordy charges one of the highest, if not the highest, licensing fees in the industry to use songs in the Motown catalog. Ain't Barry Gordy ripping people off, STILL?
"Everyone" knows that the record company is set up in a way that they make most of the money from record/CD sales and even if a record sells one million copies, the recording artist may get 10s of thousands of dollars, vs. hundreds of thousands or millions from the direct record sales.
Remembering what "Left Eye" said on the MTV show that discussed the behind the scenes actions of TLC, when they signed the deal, they signed to about 4 points a unit, meaning 4 cents on every CD sold. Money "given" to them by the record company was front money for production and studio time. It was loan. The record company ALWAYS get's "their" money first. When the artists finally get some money, they still have to pay agents, band members, and other people who work for them. AND they have to pay taxes.
When the artist goes on the road to tour, EVERYTHING the record company pays for, they get back, plus interest. The tour bus and driver, the hotel rooms, the clothes, ALL of it. And because the money goes to the record company FIRST, the artist see little of anything.
So in the current "save Black radio" campaign, why is the cheating of artists by the record companies not being mentioned much?
Raphael Saadiq has a release, "The Way I See It" that has one cut that is getting a little bit of play, definitely on The Tom Joyner Morning Show.
Look, I'm a funk-a-teer, and born in '63, but there are certain songs from the late 60's that I remember, like "My Cherie Amor". That song really got to me, even as a kid. But what does that have to do with Raphael Saadiq? Well, "The Way I See It" is a REAL old school release. THIS is a throw back! THIS is R&B!And it even has that SOUND from the old studios!
This CD is GOOD!!!!!
The cuts I like:
Sure Hope You Mean It
Just One Kiss, Featuring Joss Stone -- This is HOT!!!!
Love That Girl -- (Reminds me of The Temps with Eddie Kendricks up front)
Never Give You Up (Featuring Stevie Wonder) -- Stevie does a harmonica part but the person Saadiq duets with, CJ, makes this cut
Lets Take A Walk
Sometimes -- Hmmm... Otis Redding?
Kelly Ray -- definitely Al Green
When Saadiq did some songs on Earth, Wind, & FIre's last CD, only Saadiq got the real essence of EW&F. Dude is music.