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REVIEW - Bob Baldwin – Presents Betcha By Golly Wow – The Songs of Thom Bell – Peak Records (**2 out of 5 STARS)
May 1, 2012 - We live in a world where most instrumental music sounds like it was made for a 5x5 vertically moving room and that includes some Smooth Jazz. Interestingly, most Smooth Jazz musicians are technically some of the best players on the planet but many have fallen into this big vacuous hole, an amnesic state, where channelling Bert Kaempfert is common place. Case in point, the beginning of Bob Baldwin’s new album, “Betcha By Golly Wow,” gave me visions of Ed Grimley swatting fireflies with a spaghetti baton. This Thom Bell salute starts really soft with the Delfonics 1970 hit, ‘Didn't I (Blow Your Mind This Time).’ It was Bell’s third hit with the band. Russ Freeman’s guitar work is fantastic, as usual, but flautist Ragan Whiteside dresses the tune with a polka dot poncho – I’ll take floor number 4 please! Seriously, doing covers is a tough gig and interpretation with instrumental music is a whole other Matterhorn to climb. It’s just too easy to slip into Muzak and this opening tune is driving way too close to that dotted line. Bell was well known for his lush arrangements but not for putting anyone to sleep.
Once again the guitarist, Paul Brown in this case, is the highlight on the next track, the Spinners #2, 1976 classic, ‘The Rubberband Man.’ The interplay between the players, Baldwin, Whiteside and Brown, works better here. Baldwin also takes a fresh approach on the tune. I didn’t even recognise the song at first, which was cool, but Brown’s guitar is the true let-your-hair-down juice in the song.
I liked Vivian Green’s vocal work on the Delfonics, 1968 hit, ‘La La Means I Love You.’ This was Bell’s first really big hit and it reached #4 on the Billboard charts. Without hearing the original(even though I have) and the countless top-shelf covers I would still easily graduated this interpretation beyond a garden variety thanks to Green’s elegant voice.
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‘Gonna Be Sweeter,’ was inspired by the Thom Bell groove but it sounds more like Bob Baldwin and there’s nothing wrong with that. It’s a cool, catchy standout on the project.
Will Downing handle’s the 1973 Stylistics hit, ‘Break Up To Make Up’ with, his usual, great passionate care. I’ve always looked at Downing’s level of believability to be his true strength. Even more than that big voice itself, it’s the confidence and understanding that lures me in.
Two of my favorite sax players, Paul Taylor and Marion Meadows are front and center on, ‘You're As Right As Rain’ and ‘I'll Be Around,’ respectively. Both understated tunes, however have a certain cut-and-dried feel. Let’s just say I wanted to like them.
The weakest part of the album is Toni Redd’s vocals on the Stylistics big hit ‘Betcha By Golly Wow.’ She clearly over-sings the song almost ad nauseum. Even the best albums can have a few missteps but including this take made me scratch my head.
I liked Baldwin’s tribute to Michael Jackson (“Never Can Say Goodbye”) in 2010 and have been a fan for years. He’s certainly plugged in but this tribute album is much too borderline background music. It’s easy to see that Baldwin put a lot of work into it but in the end it’s much more bologna than filet mignon. – by John Beaudin
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About Our Reviews: Most Smooth Jazz writers/websites have never met a Smooth Jazz album that they didn’t like. Look around almost everyone in the genre seems to love everything that comes out. Does that make sense to you?
At Smooth Jazz Now artists cannot buy a positive review or airplay on our radio station – remember that’s called PAYOLA. It was wrong in the seventies and it’s just as wrong today.
We will always herald great product but we will never be bought. Payola reviews and airplay is one of the major reasons the Smooth Jazz format has suffered in the past ten years.
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