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Far from the mischievous "Kid" he played on Kids Incorporated 23 years
ago, Rahsaan Patterson re-entered the music scene from behind the
scenes penning perhaps Brandy's biggest single to date as well as
session work for other well known artists. By the time he sought a
record deal, there was a near bidding war over him. MCA won the battle
in 1995 and by 1997; Rahsaan Patterson's self-titled debut was
released.
Rahsaan Patterson was simultaneously retro and fresh the way neo-soul
indeed was supposed to be. The difference though was that Rahsaan and
collaborators Keith Crouch and Jamey Jaz didn't reach as far back as
most neo-soulers. Crouch's funk sensibilities and Jaz's chord
structures and bridges harkened to the very best of 80's R&B while
every other product of the hip-hop that bred neo-soul fished for the
Rhodes of Stevie and Donny, vibes of Roy , and upright bass of Ron.
Patterson, Crouch, Jaz, and Les Pierce reminded R&B lovers of
bridges and solos long since replaced by rap verses. But we mustn't
dance around what pulled the average listener and locked in nearly
vocalist in church or club - Patterson's voice. It was an itchy
scratchy thing when he wanted it to be-like his pipes were silver-coil
lined. It was a soaring falsetto when he wanted it to be. It was a
funky ass tenor-bass when he wanted it to be. It was a nearly operatic
alto when he wanted an exclamation point. What range is this?!! Who
sings like this? One thing couldn't be denied by ANY true vocalist, in
1997, there was no male vocalist out who had the range and control of
it that Rahsaan Patterson had.
Though he was as unique as any of the newly crowned "Neo-Soulers" of
the late 90's, Rahsaan at MCA was very lost in the shuffle of corporate
fools who didn't know how to "package," "market" or "promote" him. The
truth is, his material was so top shelf that the markets that truly
mattered to Black music, specifically in the adult category, were
already spinning one if not two of his singles from the early EP and he
didn't need the label to step in and do anything but support the
momentum the quality recordings already came with. With an overly
sexual Maxwell fresh on everyone's lips, minds, and hearts, EVERY man
in the industry after Max HAD to have an image. MCA allowed their
confusion and control over Patterson to inhibit otherwise gold/platinum
material for reaching its full potential.
Despite MCA's shortcomings, Rahsaan Patterson's music made it to urban
adult radio in enough markets to garner a truly loyal following who
anxiously awaited the sophomore project after being thoroughly
serenaded by the singles "Spend the Night" and "Where You Are," the
latter remaining a show favorite for a decade to come.
Rahsaan Patterson Live at H20
Love in Stereo arrived in stores in late 1999 as neo-soul and R&B
lovers anxiously awaited D'Angelo's Voodoo. As Voodoo was pushed back
to Jan 2000, "Love in Stereo" had time enough to permeate the souls of
any true R&B fan willing to listen. Much more up-tempo than his
debut, LIS was a late 70's, early 80's tour de force reminiscent of
Travolta disco, Natalie Colish happy jams, clav-filled Wonder-esque
ditties, and some of the freshest vocal arrangements heard in years.
The songwriting was more personal as well, humanizing Patterson to
endearing fans. "Sure Boy," "It's Alright Now" and "Friend of Mine"
invited us in to an apparently cerebral and complex man's mind and
world. The jamming didn't stop though and the last half of the album
was jamming ass "roll back the rug everybody" party. Despite the studio
synergy of Patterson, Jaz and newly added Van Hunt & Steve "Silk"
Hurley, MCA still found no way to deliver 1999's most important black
album to a large public withering away from malnourishment.
For a moment there was urban contemporary hope for
Rahsaan's 3rd project as spins were growing on the Steve Harvey
compilation track "The One for Me." It was also to be the lead single
from Patterson's project. For the first time, he had spins on major
urban contemporary radio. Alas, the Music Cemetery of America, as
Rahsaan's label mates, The Roots unaffectionately referred to the
former 80's black music powerhouse, underwent a huge merger and were
themselves retired by parent company Universal in 2003. In attempts to
trim "fat," Interscope, now responsible for MCA's roster, dropped over
40 artists before re-instating the Geffen label. Rahsaan and his third
project, initially titled The Best, were set "free" to fend for
themselves in the open market. Though initially dismayed, Patterson and
his management found solace in their new independence forming Artistry
Music and renaming the label funded project, "After Hours."
For the third time, Patterson and Jaz delivered the purest rhythm &
blues compositions, arrangements and productions since Jam and Lewis.
"Don't Run So Fast" and "Sometimes You Gotta Let Go" were needed by the
masses as they scrapped up the remains of the neo-soul movement
searching for simply "good music." Van Hunt's former title cut "The
Best" is perhaps the greatest composition of Patterson's to date. Add a
dash of Hurley ("Yeah Yeah Yeah") and Patterson drummer/compadre D-Locc
Walker ("April's Kiss" and "Always Find Myself") and "After Hours"
ranks very solidly with Patterson's previous masterpieces. Rahsaan
Patterson is a testament to triumph over adversity.
The music biz could easily have killed the spirit of an artist as pure
and authentic as he is. The mere fact that we are welcoming his 4th
studio effort is a feat that only one member of the 'neo-soul elite'
managed to do. To continue pressing on without the support of all the
pretty things that seem so necessary for artists to get heard these
days is remarkable, but more importantly, inspiring.
- Reg Jones, The Blacklist
Links:
Official Website
Rahsaan Patterson on Myspace
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