By Isa Jones
By Mary Willson
By Brian Turk
By Drew AIles
By Taylor Boylston
By Bree Davies
By Emerald O'Brien
Composed of Raphael Saadiq of the R&B/smooth-funk band Tony!Toni!Toné!, En Vogue alum Dawn Robinson, and Ali Shaheed Muhammad, longtime DJ for the recently defunct A Tribe Called Quest, the group got its first exposure with "Dance Tonight," a song that was featured on the soundtrack to the Spike Lee/Sam Kitt film Love & Basketball and the band's debut self-titled full-length, both of which were released this past spring. According to Saadiq, the group had existed as a musical entity long before the single's inclusion on the film's soundtrack. "I had a vision for a while of just putting together a group of collective artists," he says. "Me and Ali Shaheed have done a lot of production work together, and we were like, 'Let's put a group together.' We just started from there.'"
Initially conceived as Linwood Rose, a project that also involved D'Angelo, the duo eventually had to look for another singer, because the soulster was immersed in the recording of his own sophomore CD, Voodoo (which featured Saadiq, who co-penned and produced the album's number-one hit single "Untitled"). For Saadiq, the decision to enlist Robinson as the band's vocalist was an easy one. Saadiq and Robinson had known each other growing up in Oakland; when he approached her about joining Lucy Pearl, she felt so enthused about the project that she temporarily put her own solo work on the back burner. Despite reservations from RCA, who had offered Robinson a solo deal, the singer embraced the opportunity to express her own creative desires rather then have them dictated from a record label and outside producers, which she says was often the case with her former group. Saadiq clearly stresses the benefit of enlisting a voice that helped sell millions of records in the '90s. "Dawn definitely brings the vocals," he says. It's a mild understatement: Robinson's smooth, saucy vocals give the group a more balanced, well-rounded sound. Not to mention a heap of diva appeal.
Ali, who helped create Tribe's signature sound, spices up the group with a hip-hop flavor that adds just the right amount of texture to its urban-sophisticate flow. "Ali definitely brings the hip-hop side. He brings the whole strong beat and the strong will to take it further, and to keep the beats not wack," Saadiq says. "He is always thinking about that." As a DJ, Ali hasn't had a whole lot of experience of playing with live musicians; judging by the band's recording, working with Lucy Pearl has inspired him to envision the turntable in a band context and to further develop his skills on the bass and the guitar, all of which he utilizes on Lucy Pearl.
It is this live instrumentation that helps set Lucy Pearl apart from the average prefabricated R&B groups currently dominating urban commercial radio -- an aspect that has everything to do with Saadiq's talents as a multi-instrumentalist. When an R&B or hip-hop artist wants someone to lace their tracks with some blazing, soulful guitar, Saadiq is often the player whose phone starts ringing; Q-Tip and D'Angelo are some of the more notable artists with whom he has worked recently. As an artist influenced by everyone from Albert King and Albert Collins to Stevie Ray Vaughan, "Spanky" Alford and Kenny Burrell, Saadiq laments the fact that his penchant for plugging in is viewed as uncommon on urban radio. "You just don't hear that on the radio in black music," he says. "It's sad that you don't -- 'cause they're sleeping on what we created."
Initially, radio slept on Lucy Pearl in general. Eventually, though, listener response forced more stations to add the band to their playlists. Radio stations like KKBT-FM/The Beat in Los Angeles began to get so many requests for "Dance Tonight" that the single initially became the station's number-one record -- no small feat, considering the station reaches more than 4.5 million listeners. Most likely, it was the symmetry that exists in the interplay between Saadiq and Robinson's voices that caused listeners and programmers to take notice of what Lucy was doing. The pairing might not make people forget Marvin Gaye and Tami Terrell just yet, but it does showcase two artists whose silky-smooth voices complement one another well. The album demonstrates a truly democratic approach to production and performance, as each member has opportunities to showcase his individuality in a way that gently reminds the listener of the artist's past work.