, which she started working on three years ago, was hyper-specific. “I wanted some gutbucket music that reminds me of being in a juke joint where you have the pool table and lawn chairs with some brown liquor,” the singer explains. While many songwriters today build tracks around a single musical statement and forgo bridges, Ledisi decided, “I want bridges on every song, I don’t care!”
Much of the album was made in the studio before the pandemic, which allowed Ledisi to direct her musicians as she saw fit. For “WKND,” “I was telling the guys, ‘I don’t want any jazz on this, I need a funk vibe,'” she recalls. “I need the feeling of how Luther [Vandross] made us want to rollerskate, Chaka [Khan’s] ‘What Cha’ Gonna Do for Me.'”
To drive home her point, Ledisi started pulling up songs and playing them in the studio. “WKND” ended up with a slap-in-the-face bass line, the type you might expect from an early Eighties Vandross recording featuring a prominent contribution from Marcus Miller, and a listing-days-of-the-week lyric that evokes Alexander O’Neal’s “Saturday Love.
In March, the pandemic made in-person collaboration impossible, but Ledisi still had two songs to finish. She could either wait and finish the album when things went back to normal or learn a new level of self-sufficiency. Ledisi bought some equipment at Best Buy, and with advice from Rideout, Ivan Barias (a writer-producer-multi-instrumentalist who has worked with
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