I wrote "I'm Faithful" in 1990, with no idea of where I might place it. It is the third entry in this 4-part series. All my connections were R&B or Jazz. And this post-New Wave club piece was going to take loads of dough, dropping wax, and greasing palms to do something independently of the majors. I had watched one of my collaborators (Herschell Masten; White Limousine) dole out big funds doing such. At the time, buying food and keeping a roof over my family's heads was my other choice of investment. Aside from the monetary logistics, this was best launched as a Pop thing. I didn't know anyone with the voice capable of conveying the feel without sounding wannabe.
…then came my newest quarter-brother. They say you can pick your nose but you can't pick your family. I was born (and still remain) an only-child; my mother is ninety and for some reason has chosen a life of celibacy since my father's passing four years ago. So if I am to have brothers and sisters, it is incumbent upon me go draft my own from among the living late-rounders. Among the new honorees is lil' bro Carey Denha—front-man and benevolent dictator of Mega-80s and the entire TMP grouping [Tangerine Moon Productions]. Carey and I were introduced by Chuck Miller (Formerly of Miller MIDI Studios [and classic studio museum])—who had suggested me to Carey as one to hire to recreate classic synth patches for his 80's tribute band. The groove somehow made a family. He had his synth-programmer, recordists, and production executive; and I had my quintessential Pop/Rock [don't listen with soda or your head might explode] male vocalist.
Almost six years after our meeting, here they are together as one: Carey and "I'm Faithful".
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