Jidé and Clay work something out about how he needs to sing with more power, but again Clay T-bones me with his word choice: "If you were singing it in Nigeria…" I assume we don't get to hear the part of this frankenquote where it makes sense or is less vaguely offensive. I kind of like this song. Rebecca does too. And Clay happy, for once.
Capital Edge is coming to you live with some edgy, jazzy music and smackin' your ass with some sweet saxophone. Felisha looks unhappy because she can't "hear this on XM Café," and she wants to win, so what's she going to do? She interviews that they seemed to be heading off into a non-XM Café place, down a jazz road. I thought getting jazzed was a good thing, though? There's some suspense about how she's going to PM this, because we've seen her be passive so many times, but I think she'll surprise us. And she does: she walks in there and explains that she's "a little concerned" that they are collectively "sounding really jazzy," that they're supposed to be more like a "pop rock" song, and asks them to "tone [the jazz] down" and "up the pop rock sound just a little bit," because basically she needs to "make sure that it fits the radio station," which is "like sophisticated music," and she doesn't want the execs to go, "This doesn't fit into what we're trying to fit into," because "we could lose the task." What's cool is the communication here, given that she's been a rat in a cage with these other people for weeks and you tend to lose your ability to make sense after awhile, but mostly because the guy's trying to interrupt and agree, but she gets the whole idea out at once, so it's not like they're talking over each other. The proof of success in a verbal exchange is the outcome, which is: "I'm sensitive to that." The score here tries to be somewhat suspenseful, but she obviously wins. She's being friendly, and understanding about their artistic process without -- and this is the point here -- coming off as falsely apologetic or begging, like, "Guys, I'm really sorry but…" It's strictly, "Here's what I want, here's what we need to do, and here's why it's important to me." Smoother than Rebecca, more forceful and less oblique than Randal. A+, Felisha.
Alla interviews her approval: Felisha not only identified a pretty nebulous issue, but won the artists and producers over. Alla also makes the point that it was the "acoustical sound" that needed the tweak, and not the song or musicianship itself, which is actually I think what made it a non-issue: Not "you're playing it all wrong" but "there's a low-impact way to change the delivery without affecting the song," and making it less of an art thing and more of a production thing. Which is an impressive call, and I'm proud of them. Felisha continues to give them dorky, adorable production notes on the drums (which is important, since it's the beat that throws the people off about Jidé later), and more dorky head-bopping accompanies the band's now-complete transformation into Maroon 5.