Love for Sale (Bilal album)
Love for Sale is the unreleased second album by the American singer-songwriter Bilal. It was recorded from 2001 to 2003 at Electric Lady Studios in New York during the height of the Soulquarians era, a period in the studio's history marked by the frequent and innovative recording activity of that musical collective, in which Bilal was a member. Written and produced mainly by Bilal, the album was a departure from the producer-driven, hip hop-influenced neo-soul music of "1st Born Second"(2001), his moderately successful debut album for Interscope Records. Bilal pursued  a more raw and independent direction with "Love for Sale", which he mostly composed on piano. At Electric Lady, he held improvisatory jam sessions with a live band featuring the trumpeter Leron Thomas, the drummer Steve McKie, and the pianist Robert Glasper, one of several former classmates the singer enlisted from New York's New School for Jazz and Contemporary Music. With the assistance of a few select producers, such as Dr. Dre and Soulquarians member J Dilla, Bilal experimented with different recording techniques, longer free-form compositions, and arrangements drawn from jazz and the blues. The resulting music features  a densely layered fusion of genres, including soul, funk, and rock, with unconventional song structures and rhythms. Bilal's varied falsetto vocal performances throughout the album include sensual and ecstatic expressions of romantic devotion and lovesickness, with lyrics reflecting a distaste for writing what he called "contrived love songs". The album's dark and experimental nature was met with resistance from Interscope, who demanded Bilal record new music and delayed the release. The singer refused and continued to lobby "Love for Sale" while mixing the recordings in the studio. As he neared its completion and a prospective release date, an  unfinished mix of the album leaked and circulated widely on the Internet in 2006, becoming one of the most notorious such cases during the rise of digital piracy. Interscope responded by shelving "Love for Sale"s commercial release indefinitely, which aroused suspicion and controversy among Internet communities and furthered the label's conflict with Bilal, ending in his dismissal. The leaked album quickly enjoyed an underground popularity and online acclaim, inspiring the distressed singer to tour performing its songs and continue his career in more artistically daring directions. Its growing mystique as an innovative but neglected musical work helped enhance Bilal 's profile, as he was sought after for recordings by other artists, while several of the album's contributors went on to work on his future projects. A cult classic among black music fans, "Love for Sale" has since been considered by some critics to be Bilal's masterpiece and a forerunner of similarly progressive R&B music that developed by the end of the 2000s decade. Interscope retained control of its master recordings, and another company held the publishing rights, although the songs remain available online. Background. Bilal started his music career in 1999 while attending the New School for  Jazz and Contemporary Music in New York City, where he studied jazz singing and practiced writing original songs. With his classmate and friend Robert Glasper, he frequented local music clubs such as the Wetlands Preserve, where he met members of the Soulquarians, a rotating collective of experimental black music artists who often collaborated on each other's recordings. A demo recorded with the musician Aaron Comess, who Bilal met at a jam session set up by New School professors, earned the singer a recording contract from Interscope Records and encouraged his exit from the school to concentrate on music professionally , including the projects of the Soulquarians. Bilal's tenure at Interscope was marked by conflict, beginning when the record label disapproved of the alternative rock-style demos he recorded for his prospective debut album and pressured him into working with more high-profile producers. Featuring contributions from the Soulquarians, the resulting album "1st Born Second" was released in 2001 to modest sales but critical acclaim as a pivotal release in neo soul, earning Bilal comparisons to the genre's contemporary D'Angelo. However, Bilal felt uncomfortable with the media's neo-soul categorizations, finding the term restrictive of black musicians. He  did not want to be labeled as "the soul guy", according to Glasper, who went on to play piano in his band. As the singer explains, "I was trying to come from a jazz perspective. I was trying to write open-ended kind of tunes that could go in a lot of different directions live." Bilal's concerts featured a backing band and dynamic that departed from contemporary R&B conventions and helped expand his fanbase, although Interscope wanted higher album sales from the singer. Writing and recording. While performing on tour in support of "1st Born Second", Bilal and his  band developed his music further in the directions of funk, rock, and jazz fusion. This experimentation informed his songwriting for "Love for Sale". Mainly a keyboard-oriented composer, Bilal composed most of the songs himself on piano, a process he cites as the beginning of his singer-songwriter experience. He experimented with writing music to different cadences and forms beyond the traditional verse-chorus structure of popular music, in an attempt to deconstruct his composing methods and sensibilities, which he felt were becoming contrived. He tells "Vibe" magazine that he was feeling "rebellious" and eager at the time to write , produce, and play music on his own. Bilal's desire for a more independent project was met with some resistance by Interscope. The label allowed him recording time at Electric Lady Studios, where he had previously recorded "1st Born Second". Built in New York City's Greenwich Village in 1970 under the commission of the rock musician Jimi Hendrix, the studio had at this point become a home base for the Soulquarians and their innovative recording sessions, which often drew on the creative freedom of Hendrix's music. According to the music journalist Michael Gonzales, this was at "the height  of the Soulquarians' heydey", as members such as D'Angelo, the singer-songwriter Erykah Badu, and the rapper Common were all working on music there when Bilal started his sessions. Bilal pursued what he described as "a raw, bluesy feeling" for "Love for Sale", inspired by the blues singer Howlin' Wolf's recordings, and used more live instrumentation than on "1st Born Second". He worked with several musicians for the first time, such as the hip hop producers Nottz and Denaun Porter, and enlisted former classmates from the New School, including Glasper and the trumpeter Leron Thomas, who had performed in  Bilal's touring ensemble. The Philadelphia-based drummer Steve McKie was also recruited for the recording. An unadventurous musician up to that point, McKie felt encouraged to leave his comfort zone and experiment more while working with Bilal, who gave the band freedom to improvise in jam sessions. In his account of the sessions in 2001 and 2002, McKie recalls walking into Electric Lady and seeing only a Rhodes piano and a bass amp in the room with "really great acoustics" intended for drumming: "I felt like I was in [high school] tapping on tables and we just made kick  from candle and notepad, put a drum mic on the floor and made a wild acoustic kick." The majority of the production was done by Bilal. He experimented with recording techniques in the studio, as well as arrangements from jazz and the blues, influenced by Wolf and the bassist-composer Charles Mingus in particular. According to Rachel Swan of the "East Bay Express", "he took a very considered approach in making the beats, creating layered melodies and chord voicings that sound as though he had a full band in the studio with him." Bilal also experimented with different methods to  manipulating the sound of the recordings, including tape reel distortion and processing them through the Akai MPC 2000 (a music workstation). In another attempt to challenge his songmaking habits, he tried using different carrier signals in the process of modulating the recordings. Some songs were composed and recorded with a few producers Bilal chose personally, deviating from Interscope's preference for an entirely high-profile production. Nottz and fellow producers J Dilla and Dr. Dre, who had both worked on "1st Born Second", were among those who assisted "Love for Sale"s production in limited roles. Dilla, a multi-instrumentalist member  of the Soulquarians, showed Bilal an approach to arranging songs by way of drum programming. "He had this thing where no matter what he picked up he could bend his will into it... throw the funk in it", the singer explained. The song "Sweet, Sour U" was produced by Sa-Ra Creative Partners, a trio of producer-musicians working with electro, hip hop, and soul sounds. Common and the vocal group Zap Mama performed with Bilal on "Sorrow, Tears & Blood". Bilal worked on "Gotsta Be Cool" and "Lord Don't Let It" with McKie, who had begun exploring production at  the time. McKie recorded the musicians using a Roland VS-880 digital audio workstation, making adjustments to the drum sounds, and sampled the recordings through the Akai MPC. "My screen went out on me a few times", McKie recalls of the sampler. "It was pretty amazing how we did the stuff... That was the most bizarre way to do it but when you only have two pieces to work with you figure out how to make things work." Bilal recounts that using such computerized equipment in the studio made him feel "like a wizard". Speaking on the entire process of making  Love for Sale, the singer says he "grew a lot" and "felt the most comfortable as an artist there". Music and lyrics. Musically, "Love for Sale" features a fusion of several genres, identified by "SoulTracks" writer L. Michael Gipson as "innovative, sometimes deconstructed soul", funk, and electric rock. Gipson adds that it departs from the contemporary hip hop sounds of "1st Born Second" in favor of strong experimentation with "progressive jazz", and Smash Gordon, of the Fabric club's blog, recognizes jazz inflections in Bilal's wide-ranging and "colorful" productions. "Consequence of Sound" writer Chris Coplan also describes the  sound as undergoing a "transformation" but closer to blues rock, while A.D. Amorosi of "The Philadelphia Inquirer" considers it "weirdly rock- and folk-tinged". In the opinion of "Prefixmag" critic Rafael Martinez, the "incredibly dense and layered" album is "drenched in a soul flavor". "This wasn't your typical neo-soul or R&B album", writes Andres Reyes of "Shook", who finds Bilal and his band's performance emulative of Howlin' Wolf, the jazz fusion group Return to Forever, and the experimental rock musician Frank Zappa. Sarah Godfrey of "The Washington Post" calls the music "genre-bending" and "trippy", with songs  generally lengthier than the average radio single. The songs feature unorthodox rhythms and free-form composition, deviating from the conventional three-minute song structures of popular music. According to Tom Hull, the "slack and disjointed rhythm" prevalent in contemporary neo-soul is exemplified on "Love for Sale" in radical form and without the genre's typically glossy production, particularly on songs like "Hollywood". Eric Tullis of "Indy Week" makes note of "boogied-out anthems" such as "Hollywood" and "Something to Hold on To", while "Time Out" magazine's Brad Farberman observes "haunting, otherworldly funk junkets" alongside "spare, earthy R&B rituals . Something to Hold on To" opens with what Amorosi describes as "tinkling pianos" and "breezy" R&B in the vein of blaxploitation film soundtracks. In Nottz's production for the song, DJ Rahdu detects a sample of the gospel singer Myrna Summers' 1979 recording "Give Me Something to Hold on To (Pt. II)", noting its opening piano chords, alto vocal, and choir elements. "Sorrow, Tears & Blood", a remake of the Nigerian Afrobeat musician Fela Kuti's 1977 song of the same name, also samples a portion of Kuti's vocals from the 1981 song "Coffin for Head of State". Bilal cites  Kuti's mix of jazz and folk tastes as another influence on his music. Most of "Love for Sale"s compositions are developed around Bilal's classically-trained jazz singing. While he sings in a falsetto register throughout the album, Daniel Cunningham of the "Detroit Metro Times" notes that he "can often suddenly change the timbre and pitch of his voice", in the manner of a woodwind instrument, and also take on "upbeat hip-hop undertones". In Swan's opinion, his vocals demonstrate a "musical depth" uncommon in modern pop music, while Tullis suggests he performs in a combustible manner comparable  to a diesel engine or fireworks. "LA Weekly"s Rebecca Haithcoat identifies Bilal's voice as "ranging from throatier sensuality to his signature ecstatic falsetto" on "Something to Hold on To". On "Make Me Over", he uses various vocal influences in the manner of other "chameleonic" musicians such as Sarah Vaughan, George Clinton, David Bowie, and Prince, according to Emily J. Lordi, a writer and academic of black music: "Bilal makes himself over in the sonic image of about five different singers (to my ear), from John Legend to Sly Stone". Craig D. Lindsey from "The Village Voice" describes the track  as "perhaps the best Prince song Prince never recorded". Bilal sings in a more wail-like manner on ballads such as the sweepingly arranged "All for Love", on which he is accompanied by punchy horn sounds. Lyrically, the album's opening track "Something to Hold on To" reflects Bilal's growing dissatisfaction with writing "contrived love songs" at the time, as he tells the lyrics website Genius. According to Haithcoat, the song serves as "the equivalent of foreplay" as the singer declares his devotion to a lover in lyrics resembling "a letter (or text) dashed off after waking at 4:00a.m . in a lovesick sweat". The line, "And I know that shit sounds corny, but it's the way that I feel", also reflects his self-commentary as he was writing the song. While Godfrey finds that song's lyrics "grounded", more brazen sentiments feature in the sexual slow jam "White Turns to Grey" ("Did I hear you say, 'come harder, baby'") and "Make Me Over", "a manic funk love song" in which Bilal sings of submitting himself wholly for love's sake. Less successful romances are detailed in "Get Out of My Hair", which addresses an unsuitable partner, and "Lord  Don't Let It", in which a "playa" is heartbroken over having found and then lost the woman he feels destined to love. "All for Love" describes the risks of dwelling on past love. One of its lyrics ("No time for regrets, who lives to rehearse?") was inspired by advice Bilal received from Erykah Badu who told him, as he recounts, "never to apologize for any thought you have" as an artist. Delays and leak. After the recording's completion in 2003, Bilal presented the album to Interscope executives, who responded negatively to its avant-garde direction. "They really felt  the record was kind of dark and not really sexy", he tells "The Root". The production company contracting him at the time offered similar doubts. "They kept saying 'It's so fucked up and weird' ... 'This shit is so dark'", the singer explains, noting that only his band had approved of the music at this point. According to the radio journalist Jesse Thorn, Bilal's change of direction from his popular R&B single "Soul Sista"(2000) toward a progressive soul variant frustrated Interscope, who still wanted to market him strictly as a soul singer. Interscope wanted Bilal to record new songs , particularly a suitable single. Unwilling to start anew, he continued to lobby "Love for Sale", leading to several delays and disputes with the record label. Bilal also worked on new parts to some of the recordings, including "Gotsta Be Cool". He composed a string section with Leron Thomas in the style of jazz and opera, while having a friend from the New School's classical department record operatic vocals for the song, the result of which Bilal compared to the singer Jean Carn's collaborations with her pianist husband Doug. "But the label was just like, 'what the hell are  you doing?'", he recalls. "I went to battle on that album on a daily basis, which I felt was kind of stupid because I felt the music was really dope, and most people I was playing it for were feeling it and loving it." Russell Elevado, the audio engineer who mixed a few of the songs around 2004, recalls Interscope insisting the singer return to the studio and record more material. According to "Status" magazine, a cover of the 1995 Radiohead song "High and Dry" was recorded for the album. Bilal calls this compounding conflict with the label his "lowest  point" as an artist. In mid-2005, Bilal premiered a few of the album's songs at an event in Philadelphia hosted by the Beat Society producers showcase. Demonstrating a stylistic departure from "1st Born Second", the premiere started a growing buzz about "Love for Sale". In Cunningham's recollection, "the urban music community was ready to embrace it". Around this time, Bilal played the Celebrate Brooklyn! festival's summer concert series, performing "All for Love" from the album. According to Dana Bingham, a music blogger who attended the show and later interviewed Bilal, "Love for Sale" was expected in September  2005, but the release did not materialize. In January 2006, he performed the same song as a guest vocalist for Glasper's Jabane Ensemble at the Blue Note Jazz Club in New York. According to Elevado, the Blue Note was a five-night series featuring Common, Erykah Badu, and Musiq Soulchild among its nightly guests, with Bilal utilizing a jazz improvisation concept and processing his singing voice through different effects pedals. By this time, the singer was still mixing the album in the studio, nearing its completion. A promotional copy had also been manufactured on vinyl. In early 2006, a  preliminary mix of "Love for Sale" inexplicably appeared on the Internet, originally on a torrent site. According to Swan, the leak occurred "a couple months before the projected release date", and Reyes notes that the album was "only 80% complete" at this point. Copies of the mix were shared on blogs and peer-to-peer networks, with Gipson reporting that there was also a "vinyl leak". Shortly after, Bilal posted a statement on his MySpace profile, expressing concern that the leak could lead to "Love for Sale" being shelved by his record label. Interscope wanted to abandon the project altogether  and have Bilal start from scratch, to which he refused and stopped attending scheduled studio sessions. "I was really happy with the work that I had done, and we just started to go back and forth", he explains. In September 2006, Adrian Covert reported for "Prefixmag" that neither Bilal nor Universal Records (Interscope's parent company) had made a statement about "Love for Sale" in the seven months since its leak while noting the singer's absence from the artist roster at Universal's website. This led Covert to deduce that "Love for Sale" had been shelved. Interscope's decision  to shelve the album became the subject of much controversy among online communities, with many debating the label's reasons. Rumors circulated that Interscope used the leak as an excuse to abandon a project they deemed too experimental to market, or that it was leaked by the label for this very reason. According to WBUR journalist Arielle Gray, "Love for Sale" was "shrouded in controversy and eschewed by his label because it deviated from the sound of his previous project". Some said Interscope was "discouraged by the tepid audience reception", writes Swan. Although Gordon regards it as "one of the  biggest mysteries in neo-soul history", Bilal believes the rumors to all be "the truth to a certain extent" and adds that he also considered people in his inner circle when initially assessing the leak. Ron Hart of "Blurt" attributes the leak to "an industry insider" and calls it a "career near-death experience" for the singer, while "Bonafide Magazine"s Alex Naghshineh says it rendered the album's title "tragically ironic". Popularity and touring. "Love for Sale"s shelving distressed Bilal for some time and made him consider retiring from music. As he explains, "I was really into that music that  I was doing, and not being able to release it properly took a lot out of me." According to "The Shadow League"s music contributor Travis Larrier, it appeared for a moment that he would become another artist from "the soul music vanguard" of the late 1990s and early 2000s to succumb to professional setbacks and fade from the public view, as was the case with D'Angelo and the singer-rapper Lauryn Hill. Interscope released Bilal from his contract soon after, while retaining the masters for all his music. However, his fanbase soon expanded due to the leaked mix. Widely bootlegged , it was eventually downloaded more than 500,000 times as "fans ate it up and passed the album around like [a] viral Internet meme", recounts Larrier. The album received acclaim online and developed a cult following, becoming more popular with Bilal's fans than "1st Born Second". In Gordon's words, the "hugely-anticipated-and-highly-pirated "Love for Sale" lit up the internet to [an] unparalleled degree" with a "hype machine righteously making immense waves around it". Mathan Erhardt, a comics journalist for "Inside Pulse" at the time, reviewed the album in the webzine's music column and confirmed its  praises. While prefacing that he is a "fickle" listener who dislikes R&B, Erhardt found it to be far superior to contemporaneous music releases and a "genuine masterpiece" that inspires optimism for both the genre and Bilal. Speaking on its immediate appeal, the music journalist Aliya Ewing explains that it "seemed to be a more authentic and unbridled reflection of who he was as an artist at that point in time", while Gipson says it revealed "Bilal's freaky side and phenomenal range in a way that "1st Born Second" only hinted at". According to Tullis, "he had become an unclassifiable  soul hero". With "Love for Sale"s growing following, Bilal became increasingly in demand for concert performances. He began touring and performing the album's songs, introducing them as "MySpace hits" and "bootleg specials". His live band during this period included Glasper, Conley "Tone" Whitfield on bass, and Chris "Daddy" Dave on drums; this line-up would accompany Bilal for his tenure on the singer Jill Scott's The Real Thing Tour(2008). The concerts were lucrative for Bilal, who witnessed the album's popularity among live audiences singing along verbatim to the songs. "People would have it on their iPods and  knew the songs", he says recalling its impact. "It was kind of a blessing in disguise. We were able to tour off of that album which is crazy." In the opinion of AllMusic biographer Andy Kellman, Bilal must have felt conflicted when performing the songs to "appreciative crowds who knew the materialoff a technically unreleased albuminside out". While taking a break from writing music, Bilal focused his artistic ambitions on live performance and quickly developed a reputation for erraticism on stage. As "Portland Mercury" journalist Jalylah Burrell chronicles, he performed in a "hyper-expressive" manner similarly to Prince and the  Rolling Stones, creating a "delirium" in concert that was undercut by "his ostensible unhappiness and occasional erratic behavior"; in her opinion, "he didn't look like a man who enjoyed being on stage despite his deftness at it." "People might've thought I was on drugs or intoxicated, but that wasn't it", Bilal explains to "Philadelphia Weekly". "I just didn't give a fuck because I was looking for the art. I wanted to be out, like when John Coltrane started playing with his wife, Alice. I just wanted to rip open music with my voice." According to "Spectrum  Culture" journalist Chaz Kangas, while "Love for Sale" became one of the music industry's "worst-kept secrets", Bilal's "unrelenting and awe-inspiring" concerts during this period attracted even those listeners who generally disliked contemporary soul music. Tamara P. Carter, a writer living in London at the time, had felt disillusioned with mainstream music from the U.S. and reluctantly attended Bilal's performance at the Jazz Café in July 2006 with her friends. In her observations, the singer opened the show with a crooning wail resembling "a weeping willow in a summer's breeze", eventually morphing into "electric drum -cracking thunder" that channeled "the cries of his ancestors" or Hendrix's guitar (the Fender Stratocaster). The opening provoked screams and obscenities from some in the audience, as it gravitated toward the stage, and an overflow of emotion in Carter: The show left Carter "drenched in sweat" and convinced that Bilal is a "sorcerer of modern soul" who can "transform the dead into a living, soulful exuberance", she later wrote in "Wax Poetics". Attending his January 2007 show at the Black Cat nightclub in Washington, D.C., Godfrey also observed the ardent fan support for his new songs and was especially  impressed by the rendition of "Make Me Over", featuring a break in the bridge section that evoked the music of James Brown. "Bilal's incredible range has never sounded better, and he's never seemed more euphoric", Godfrey concluded in her review for the "Post". Aftermath and legacy. "Love for Sale"s widely positive reception among critics and audiences eventually inspired Bilal to begin writing new songs as he was starting a family. "Because the music was so good, it kind of created a life of its own", he tells Gray. "It broke away into a space where I was able  to be free to do what I wanted to do." Having matured as an artist from the album's saga, he composed music purely for his own artistic fulfillment. He compares the development to how the rapper 50 Cent had his vocal delivery changed by a shooting to the face: "So in life, I guess, a certain pain, a certain fermentation, the same thing that happens to some good wine, set in." He also changed his business associations and became more prudent about in-studio use and safeguarding of computerized equipment, which had still been relatively new during "Love for  Sale"s recording. Meanwhile, "the album's mystique and legacy grew as one of the most notable casualties of the digital piracy era" as well as "one of the most stunning and progressive musical statements of its generation", according to Larrier. While remaining obscure in the mainstream, Bilal developed a respected reputation among other artists and was pursued as a featured hook singer for their recordings in the years after the leak, when "Love for Sale" became what Lindsey describes as "a much-bootlegged favorite amongst R&B enthusiasts" and "the black-music equivalent of Fiona Apple's once-shelved (and also  notoriously bootlegged) album "Extraordinary Machine"". Larrier explains that its genre-defying direction distinguished Bilal artistically from his peers in soul during a creatively stagnant period for the genre, while in Gipson's estimation, it showcased an experimentation outside of soul that would culminate in the singer's next album. "Love for Sale"s repute helped create buzz for Bilal's third album, "Airtight's Revenge", released in 2010 by Plug Research, an independent record label that the singer was connected to through Sa-Ra's Shafiq Husayn. Bilal titled the album as a reference to him avenging the circumstances of "Love  for Sale"s leak. Experimenting further with rock and electronic sounds as well as darker storytelling, "Airtight's Revenge" widely impressed fans and critics but failed to eclipse its predecessor's renown. Bilal believes "the real revenge" was how "Love for Sale" had become such an "underground" triumph in spite of "the whole long, drawn-out standstill" with Interscope, comparing it to the myth of the phoenix rising. Its following continued to be evident through the Little One Tour, his 2011 concert tour supporting "Airtight's Revenge". In attendance for one of the concerts in St. Louis, Jerome A. Redding of  The St. Louis American observed the venue "filled with cult followers as the audience sang along line for line" to Bilal's opening performances of "Love for Sale" songs. Fans of Bilal regard "Love for Sale" as his masterpiece. Both Cunningham and Kevin C. Johnson of the "St. Louis Post-Dispatch" call it his best album, while Erin E. Evans of "The Root" describes it as "a near cult classic" and Gipson deems it a "tour de force cult classic". From Gordon's perspective, the album remains "a veritable classic", highly valued by "any self-respecting music collector". Donald "Donwill  Freeman, from the rap group Tanya Morgan, has named it one of his five favorite albums at one point. The singer-rapper DRAM, who discovered the leak as a teenager, calls it phenomenal" and highlights the low-tempo "tribal jungle love" song "White Turns to Grey" as his favorite "hidden gem" in music. Hart considers "Love for Sale" the "great 'lost' [soul] album" of its generation with a continued presence in "online purgatory", while in Kellman's opinion, had it received a commercial release, the album would have been representative of the alternative R&B that developed later in the 2000s . After the alt-R&B singers Frank Ocean and the Weeknd freely released their own albums online in 2011, "The Music" magazine's Cyclone Wehner credited Bilal with having "pioneered [this] very promotional strategy" through "Love for Sale", "ironically". Reflecting on its impact, Bilal says it was "a bad thing that turned into aI wouldn't say a good thing because it would've been good if it came out. But it kind of turned into this little, ironic twist to my life". Larrier believes the "tour de force" album's story is crucial to honestly appraising the singer's career . McKie, Glasper, and Husayn all went on to work further with Bilal after "Love for Sale", contributing to "Airtight's Revenge" and 2013's "A Love Surreal". McKie considers his production and drumming on "Love for Sale" among the best of his career and says the album was "wild" and "innovative", as it "crossed a lot of boundaries". Glasper, a frequent collaborator of Bilal's, also believes the singer was innovative in recording the album, predating similar music that André 3000 would record for his hip hop duo OutKast's split double album "Speakerboxxx/The Love Below"(2003). Common also continued  collaborating with Bilal in the years following "Love for Sale", beginning with the rapper's 2002 album "Electric Circus". In 2011, they reunited for an outdoor concert performance in Los Angeles and were filmed by the multimedia artist Michael Sterling Eaton, who used the footage to create a music video for their original "Sorrow, Tears & Blood" recording. "Love for Sale"s recording sessions had produced several discarded tracks, including a cover of the soul musician Stevie Wonder's "Rocket Love"(1980). According to McKie, he and Bilal tried to include them on "Airtight's Revenge", but "the label erased the file for  whatever reason". A live version of "Rocket Love" appeared in 2012 on "The Retrospection", a career-spanning mixtape of Bilal's music curated by the DJ Vikter Duplaix. The mixtape also featured the "Love for Sale" tracks "You're All I Need (Feels Like Heaven)", "Gotsta Be Cool", and "Hollywood", as well as the rapper Jay Electronica's remix of "Something to Hold on To". Bilal says there are nine unheard songs he recorded for "Love for Sale" that he "loved" and different versions of the original 12 he prefers to the leaked mix, which "maybe one day" Interscope will  let go. Bilal had planned for some time to release "Love for Sale" through E1 Music, the label that would release "A Love Surreal", but the idea fell through for reasons he did not define. Along with Interscope's involvement, he suggests that his previous contract with a music publishing company, from the "Love for Sale" period, remains an impediment to its release. According to Covert's 2006 report, another label could have acquired publishing rights to the album beginning in 2021. As of 2020, its songs remain available on YouTube. Track listing. Information is taken from a promotional pressing  of the album.