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It’s a more eclectic album all the way around, but in the scope of Saadiq’s whole career, just another synthesis of his roots and current fascinations., Raphael Saadiq moves away from a Motown sound to pay homage to broad influences ranging from Sly Stone to Johnny Cash by Jack Britton Singer/songwriter/multi-instrumentalist/producer Raphael Saadiq is living a pretty good life right now.
On a cold Thursday night in January, we find Saadiq and his quintet (guitar, bass, drums, two singers) sitting on stools under a dimly lit crystal chandelier in a spacious suite on the 16th floor of San Francisco’s classy Clift Hotel, breezily running through a few tunes from his new album, , which was shot on a set made to look like a swinging bachelor’s penthouse apartment, that’s what this room looks like.
The vocal interplay displayed here between Saadiq and a female choir pays homage to Al Green and his work with Donna and Sandra Rhodes in “How Can You Mend a Broken Heart.” With “Radio,” Saadiq goes into early Euro-invasion territory—think Beatles’ “Twist and Shout”—with a hypnotic guitar rundown groove.
Other standouts include the Dixieland boogie-woogie “Day Dreams,” a track that’s driven by guest steel guitarist Robert Randolph’s vocal-like runs and Saadiq’s bouncing piano parts, while “Good Man” is a slow-and-steady song that reverberates attitude thanks to the authoritative walking bass, as Saadiq emotionally pushes his raspy vocals over the song’s aorta.
The TOYOTA-sponsored THE PAST, THE PRESENT, THE FUTURE tour, which will kick off next month (MAR05), will...