quite a refresher from current r&b for me
throwback to old style I guess
included clip is quite good
Grade - 1.7
released May 10th, 2011
from the album - Good Man - 2.0
from all music
Born in Oakland, CA, in spring 1966, Raphael Saadiq (born Raphael Wiggins) started playing music at age six. He played bass at church and school and enjoyed his place on-stage at various local hometown events. After high school, Saadiq won a chance to join Prince and Sheila E. on the Parade tour. Such an experience inspired Saadiq to do his own thing, and before the '80s came to an end, he formed Tony! Toni! Tone!.
Saadiq went under his birth name of Wiggins while in Tony! Toni! Tone! and was joined by his brother, Dwayne Wiggins, and cousin Timothy Christian. Tony! Toni! Tone! made their debut with "Little Walter" in 1988. Two years later, they were mega-stars thanks to the success of their second album, The Revival. The ballad "It Never Rains (In Southern California)" and the club-friendly "Feels Good" were major hits and the band eventually sold six million albums. However, Saadiq left the group at the height of its fame.
A solo career was in the works by the time the mid-'90s rolled around. Two singles for movie soundtracks -- 1995's "Ask of You" from Higher Learning and "Me & You" from Boyz N da Hood -- were Saadiq's proper solo introduction, but not exactly satisfying. He was used to being part of a band, so a solo career made him a bit apprehensive. Saadiq bowed out for some normalcy over the next few years.
Lucy Pearl was Saadiq's next project, where he joined with En Vogue's Dawn Robinson and Ali Shaheed Muhammad of A Tribe Called Quest for a short-lived super-group. Saadiq also had his hand in producing material for the likes of Macy Gray, TLC, the Roots, and D'Angelo. In 2000, his song "Untitled" won D'Angelo a Grammy. Inspired by his new "gospedelic" approach, he captured a new sound for himself while recording material between Oakland and Sacramento. The end result was Instant Vintage, which earned five Grammy nominations in 2003. The blaxploitation era-referencing Ray Ray and the '60s-flavored The Way I See It followed, respectively, in 2004 and 2008; the latter was nominated for three Grammys. Stone Rollin' was released in 2011, just after Saadiq and his band of the same name backed Mick Jagger for a Grammy Awards perfomance of Solomon Burke's "Everybody Needs Somebody to Love." The album maintained Saadiq's streak of throwback-oriented releases.
Stone Rollin’, Raphael Saadiq's second Columbia album, cuts straight to the chase. It begins with a tambourine-accented pounding groove à la Sly & the Family Stone's “Dance to the Music,” adding grinding rhythm guitar and making a plea of a different kind: one of co-dependent desperation, served up Holland-Dozier-Holland style. Indeed, Stone Rollin' is a little less clean-cut than 2008’s The Way I See It, tending to veer from pure mid-‘60s Motown for a more expansive approach that incorporates a number of late-‘60s and early-‘70s sounds, including Holland-Dozier-Holland’s grittier post-Motown work and early Philly soul, not to mention an apparent nod to Ray Charles on “Day Dreams.” Like The Way I See It, this is a big production. Saadiq plays the majority of the drums, guitars, and keyboards, but he is joined by dozens of string and horn players and a handful of crucial collaborators, including past associates and session legends Jack Ashford (percussion) and Paul Riser (string arrangements), as well as Earth, Wind & Fire's Larry Dunn and Little Dragon's Yukimi Nagano. These songs are tied together by the Mellotron, a vintage keyboard -- commonly associated with psychedelic and progressive rock recordings, but not foreign to soul -- that evokes diseased flutes and wheezing strings. Saadiq tends to use the instrument for shading, but it is central to the drama of “Go to Hell” (where it is played by Amp Fiddler), and it adds a melancholic tint to the otherwise happy-go-lucky “Movin’ Down the Line.” The songs that do not leave an immediate and lasting impression make moves on a subconscious level. “Good Man,” the most compelling song on the album, works both ways. A mini-epic of trouble-man soul, somewhere along the lines of Ohio Players' “Our Love Has Died” and a missing cut off David Porter's Victim of the Joke?, its elegant misery is instantly striking, enhanced by Taura Stinson's pouty guest vocal. After a few listens, that point where Saadiq reaches a falsetto, at the end of “So much better now, without you” -- just as the horns punch in -- raises the goose pimples and does so with successive plays. The album does not merely transcend period-piece status. It’s the high point of Saadiq’s career, his exceptional output with Tony! Toni! Toné! included.
1 Heart Attack Saadiq 3:03
2 Go to Hell Saadiq, Stinson 4:20
3 Radio Saadiq 3:22
4 Over You Saadiq 2:31
5 Stone Rollin' Saadiq 3:37
6 Day Dreams Saadiq 3:20
7 Movin' Down the Line Saadiq 4:25
8 Just Don't Saadiq, Stinson 5:17
9 Good Man Saadiq, Stinson 3:46
10 The Answer Saadiq 9:30