Raphael Saadiq makes old sound new
Paradise, Boston, March 19, 2009
Reviewed by Jeffrey B. Remz
You can tell right from the cover of Raphael Saadiq's CD jacket for "The Way I See It" that he took a look back. He appeared in reddish tint wearing a tie and suit with arms raised, recalling an older musical era. Saadiq finally released the new disc last year, his first since 2004's "Ray Ray." And what an album it is. Given the rebirth of interest in soul music seemingly mainly thanks to artists on the other side of the Atlantic of the female persuasion with names like Winehouse and Duffy taking advantage, it's great to hear something different.
Saadiq, 42, got earned his spurs by doing time in Tony! Toni! Tone! starting out in his native Oakland. The band enjoyed hits, but Saddiq went his own way for most of this decade. He also has produced, including the debut of Joss Stone, who appeared on his CD.
When Saadiq stuck to the new music in concert before a sold-out, racially mixed crowd, it was heavenly with songs like Keep Marchin' and the particularly catchy 100 yard Dash. Obvious influences included Smokey Robison and The Temptations. Saadiq made something old sound new in playing most of the disc.
The weak spot was the middle part where he played some older songs with a medley. It sounded a bit on the generic side, and while not bad, never really took off either. That was true especially in comparison with the new songs.
But Saadiq eventually returned to the recent material. He particularly benefited from a female back-up singer, who was shimmying and shaking the entire 90 minutes and delivered vocally as well. Along with a male back-up singer, the three of them sometimes danced in unison, recalling the fine old days of soul.
Towards the end, Saadiq stretched it out, offering his take on New Orleans music. He closed with Big Easy from the new release. The song was inspired by Spike Lee's movie about Hurricane Katrina victims "When the Levee Breaks." An engaged Saadiq seemed ready to leave the stage only to keep playing awhile longer before bidding the evening adieu with his take on soul from the '60s and '70s .
