Saadiq harkens Motown
Ashley Jones, Staff Writer
Published On: 09/30/2008
It has been a long time since I’ve fallen in love with someone just by hearing them sing, but when I heard some leaked tracks from Saadiq’s newest album, “The Way I See It” — released September 16 — I was amazed. Saadiq, born Charlie Ray Wiggins, is most famous for his time as a member of Tony!Toni!Tone!, and has produced songs with artists like Joss Stone and Angie Stone. I found his songs sensual, fun, soulful, and I really connected with them.
Saadiq reached back to the ’60s for his newest album, borrowing from the Motown sound, and even taking it as far as his image. In Saadiq’s newer promotional photos, he’s dressed just like a Temptation, thick-rimmed glasses and all. You’ll think you’ve accidentally bought a Four Tops or Temptations album as you listen to the first track, “Sure Hope You Mean It,” a fun song about love, complete with a catchy chorus and vocals that are just soulful enough, but still light and accessible.
The upbeat “100 Yard Dash” echoes the first track’s fun-loving sound, and blends well with the following track, “Keep Marchin’.” “Keep Marchin’,” like the previous tracks, has the same background vocals that sound like they were ripped from an old Motown record.
Also contributing to Saadiq’s successful retro sound is the lack of synthesizers, and seemingly a real studio. His voice has that kind of muffly, old-timey sound accompanying it, making for an interesting and time-warped sound. “Big Easy” sounds pretty upbeat, but there is a hidden message, I think. Saadiq’s lyrics “they say those levees broke and my baby’s gone” make me think of the string of natural disasters that have recently occurred, beginning with Hurricane Katrina. Although he’s singing about something that should be depressing, Saadiq manages to retain that upbeat feeling that is so characteristic of ’60s music. He could be singing about a dead lover, as I think he is here, and I would still get up and dance.
Saadiq shares the spotlight on the brief duet “Just One Kiss,” with British soul singer Joss Stone. This song is so sweet and retro, it made me feel warm and fuzzy all over. Stone’s voice blends well with Saadiq’s, adding a nice depth to the otherwise light sound. I admire Saadiq’s musical arrangements, and his use of the tambourine and guitar — instruments that show up a lot in ’60s music.
“Love That Girl,” Saadiq’s first single, is possibly the most iconic song on the whole album. It’s so catchy, and you’ll find yourself singing along with Saadiq as he says “she is so sweet and tender/and I’m glad/so glad we’re making love/oh I, oh I love that girl.”
“Calling” reminds me of Smokey Robinson, but mixes it up with Spanish background vocals. The slow pace of the song and the steady piano melody is just the right mix to make a song you’d expect to hear at the drive-in.
“Staying in Love” might be the most modern song on the album, save the remix of “Oh Girl.” Saadiq stays with his theme, but something about the song just sounds much more up to date, but it doesn’t detract from the overall effect.
My favorite song on the album, “Oh Girl,” is a beautiful tribute to a lover, and reminds me of the Chi-Lites and Stylisitics, who were Saadiq’s inspiration for this track, with Saadiq’s falsetto and soprano vocals and sensual tone.
The background music in this song is so complimentary, and I wonder how an artist can get it right every single time on an album. Somehow, Saadiq managed to do it.
“Let’s Take A Walk” is a toe-tapper, heavy on the tambourine and guitar, but is the most blatantly sexual song, proclaiming “I need some sex/some sex with you.” “Never Give You Up” is a determined song about love which features soul heavyweight Stevie Wonder and an unknown musician named CJ. “Never Give You Up” reminds me of the Brothers Johnson, and is wonderfully complemented by the vocals and harmonica skills of Stevie Wonder.
“Sometimes,” a song on which Saadiq has a hauntingly similar sound to Sam Cooke, tells of his mother and grandmother, and their influences on him. This is perhaps the only allusion to Saadiq’s rough past — according to RollingStone.com, four of Saadiq’s siblings “suffered tragic deaths.” “Sometimes” is the only song on this album that really strikes me as painful, but it retains a certain triumphant tone that makes it a great song, and a wonderful way to close the album.
I give Saadiq’s “The Way I See It” a 10 out of 10 points for its beautiful execution of a retro sound and great lyrics. I was so impressed that Saadiq was able to pull this off, and while I realize that not all readers like soul or ’60s music, I think this album is worth a listen. You might find some historical significance in it, or just marvel at the fact that Saadiq sounds like he was torn right from 1960s Motown.
If you don’t listen to any other R&B albums this year, listen to “The Way I See It” — you’ll be pleasantly surprised.
Email: ashleymj@uab.edu
