Raphael Saadiq: The Way I See It

The bridge between Raphael Saadiq and Hip Hop is not at all that long. He has worked with some of the genre’s elite including Q-Tip, The Roots, and Snoop Dogg. He’s certainly no slouch behind the boards and his production credits show it. He produced two great tracks for his Neo-Soul brother, D’angelo, gave Bilal the soulful vibe for “Soul Sista,” and hooked Mos Def up with the haunting backdrop for “The Boogey Man Song.” Beyond these credits, he produces most of his own work when he isn’t in super-groups like Lucy Pearl (with Ali Shaheed and Dawn Robinson) or the abundantly successful Tony! Toni! Tone! On his latest album, “The Way I See It,” Saadiq creates an unbelievable sound that is reminiscent of the late 60’s to mid 70’s Motown era, but, it has its own updated touches to it that formulate one of the best releases of the year.

For an artist displaying so much soul, so much sensitivity, and so much passion in his work, Saadiq sounds very hungry. He has taken the R&B genre by the horns and held on for the shaky ride until it came to a calm stop. It was at this time that Saadiq took the chance to control the raging bull right threw the red curtain being waved around. This could explain the throwback nature of tracks, perhaps it is Saadiq moving so far away from the cliché and typical moments that R&B has displayed as of late and bringing it back to the ‘good ol’ days.

Songs like “Keep Marching” and “Let’s Take a Walk” have an infectious verbal military structure that add to the commands that Saadiq shouts out throughout the choruses. “Oh Girl” (with a bonus track featuring Hova) and “Calling” are the slowest paced tracks on the album, but add to the sincerity of Saadiq’s statements and claims. Both tracks are so strong in evoking emotion from the listener; don’t be surprised if a teardrop appears.

Raphael shows off his production abilities more on tracks like “Never Give You Up” and “Stay in Love” where the climaxes are flawlessly inputted and placed. The vocal arrangements on “100 Yard Dash” and “Love That Girl” are so perfect and so fitting that it is scary. “Just One Kiss” evokes a Marvin and Tammi type of chemistry between Saadiq and Joss Stone and damn…what a track.

“Big Easy” is another beautifully crafted track with great lyrical content and perfectly orchestrated instrumental performances. The production on this joint is so nuts that Pete Rock would want those horns and Premier would love for Aguilara to be over that baseline. Hell, even Sermon wanted to master the baseline of Raphael Saadiq © “Da Joint.”

“The Way I See It” is flawless from front to back. The lyrical content isn’t what one would hear on the radio because it is a raw and gritty type of romance that was only seen in the time frame previously mentioned. He speaks of the complications and difficulties of a relationship while mentioning how necessary it is to stay with it and how infectious the significant other can be. It is the genuine nature and structure of his lyrics that really bring the listener in. It is hard to not believe his confusion and worry on “Big Easy” or his bedazzlement on “Oh Girl.” The songs have much more to do with love as opposed to lust, a feat radio listeners these days are hard pressed to find.

The production couldn’t get any better. Everything is so beautifully meshed, so accurate, and so… perfect. It leaves you wanting more from him as a producer, as an artist and as an entertainer. The way I see it, this album is most certainly the album of the year.

Overall Score: 95/100

Stand Out Tracks:

“Big Easy”

“Never Give You Up”

“100 Yard Dash”

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