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With the era of Toni, Tony, Tone! lightyears behind him, Raphael Saadiq has retooled himself into a 21st century ambassador of sweet soul music. While he could have slipped into a familiar mode of reinvigorating sexy urban R&B that defined much of the 1990s sound, the talented songwriter/producer/singer felt more comfortable digging through the dusty crates of vinyl records from the ‘60s and ‘70s and, later, giving homage to the traditions of old. Saadiq isn’t alone on the journey of the New-Age Retro Soul Renaissance, but his track record proves he’s one of most brilliant drum majors in the group. When 2008's The Way I See It was released it was greeted with critical fanfare and flattering appraisals from fans.
With the era of Toni, Tony, Tone! lightyears behind him, Raphael Saadiq has retooled himself into a 21st century ambassador of sweet soul music. While he could have slipped into a familiar mode of reinvigorating sexy urban R&B that defined much of the 1990s sound, the talented songwriter/producer/singer felt more comfortable digging through the dusty crates of vinyl records from the ‘60s and ‘70s and, later, giving homage to the traditions of old. Saadiq isn’t alone on the journey of the New-Age Retro Soul Renaissance, but his track record proves he’s one of most brilliant drum majors in the group. When 2008's The Way I See It was released it was greeted with critical fanfare and flattering appraisals from fans. With Motown’s legendary house band, The Funk Brothers, on board and a production style that felt like a time lapse of the work leaking from Studio A, Hitsville, U.S.A., Saadiq culled out an album that paid tribute to the rich, timeless legacies of Motown and occasionally slipped into the seductive charms of Chicago soul and doo-wop. Three years later, Saadiq finds himself in a grittier, more evolved state of mind, abandoning the sweetness of his previous record and hungrier for gutsy, bluesy workouts on his follow-up.
Despite hosting equally nostalgic sounds, Stone Rollin’ isn’t the expected sequel to The Way I See It. It has a totally different canvas, trimmed with Stax rawness and finding refuge in Howlin’ Wolf, Chuck Berry and Bo Diddley. It leaves no stone unturned as it follies with rock ‘n’ roll’s finest, from the Rolling Stones to Sly Stone. The album’s opener, “Heart Attack,” is an unchanging Sly Stone funk locomotion that builds its synergy off the backs of “I Want to Take You Higher.” “Radio,” the album’s first single, leans on Beach Boy surfs and muscular Rolling Stone riffs. Although the tempo sporadically alternates, Saadiq keeps the spirit of the blues dominant on the disc. Even with “Day Dreams,” where Saadiq explores flat-footed Southern quartet gospel, the energies from steel guitarist Robert Randolph and the quick shuffling of Fairfield Four-esque, jubilee-styled rhythms add yet another layer to Saadiq’s blues revival.
Not everything assembled is bad-ass rock n’ roll. “Go to Hell” is a smartly executed trip into Phil Spector’s wall of sound, sweetened with Philly strings and a finale of female choruses ringing aloud in harmonizing gospel pathos. An un-credited bonus track, tagged at the end of the LP, finds Larry Graham crooning against Curtis Mayfield soul.
While Graham’s soul legend is present, others are referenced. On the buzz cut, “Good Man,” Saadiq finds himself beaten up by his lover’s disinterest, while struggling to make her happy. He sings of putting “food on the table,” “working two jobs,” and even being a God-fearing man, but apparently his sacrifices—as good as they are—aren’t good enough for her. Isaac Hayes hot buttered soul arrangements gives the song a type of easy escapism that allows the ballad to emerge as one of the album’s finer tracks. “The Answer” benefits from the same formula, reflecting back on smooth, atmospheric Stevie Wonder circa 1972, to the point of channeling Wonder’s vocal chops.
The latest focus on R&B’s predecessors isn’t a cultural shock in regards to Saadiq’s track record, but it does leave one thirsty for more. On his fifth studio record, Saadiq accomplishes much by creating infectious upbeats and firecrackers leading up to an expectant rousing, if nostalgic live experience. The songs are definitely serve as decent fillers for Saadiq’s trademark two-hour concerts, even offering casual repeats for the vinyl archivist. Still, what Stone Rollin’ offers isn’t all that essential to the iPod generation; the beats are too repetitious for pop, the lyrics aren’t as refined as Cee Lo Green’s old-school pilgrimage, and the melodies all too familiar. For what it’s worth, Stone Rollin’ will just have to hold us until the next set. Modestly Recommended
By J Matthew Cobb