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Raphael Saadiq on the stories behind 5 of his prettiest, funkiest, tuba-heaviest hits

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Recently visiting Sacramento to catch up with his mom, musician Raphael Saadiq stopped by a bustling barber shop to get a trim.

The 58-year-old musician, who’s been instrumental in R&B for four decades, shared: ‘For a brief moment, they didn’t recognize me, but they soon caught on.’ He’s the one behind a diverse range of songs, sometimes working solo, other times with a group, and often contributing to the success of more renowned (though not necessarily more gifted) artists. Reflecting on the encounter, he said: ‘They played my tracks, and eventually someone asked me about my thoughts when I hear them. After some reflection, I realized that they’ve endured through the years.’

Hailing from the vibrant streets of Oakland, I’ve had an illustrious journey in the realm of R&B music. In the 80s and 90s, I spearheaded the chart-topping group Tony! Toni! Toné! before venturing into the formation of Lucy Pearl. Throughout these chapters, I’ve had the privilege to collaborate with musical greats such as D’Angelo, Bilal, Whitney Houston, the Isley Brothers, John Legend, Erykah Badu, Solange, Alicia Keys, and countless others. This month, I was honored with my third Grammy Award for my contribution to Beyoncé’s “Cowboy Carter,” which was crowned Album of the Year. On Sunday, I’ll pay tribute to my cherished Bay Area roots by performing a musical ode preceding the NBA All-Star Game at San Francisco’s Chase Center.

Music

In my perspective, winning with “Cowboy Carter” tells almost as much about the Recording Academy as it does about me.

Saadiq, currently based in a North Hollywood studio and involved with mentoring students at USC’s Thornton School of Music under Dean Jason King’s Creative Vanguard program, recently unveiled a subscription service titled Vinyl Club. This platform will re-release tracks from his discography, starting with Lucy Pearl’s self-titled 2000 debut album. On his way back to L.A. from his mother’s house, he shared the tales behind five of his favorite songs over the phone.

Tony! Toni! Toné!, ‘Anniversary’ (1993)

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As a devoted cinema-goer of rhythm and blues, I’d put it this way: Saadiq, his brother D’Wayne Wiggins, and their cousin Timothy Christian Riley—Tony! Toni! Toné—were the architects who seamlessly connected the new jack swing and neo-soul epochs. Their exquisite ballad soared to the No. 2 spot on Billboard’s R&B chart in its abridged version, though on their double-platinum “Sons of Soul” album, this song spanned a breathtaking nine minutes and sixty seconds.

What truly elevated the track was composer Clare Fischer, particularly known for his work with Rufus, Chaka Khan, and Prince. Having been familiar with him, I’ve always wanted to collaborate with him. If I ever had the opportunity with sufficient funds and the right song, I would definitely reach out to Clare Fischer. He infused a sweetness that catapulted the record to another dimension – one that evoked an anniversary-like feeling. The experience was so delightful for me that I decided, “You know what? This song shouldn’t be three minutes long; it needs to span 10 minutes on the final recording.

In a reminiscent moment, I recall blending the track at The Record Factory in New York City. As I stepped out of the studio before sunrise, I happened to cross paths with Nile Rodgers as he was driving his Porsche down from the elevator. It was pouring outside and he offered me a ride. I’ve always admired Nile Rodgers, particularly growing up when I was a fan of Chic and Bernard Edwards. Seeing him that morning and witnessing him speed off in his Porsche through the rain – it left me awestruck, thinking “Wow, this is surreal!

Was it significant for the band to demonstrate that they were playing their own instruments in the “Anniversary” music video, since they always carry them along everywhere?

Initially, our first two Grammy nominations were for the song “Anniversary”, in the categories of best R&B song and best R&B performance by a duo or group. This was unexpected, considering that as a child, I used to watch the Grammys and see Lionel Richie, Michael Jackson, and Stevie Wonder dominating the awards. Even when we were nominated at the Soul Train Awards, we usually ended up losing. In fact, “Sons of Soul” had five nominations at the Soul Train Awards, but we didn’t win anything. It was disappointing because I thought we deserved to win something for our concept. However, producer Thom Bell consoled me by saying that even if the IRS comes to take our house, they would leave those awards on the mantelpiece.

In 2023, the Tons embarked on a tour that was simply extraordinary. I must say, what truly touched my heart was seeing everyone bond with each other. To make this experience even more special, I decided to make it a “no-phones” tour. Some people were initially disappointed, but I wanted to recreate the same magic I felt when attending shows by Parliament-Funkadelic, Earth, Wind & Fire, or the O’Jays. The memories of those concerts are still vivid in my mind – I was fully immersed in the music and the performances. At our shows, people were dancing, hugging, and kissing, all while looking directly at us, not through a phone screen.

Lucy Pearl, ‘Dance Tonight’ (2000)

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Following the disbandment of Tony! Toni! Toné! in 1997, Saadiq formed a new musical group consisting of Dawn Robinson from En Vogue and Ali Shaheed Muhammad from A Tribe Called Quest.

This way, we maintain the information but make it easier for readers to understand the context.

Instead of insisting on being a one-man show, I yearned for the camaraderie of a band. To me, Bruno Mars exemplifies this sentiment; he’s a solo artist, yet his performances feel like those of Kool & the Gang to me. So, I reached out to individuals who had previously been part of popular groups, similar to the Traveling Wilburys, if you will. Although I’m not fond of the term, that’s essentially what they label it as – a supergroup.

Why does everyone in a supergroup dislike that label? After all, it’s pretty cheesy, and deep down, we might have thought, Yes, we truly are super!

Was the collaboration between you, Dawn, and Ali Shaheed seamless as songwriters on the Lucy Pearl album? Or, did the process flow smoothly when working together on the track “Dance Tonight”? In regards to this particular song, it was mainly Ali Shaheed’s creation. He presented me with the chords for “Dance Tonight,” and I felt they sounded excellent. However, he couldn’t keep the rhythm, but I could hear the melody in his playing.

I find that particular lyric amusing, “Purchasing two new Bentleys, I know it’s fashionable.” It seems more like a humorous exaggeration for those who might be casual listeners of the song. To clarify, I don’t own a Bentley myself.

Reflecting on it now, I wish Lucy Pearl had been able to continue for a bit longer. Unfortunately, our run together was relatively short – around six months following the release of the album. As the tour came to an end, it became clear that the group wasn’t destined to last much longer. Dawn felt compelled to pursue her solo career.

D’Angelo, ‘Untitled (How Does It Feel)’ (2000)

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In 1996, Saadiq collaborated on the hit track “Lady” by D’Angelo. Later, they joined forces again to create this Grammy-winning gem from D’Angelo’s 2000 album, “Voodoo.” Inspired by the intricate soul-funk ballads of Prince, for whom Saadiq played bass during tours in the mid-80s, the song “Untitled” produced an iconic music video featuring a highly muscular and seemingly bare D’Angelo.

It appears that you and D’Angelo are indeed the ones creating the music, as per the internet. Here’s how it went down: One fine summer day in the Village, I was on a quest for something to smoke while appreciating New York City. I stopped by Electric Lady Studios, knocked on the door, and asked if I could quickly grab a joint. To my surprise, D’Angelo opened the door himself! Normally, someone else would have come to let me in. But there he was, inviting me inside. I said, “Got a joint?” to which he replied, “Yes, I do — but let’s write a song instead!

Why was D’Angelo the go-to guy for obtaining weed?
D’Angelo was the ideal choice because of our shared vibe and creative energy. When you’re working in the studio, you’re often there for long hours, so it’s essential to have good music, good vibes, and good herbs since you won’t be leaving. You’ll be engrossed in creating something new. Upon entering his space, he started playing piano, demonstrating an extraordinary talent as a pianist with a unique texture that I haven’t encountered before. I played the bass, then he added some keys, and we had a drumbeat going simultaneously. As someone who is spiritually inclined, I believe we were brought together for that moment – for creating that particular song.

You wrote the song and cut it all in that one day?
Except his vocals. D cuts his vocals on his own.

How did you manage to create your unique guitar sound? Well, it wasn’t premeditated. In fact, it wasn’t my own guitar; it was just any guitar lying around that I happened to pick up and play. As for those melodies, they simply flowed out. We were essentially trying to outdo each other in our improvisations.

The lyrics are quite explicit, yet D’Angelo’s use of falsetto makes them seem more subtle and delicate. To fully grasp their content, one needs a keen ear. It’s like listening to a song from the ’60s where they sang about waiting for midnight for love to arrive; it’s all about clever writing.

Why did you name it “Untitled”? That’s because we ran out of tape while recording. At the time, we were using Digital Audio Tape and when a song isn’t complete, it simply shows as “Untitled” on the DAT. Since we didn’t have enough time to finish the ending properly, I suggested keeping it unfinished and leaving it as “Untitled”.

Have you ever pondered over how the song might have concluded if you two had revisited it to complete it? Not really, we’ve already finalized the director’s cut. Sometimes, when I watch “Scarface” and Al Pacino is about to get shot on the balcony, I wonder if he could have somehow escaped and taken down the shooter. But that version will never be seen, and a different ending to our song will never be heard.

Raphael Saadiq, ‘Still Ray’ (2002)

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Despite some initial hesitation, Saadiq boldly released a solo album titled “Instant Vintage” in 2002. This song on the LP cleverly reworked the captivating rhythm from Dr. Dre’s “Still D.R.E.”, which was originally launched three years prior.

Instead of constantly pouring my energy into others, it started feeling more like a game of football for me, with me as the quarterback and everyone else as my offensive line, supposed to be protecting me. However, it seemed like they were the ones delivering hits instead []. So, I thought to myself, why not switch to golf? Now, I’m holding the club and swinging it on my own terms. That’s how I evolved into a solo act.

How did the riff from “Still D.R.E.” become part of “Still Ray”? The reoccurring chord progression inspired me to transform this tough Dr. Dre track into a soothing lullaby – captivating listeners’ attention before saying, “Alright, but I’m not planning on joining a shootout. Instead, let’s make a turn here and enter a flower shop instead.

It didn’t take much thinking; the title seemed to come naturally, all by itself. My name is Ray, and my buddy here is Dre – we’re always cracking jokes!

In this track, the tuba takes center stage, making it quite noticeable. When I’m grooving to my favorite Mexican tunes while driving, nothing beats the sound of a tuba. So, when creating this song, I thought, “We absolutely need a tuba here.” Luckily, my friend Kelvin Wooten, who played the piano on “Still Ray,” also plays the tuba. I asked him to bring his tuba along, and we just went with the flow. Initially, the label expressed doubts about the song’s potential as a single due to its lack of a catchy hook. However, I insisted, “The tuba itself is the hook.

Beyoncé, ‘Bodyguard’ (2024)

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Saadiq is recognized for his work as both a songwriter and producer on multiple tracks from the album “Cowboy Carter.” One of these tracks is a smooth ’70s-inspired soft-rock tune where he plays various instruments such as guitar, piano, bass, and keyboard.

Initially, it wasn’t intended for Beyoncé; it was a tune I had crafted myself. It had a unique blend of Memphis-style groove, Fleetwood Mac influences, and a hint of the “Pretty Woman,” Roy Orbison feel. I had stored it away, and when showing her various songs and ideas, she encouraged me to play whatever was available, despite their incomplete state. By chance, I played a bit of it, and she stopped me, saying, “Go back, go back — what are you doing with that?” I was taken aback that she liked it, as I hadn’t anticipated its appeal. After she sang it, she added some vocal touches that perfectly complemented the original vibe but were beyond my expectations. She transformed it into something uniquely hers.

In the piece, there was a brief guitar solo of mine, yet she suggested extending it. She put it as, “I believe we can amp things up more.” My response was, “Oh, well!” If I hadn’t been on tour with Eric Gales, I would’ve asked him to play the solo. But given our hectic pace, I didn’t have time to call anyone else, so I had to compose a new solo on my own instead.

Is there a resurgence of guitar solos? I’ve noticed an excellent example in Chappell Roan’s “Pink Pony Club.” In other words, could we see a return of memorable saxophone solos like those by George Michael?

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2025-02-13 14:33

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