This pairing sounds great on paper and nice in the headphones – which is a good thing, becasue “Just Don’t”is rumored to be Raphael’s next single from his recent soul album,  Stone Rollin’. Yukimi’s ‘ghost whispers’ drifts in at the halfway point of the song only proving what all of her fans have known from the jump: this girl is genre-less – she can sing beautifully over whatever is given to her. The two have already worked their magic together for Raphael’s “Good Man” track and hopefully the collabo’s won’t stop here.

Raphael Saadiq took us back to the old school days of R&B with his last album, The Way I See It. But the release of his new video, ahead of his next album Stone Rollin, takes us back to another musical era, rock n roll. Of course, it wouldn’t be Saadiq if it didn’t have its own modern twist, of which this video is a perfect testament. While reminiscent of this video of John Lee Hooker performing ”Boom Boom Boom,” Saadiq takes a futuristic approach, particularly with the lead lady’s costume design.

Saadiq has said the new album, set to release March 22, is a throwback to 60s and 70s soul and features Saadiq on bass, mellotron, keys, guitar, percussion and drums, his studio band, Robert Randolph on steel guitar and my personal favorite, Yukimi Nagano, of Little Dragon. If it’s got any of the heart he put into his last album, I’m sure it’ll be a hit.

AMAZING photos by Jati Lindsay. Please support and follow on Twitter.

When we look back on the career of Raphel Saadiq, we must place him among our generation’s greats. For almost 30 years, he has been pumping out amazing soul music, from Tony! Toni! Toné!, to Lucy Pearl, and from his own solo career.

On Monday, December 10th, the 9:30 Club was rocked by the sounds of Raphael Saadiq and Anjulie. The duo rolled in to DC’s venerable 9:30 club to support their solo projects, with Raphael’s The Way I See It still getting critical acclaim, and Anjulie’s debut album becoming a must listen for 2010.

First, let’s start with Anjule, who’s self-titled album is criminality slept on despite recognition by MTV and music critics across the country. The Canadian artist’s blend of pop and soul was a perfect opener for Raphael. Was the audience, steady filling up the 9:30 Club, ready for this blend? Maybe so. Running through tracks on her album, including “Boom,” “Rain,” and “Day Will Soon Come”, Anjulie and her band put on a solid performance. However, it was the song “” when the audience really got behind this budding singer. After her set, she hung out at the merch table all night, signing autographs and shaking hands with fans. She is not only stunningly beautiful, but very down to earth.

After a short break, it was time for Mr. Saadiq. Raphel’s set began with Marvin Gaye’s performance of the Star Spangled Banner blasting through the speakers, with his ultra coordinated band arriving on stage shortly after. Not only was the band dressed in matching black suits, but everybody in his crew was as well, including stage techs. It really shows his persuit to intimate detail and perfection.

As much as people say that the Motown revival is “played out,” there is something about the utter simplicity of the classic Detroit stage setup that still resonates with audiences.

And perfection it was. As much as people (such as myself) say that the Motown revival is “played out,” there is something about the utter simplicity of the classic Detroit stage setup that still resonates with audiences. No pyrotechnics or flashy stage setups here. Just music. The band, complete with full horn section, was completely on point, and for 2 hours, Saadiq and his band went through tracks from his latest (and maybe greatest) solo album, The Way I See It. What more can I say? The dude is simply good.

Raphel didn’t do an encore–the few minutes that he wasn’t on stage was more like an intermission, because after quick costume change, he was back for round 2, this time doing a medley of Tony! Toni! Toné! hits from the New Jack Swing Era. Girls went crazy over his rendition of “Lay Your Head On My Pillow,” “It Never Rains…,” “Whatever You Want,” and “It Feels Good.” You almost forget how many hits that this man has been involved with in the course of his career.

After wondering on Twitter if he would do it, the set ended with a near 20 minute rendition of my favorite Saadiq song of all time–Sky (Can You Feel Me). A perfect downtempo soul song. Even then, Raph was not ready to go, as he played two more songs after the supposed ender.

When we look back on the career of Raphel Saadiq, we must place him among our generation’s greats. For almost 30 years, he has been pumping out amazing soul music, from Tony! Toni! Toné!, to Lucy Pearl, and from his own solo career. His show on Monday night left me almost speechless. I’m kicking myself for waiting so long to see him in action. If he comes to your town. GO. Nuff said.

CLICK HERE TO ENTER THE CONTEST!

We’re giving away 1 pair of tickets to see Raphael Saadiq this THURSDAY, December 7th at the 9:30 Club! One lucky winner and their guest will get to experience Mr. Saadiq live as he promotes his stellar album, The Way I See It! Also on the bill is opening guest Anjulie, who will be an artist on the lookout for 2010. Take your friend, your mistress or your special someone. It’s going to be a magical night!

From 9:30 Club:

Cutting his teeth as co-lead vocalist and bassist of R&B/funk crew Tony! Toni! Tone?! In the late ‘80s/early ‘90s, Raphael Saadiq has since gone on to a fruitful solo career. His 2008 album The Way I See It was much more influenced by classic soul, and landed him three Grammy nominations and the best reviews of his career. Saadiq is coming to 9:30 Club this December, giving you a chance to see a master of many soulful styles.

With Anjulie. Buy tickets here.

This is the tour that NEEDED to happen. We already know that Mr Saadiq puts on an amazing show, but I was getting mad that Ms. Monae was not getting the exposure that she deserved as a recording artist. Paring her with Raaphel might be the best touring combination I’ve heard this year. I’m glad to see that Janelle will finally be in DC on a proper stage.

Check out our Raphael Saadiq interview and our review of Janelle’s SXSW show to get yourself in the mood.

Tour Dates

Mon Nov-16 – Seattle, WA – Sodo
Tues Nov-17 – Portland, OR – Portland
Wed Nov-18 – Oakland, CA – Fox
Fri Nov-20 – Los Angeles, CA- Wiltern
Sat/Nov-21 – Las Vegas, NV – House of Blues
Tues/Nov-24 – Dallas, TX – House of Blues
Wed/Nov-25 – Houston, TX – House of Blues
Sat/Nov-28 – Miami, FL – Fillmore@Jackie Gleason
Sun/Nov-29 – Orlando, FL – Hard Rock
Mon/Nov-30 – Atlanta, GA – Centerstage
Wed/Dec-02 – Philadelphia, PA – Electric Factory
Fri/Dec-04 – New York, NY – Terminal 5
Sat/Dec-05 – Atlantic City, NJ – House of Blues
Sun/Dec-06 – Baltimore, MA – Rams Head Live
Mon/Dec-07 – Washington, DC – 930 Club
Wed/Dec-09 – Boston, MA – House of Blues
Fri/Dec-11 – Toronto ON – Kool House
Sat/Dec-12 – Montreal QC – Metropolis
Mon/Dec-14 – Chicago, IL – Park West
Tues/Dec-15 – Chicago, IL – Park West
Wed/Dec-16 – Minneapolis, MN – First Avenue

Q-Tip, D’Angelo & Raphael Saadiq – Lynwood Rose

I usually d0n’t post mixtapes I haven’t listened to thoroughly, but Ill make an exception for this one ONLY because of the source material. The Smoking Section posted a note saying that  Lynwood Rose ”is a warm-up mixtape to what will hopefully be an amazing album from them,” but its more likely just somebody’s dream match up more than anything. (from TSS)

But as much as I love tracks and remixes, there is nothing that substitutes for an album. Sure, ANYBODY can create a track these days, but it still takes a true artist to create an album.

My top 50 albums of the year might surprise some of y’all. First off, there is a scarcity of hip-hop in the top 15 albums. Also, the biggest album of the year, Lil’ Wayne’s Tha Carter III is at 49. And finally, the album is missing some critical favorites, such as Black Milk’s Tronic. But hey, it is what it is. These albums are the one’s that I’ve listened to in 2008, and unfortunately Tronic slipped through the cracks. Also, to those who lament the lack of hip-hop, I offer no apologies. This list is compiled from how many spins each album got on my iPod, and just like that female at the club, I can’t help what I’m attracted to.

Without further adieu, here is the list. The top 15 is here with the rest after the jump.

15.) Wale – The Mixtape About Nothing

Even though he didn’t even drop an album, Wale has had a big year. The DC rapper has been on everybody’s “it” list in ’08, and the 2009 debut is going to be massive. This year, the dude had the nerve to create a Seinfeld (a show which I’m boycotting because of you know who), and still retain his swag. Even if you question his 90s television refrences, you have to agree that he’s one of the best upcoming rappers in the game right now.

14.) Brittany Bosco – Spectrum EP

Brittnay Bosco is going to tear s*#t up in 2009. The Savannah/Atlanta artist’s EP showed a creativity and versatility that most R&B singers lack these days.

13.) Estelle – Shine

Performance wise Adele blows Estelle out the water, however, I found myself enjoying Estelle’s album Shine even more than 19. Producers like Kanye, Will.I.Am, and Wyclef created an album that not only had pop hits like “American Boy,” but more mellow tracks like “Back In Love.” This album isn’t no Miseducation, but a classic nonetheless.

12.) Solange – Sol Angel and The Hadley Street Dreams

While Beyonce was busy being Sasha Fierce, her little sister crafted one of the best R&B albums of the year. Whether Solange’s love of Dilla and Zero 7 is genuine or a record company ruse is yet to be known. However, Solange is taking the place of Kelis as the left-field R&B chick everybody wants to get with.

11.) Santogold – Santogold

Santi White’s first solo album carries over her rock sensibilities from her punk days while incorporating that Brooklyn hipster swag that is the big thing in music nowadays. This was a big year for Santi, who not only got sampled by Kanye (a feat usually reserved for 70s era soul singers), but also by licencing every track of her album for TV shows, movies, and commercials, ensuring that she will be getting paper well into 2009.

10.) The Black Keys – Attack and Release

Attack and Release started out as collaboration with Ike Turner until his death in 2007, which would have been off the chain. However, what remains is The Black Key’s finest album to date. The Danger Mouse produced disc is their first studio-recorded album and their best selling so far.

9.) Danny – And I Love Her

Danny Swain is still the most underrated hip-hop artist of the past decade. The Couch Sessions Approved artist has been creating hot tracksfor years now, and he’s past dude for his shine. And I Love H.E.R. is a concept album that was better executed than most, with Danny’s nonchalant rhymes and incredible beats (with some of the most random samples imaginable), make this album a hip-hop lover’s dream.

8.) Lykke Li – Youth Novels

I initially dismissed Lykke Li, but she had me at this one line from her track “Little Bit”: “For you I keep my legs apart/and forget about my broken heart.” From that moment I was sold. The album itself is a stripped down, organic affair with Lykke’s voice being the main instrumental. And the girl has cred with fans like David Banner, Kanye, and Q-Tip among others.

7.) TV On The Radio – Dear Science

As someone who simply hated TVOTR’s disjointed musical style and downright depressing lyrics, I was so presently surprised by their new album that it made the top 10. TVOTR made a downright upbeat and danceable album that still retains their trademark vocal styling and instrumentation.

6.) Kanye West – 808 and Heartbreaks

I had REAL low expectations for Kanye’s venture into experimental avant garde emo and thought that this album would be a dud. However, Kanye not only knocked this one out of the park but AGAIN flipped the script on Black popular music in America. You may hate Kanye all you want (and I still do), but let’s face it: Kanye West is Steve Jobs. He’s a outlier (props to Malcom Gladwell) who sees the future and where music is headed way before we can comprehend it. Just like Job’s said we wouldn’t be using floppy drives way back in 1998.

5.) Gnarls Barkley – The Odd Couple

Even though Gnarl’s sophomore release didn’t get the attention or sales numbers it deserved, the Atlanta duo’s return marked their best work so far. Their lead single “Run,” couldn’t match the juggernaut that was “Crazy,” but songs like “Can You Save My Soul?” and “Going On,” have cemented the duo as a musical force.

4.) Q-Tip – The Renaissance

Q-Tip’s return to the rap game marked a return to the golden era rap that hip-hop needs right now. Q-Tip never really changed his formula from Amplified, yet crafted an album that that the grown and sexy can cling to without being ultra nostaglic about the past.

3.) Jazzanova – Of All Things

Jazzanova makes music for people who love music. I’m not talking about people who love to dance to music or those who simply just cop CDs or go to concerts, but for those who are simply obsessed with the art of music. The German collective has arranged some of the greatest heard and underheard talent this year–Phonte, Dwele, Jose James, Bembe Segue and Ben Westembach to name a few and created music around each artists’ personal style. This album should be in every music lover’s collection.

2.) Raphael Saadiq – The Way I See It

When I heard Raphael Saadiq was doing a Motown album, I dismissed it outright. I thought that he was yet another artist jumping on the bandwagon. Even if The Way I See It could be called “bandwagon jumping,” Saadiq has not only set a standard for what a revival album should sound like, but raised the bar so high that I doubt any artist will ever come close.

1.) Foreign Exchange – Leave It All Behind

When Foreign Exchange dropped their latest album, I almost felt like it spoke to me. Phonte’s soulful voice, combined with Nicolay’s always organic, smooth beats, made this album a must own for frustrated rap fans like myself that wanted something deeper in their music. Instead of played out cliche’s about poppin’ champange in the club, the duo made an album about breakups, and self deprecation. Billbord chart topper? No. But do we really care anymore?

Albums 50-16 after the jump.

50.) Vampire Weekend – Vampire Weekend
49.) Lil’ Wayne – Tha Carter III
48.) The Game – LAX
47.) Guns and Roses – Chinese Democracy
46.) Thievery Corporation – Radio Retaliation
45.) Tittsworth – 12 Steps
44.) Femi Kuti – Day By Day
43.) Hot Chip – Made In The Dark
42.) Flying Lotus – Los Angeles
41.) Portishead – Third
40.) Coldplay – Viva La Vida
39.) T.I. – Paper Trail
38.) MGMT – Oracular Spectacular
37.) People Under the Stairs – Fun DMC
36.) Sam Sparro – Sam Sparro
35.) Slakah The Beatchild – Soul Movement Volume 1
34.) The Roots – Rising Down
33.) 10 Deep Presents The New Deal
32.) Mickey Factz – Heaven’s Fallout
31.) N.E.R.D. – Seeing Sounds
30.) The Constellations – Southern Gothic
29.) Ludacris – Theater of the Mind
28.) Erykah Badu – New Amerykah: Pt. One (4th World War)
27.) Common – Universal Mind Control
26.) Jazmine Sullivan – Fearless
25.) Daedalus – Love to Make Music To
24.) Various Artists – The Food Chain Collective
23.) 88 Keys – The Death of Adam
22.) The Knux – Remind Me In 3 Days
21.) Bon Iver – For Emma, Forever Ago
20.) Clipse – Road Till When The Casket Drops
19.) Tawiah – In Jodi’s Bedroom EP
18.) Kid Cudi – A Kid Named Cudi
17.) Tricky – Knowle West Boy
16.) Adele – 19

This year, instead of just having me yap on about my Best of lists, I reached out to several of our readers to give their Top 5 of the best releases of the year. I’ll be profiling a new reader each day until the end of the 2008. Today’s reader is Madeline, who resides in DC, and who you might remember provided us the pictures from U street on Election Night.

Name: Madeline
Location: Washington, DC

Albums:
Brazilian Girls- New York City
Raphael Saadiq- The Way I See It
Thievery Corporation- Radio Retaliation
Q-Tip- The Renaissance
Santogold- Santogold

Songs:
Ray LaMontagne- I Still Care For You
Sam Sparro – Black and Gold
MGMT- Electric Feel
Adele- Chasing Pavements

From the chart topping debut single Lil Walter (with Tony, Toni, Tone’) in 1988, through the party vibe of Lucy Pearl’s “Dance Tonight”, to the immediately classic “Instant Vintage” album, one voice has been a gleaming jewel in the tapestry of R&B music. Raphael Saadiq has done it again! “The way I see it” is an album that renders the best modern R&B has to offer…a clear view of the past.  In an age of designer vintage clothing, this authentic reminder of the very soul and sound of classic Motown without covering the original records is the new fitted, double-vented, narrow lapel blazer music has been waiting to make a comeback.  It’s too stylish to be dated, too raw to be fake, and too timeless to go another second without checking out.  I caught up with Raphael to talk about the motivation and execution of this album.

One of the general themes of your career has been that you’re the guy who clearly sees what could come next, and as such knows how to invite the past to the party today is throwing. Have you always seen this as a project that you would eventually do? or did something recently happen that made you want to strip away some of the elements of modern music and keep it super clean?

I didn’t really give it that much thought, I just got up one morning and kinda thought…I just want to go for it. I saw what I wanted to do and after that and I didn’t look back, ya know? It was a new way of doing things for me and my career. I couldn’t do that by just planning on it, and this is one of the ways I wanted to elevate myself so I just do it. And I’m always looking for ways to recreate myself without damaging my career, and this was the right way to do it. I always do that. I don’t even think about it you know? It’s something I just like to do.

It’s interesting that this is the quality of material you can come up with without having planned it …dude, that’s scary man!

Yep, you just change direction and keep running, ya know?

Absolutely.

Everyone always says that the Motown sound is the most elusive. Its a popular belief by myself and many other musicians that it is impossible without recording in the room in Detroit, with those original musicians…  So I think I speak for most when I ask… How did you do this and what steps did you and the sound engineers go through to guarantee the sound that you were looking’ for?

Well first of all I found the drum set that I wanted to use for the complete record. There’s a place where I eat every day and right across the street is a store called Drum City. They sell new drum sets, but they have this one old Ludwig drum kit, and I jumped on it and started playing it and I thought, “this is it!” From that point on, we just started messing’ with the drums, the sounds, and from there it took off. You gotta have the chops too, to make it work, but that was the beginning of it, you know?

Which sacrifices or embellishments in arrangements did you have to make in contrast to your normal way of working?

Well, the first thing we had to do was to make all the songs very short, and by making them short–you can’t play around, you gotta make an impact by the 2:30 mark [in the song]. The first few bars have gotta be catchy, ya know? The first few notes have to get you right into it.

I remember that you pulled out the tuba for “Still Ray” so you’re definitely comfortable using any instrument for any occasion as long as its necessary. Did you get a chance to use anything out of the ordinary this time?

Yeah, Stevie Wonder. (laughs)

Everybody knows you as this signature vocalist, I know you as this monstrous bassist and guitarist… What were the jam sessions like for this record? Is there anything floating around out there, that you wished made the record?

I started doing one type of record, then started doing a different type of record, then I ended up doing this record. Some of the other things almost went in, but it would have never fit the style of record that I was doing. There are a couple songs that could’ve  gone on this record that I didn’t complete. I just didn’t feel like they should be on the record, but I’ll probably end up putting them out for my next record. I’m gonna stay along these lines for my next record but it will just be a little different. I kinda like this Stax/Motown thing, it’s a global thing, and I want to live this out how they lived it out. They lived it out for a couple years, so I just want to I definitely want to fuck with this for a minute.

Given a lot of stuff that’s going on socially and culturally in this country; and considering how timely this album is, dropping on the eve of Barack Obama getting elected…then of course, there’s this understanding of what those 60′s records meant to Black America at the time, then to throw in what it means to have a soundtrack tying together those emotions from the past with today’s awareness …..did any of that cross your mind when you were making this record?

No, not at all, man, not all it all. I can feel things without looking into it so politically. I’ve always been a fan of those type of songs though, like a Stevie song or a Curtis Mayfield song. Sometimes I drive through my neighborhood now and put on a Curtis Mayfield song and watch little kids walk around…little teenage kids, and be like, “wow, this is so relevant to what’s going on in their lives but they don’t know it,” because they’re not looking at Curtis. I play it like a soundtrack when I’m driving in the car, and you’re listening to a song like “Keep on Pushin,” and it looks like it was it was recorded that very second when you see people walking down the street. So, I’ve always felt like his music was relevant, but I didn’t think that nobody was old enough to do it, you know? And the people who are old enough to do it probably won’t have a record deal (laugh). I’m not thinking I’m the only person who can do what I’m doing. There are a lot of people who can do it but they don’t have record deals. So I feel like, as a person with a deal, I should step up.

When its all said and done, what would you want said about you and your contribution to this art called music and how do you want this album to add to that narrative?

I probably want people to say that he was very consistent, and very true to the art, that he was a triple threat: from producing, to writing, to performing. I just want to be a true testament to others who want to do what I’m doing, you know? I have a lot of people that I look on and say, “this is what I need to be doing,” and I want other kids to have that person they can look up to and say “I want to do it better than he did.” We have those people in sports, but we don’t have them that much in music.

The sad thing is, we have them but we’re all looking at the same people we’ve had for almost 30 years.

I gotta a side question that I want to ask you…how did that Prince thing come up when you played bass [with him] back in the day?

There was a guy with a neighborhood studio and someone called over there looking for players and I just happened to be at the house. Everybody knows that I sing and dance so, they were having an audition in mind [for me]. From there I went to the audition in San Francisco the next day and I got the gig. Next thing you know I’m opening up for Prince. It wasn’t a lot of gigs, just a lot of side gigs at the clubs, but I got to watch the whole management of Purple Rain, and I was able to watch him. It was great for my career because it was one of the biggest rock and roll tours ever. Then I was able to come back home and start the Tonys (Tony! Toni! Toné!) and kind of build from there, and its still building from there.

I feel like this record is a pinnacle time for me where it’s a record that seems like its a soul record, but it’s also an urban rock record. It’s bluesy but it lets the whole world enjoy. And that’s probably from being around people like Carlos Santana, watching all the Grateful Dead people left over the day after a show and they’ve been there for a week–I grew up by the Colosseum so you would see hippies hanging out there for a week, and you didn’t know what was going on, and then you find out that its the Grateful Dead, and realizing that their fans hang around and follow them for weeks. Knowing all of that, and touring like that, you get a mass of so many different experiences. So when you get a record like Where I’ve Been you kinda know where it can go. You can go to Europe, you can go anywhere. You know, cause a lot of Europeans are coming over here to see how Muddy Waters recorded his records. And knowing that history–Howlin’ Wolf and all those cats–I wanted to be a part of that sound.

Sample Tracks (Windows Media Streaming)

Raphael Saadiq -100 Yard Dash
Raphael Saadiq – Staying In Love
Raphael Saadiq – Big Easy

Raphael Saadiq is currently on tour supporting his album The Way I See It, which is in stores now.

Wow, the line-up of shows for September and October in this city is going to be insane. Mos Def is going to be in town this weekend at the Kennedy Center (don’t get mad if you didn’t buy tickets–I warned y’all) doing his rendition of hip-hop and jazz classics. Should be tight. Phonte rolls through Busboys and Poets on Monday night and Raphael Saadiq comes BACK to Black Cat for MN8′s 7th Anniversary celebration on the 25th.

October is going to be insane. Girl Talk, Chromeo, and Hot Chip take over 9:30 Club and my homegirl Lykke Li takes on the Black Cat on the 19th.

Much thanks to Lady Glock for helping compile the list.

Sept 21st – Mos Def at the Kennedy Center (Sold Out)

Sept 22nd – Phonte of Little Brother and Zo! Q&A – Busboys and Poets

Sept 22nd – Upset The Setup Presents: Band In DC feat Ras Lidj & Deep Band and Godisheus – Velvet Lounge

Sept 25th – Clipse feat Wale, Consequence and Southeast Slim – University of Maryland

Sept 26th – The Chavy Boys of London (Scottie B, Shawn Caesar, King Tutt), Will Eastman, Gavin Holland, Dj Stereofaith – Rock and Roll Hotel

Sept 28th – Raphael Saadiq – The Black Cat

Oct 2 – Ratatat – Black Cat (Sold Out)

Oct 3 – Kool Keith – 9:30 Club

Oct 4 – Chromeo – 9:30 Club

Oct 8 – Hot Chip – 9:30 Club

Oct 9 – Antibalas Afrobeat Orchestra – Black Cat

Oct 10 – Girl Talk – 9:30 Club (Sold Out)

Oct 15 – Janet Jackson – Verizon Center

Oct 19 – Lykke Li – Black Cat

Oct 20 – Talib Kweli, David Banner and B.O.B. – 9:30 Club

Oct 26 – Little Brother – Black Cat

BONUS:

Nov 1 – Murs and Kidz In the Hall – Rock and Roll Hotel

Cop tomorrow and pick up tickets for his concert @ Black Cat on September 28th.