From our Ears to Yours
Album Review: Raphael Saadiq – Stone Rollin’
Raphael Saadiq’s latest studio album Stone Rollin’, his fourth, is glitzy soul and well-dressed glamour, slyly sneaking by and taking your woman when you aren’t looking. Rocking the ‘60s soul sound of Motown, with a full-band sound, big horns, and great backing female vocalists, Saadiq blends classic R&B, blues and soul into a very slick package. And “slick” is the word…the sound of smoky backrooms, and sultry dancers whose hips move to the beat…Play this album and you can just see the backup singers dancing in unison.
Grammy winner Saadiq carefully wields his talents as a musician and producer and provides catchy and soulful arrangements and an overall sound and production that shines brightly throughout. A top-flight producer who got his start with the multi-platinum selling band Tony! Toni! Toné!, Saadiq has produced songs from the likes of Joss Stone, D’Angelo, Mary J. Blige, and John Legend. Melding his R&B and blues influences with ’50s and ’60s rock and roll styles, this album rocks a little more than most of his prior work. “This album was inspired by great artists like Howlin’ Wolf,” said Saadiq before the album was released. “Stone Rollin’ has a harder, [more] bluesy sound than my last album.”
Saadiq has a sweet soulful voice with an edge to it, and, wearing his influences on his sleeve, Stone Rollin’ mixes a jammin’ R&B sound with ‘70s keyboards, big-balls funk, and ’50s/‘60s blues-rock vocals. Though Saadiq plays a lot of the instruments himself, he brought in some well-known musicians as contributors, including Robert Randolph on steel guitar from Robert Randolph and the Family Band, keyboardist Larry Dunn from Earth, Wind & Fire, bassist Larry Graham from Sly and the Family Stone (and Prince), and several Motown session musicians (Paul Riser and Wah Wah Watson).
“Heart Attack” rocks with staccato guitar riffs, rockin’ beats, heavy echo, and Saadiq howling into the microphone, “Do you know how it feels, when the pain feels like it can kill.” Saadiq’s ode to R&B itself, “Radio,” drops right out 1955, with a nod to the early days of rock and roll, and begs you to turn up the volume. “Just Don’t” is my favorite from the album, with sweet and sad vocals from Yukimi Nagano, ‘70s moog keyboards, a lush symphonic sound with violins, viola, horns and a harp, and a beautiful instrumental bit at the end. “The Answer,” which looked to be a nine-minute album closer, is actually two songs, with a break in-between, and a “hidden” track (“The Perfect Storm”), featuring Larry Graham, to close out the album.
If you like, soul, funk, R&B and music that is reminiscent of the biggest Motown hits of the ‘60s, you’ll like Stone Rollin’, as Saadiq pulls from the past, but still manages to creates his own unique sound.
Musichord Rating: 9/10 
Listen to the title track, “Stone Rollin’”.
Concert:Byron Bay Bluesfest 2011 – Day 4
Grace Barbe - Creole Daughter (with bunny ears)
The rain put in an appearance for the first time on Day 4, but it didn’t stay for long. A little bit more mud perhaps, but nothing that would prevent the seasoned four day festival veterans from their plans to hear some amazing music.
By all reports, Kate Miller Hiedke put on a great show, bringing her quirky brand of show tune pop – audiences were thoroughly amused and entertained, with her cover of Eminem’s “The Real Slim Shady”, delivered in her characteristic, classically trained operatic voice being a highlight.
Irma Thomas is known as “The Soul Queen of New Orleans”, and she brought a small piece of Bourbon Street to Byron tonight, with an amazing backing band, and dazzling soul tunes that harken back to an earlier time, when things were perhaps less complicated. The crowd were amazingly into her show, as she belted out some of her classic tunes – When she called for people to wave their handkerchiefs for “Iko Iko”, I thought that there might be a shortage of handkerchiefs, in this disposable age – but no – handkerchiefs were produced en masse, and flag waving began across the crossroads tent in earnest, as Irma sang with amazing passion. After a heartfelt rendition of “Time is on my side”, she confessed that she had always refused to sing that song, because she felt that perhaps she wasn’t as young as she used to be. “Then I realised”, she told us, smiling, “That it’s true – Time is on my side, because I’m still here!” I was glad I was there, too.
Missed:Trinity Roots, Jeff Lang, Phil Jones & The Unknown Blues, Jackson Firebird 
When I think about the word “Fusion” in terms of music, I’m reminded of Jazz Fusion – of bands like Weather Report, or Miles Davis’ Bitches Brew double LP. But I think what happened when that term became commonplace was that people were trying to describe a sound that was a fresh mix of old and new, of the familiar and the foreign. And fusion describes Grace Barbè Afro Kreol perfectly. Led by Grace Barbè, a charming,beautiful islander woman from the Seychelles, the band puts on an intricate, fun and engaging performance full of island reggae, creole rhythms, and complex, intense vocals in French, Creole and English. (Just for the record, I have never seen anyone play a more awesome triangle solo.) The whole tent was jumping and grooving to the thumping bass as the band played selections from their new CD, Creole Daughter, and made their way through a tribute medley of reggae songs from the islands, including Bob Marley and Musical Youth. An amazing, uplifting experience.
Missed:Captain Matchbox Whoopee Band, Washington, Blind Boys of Alabama, Melbourne Ska Orchestra
Gurrumul, Geoffrey Gurrumul Yunupingu hails from Elcho Island, off the coast of Arnhem Land in Northern Australia. Blind from birth, his natural talent as a musician saw him join another Bluesfest act, The Saltwater Band, where his incredible singing voice was revealed. His solo show tonight was deeply reverent and intense. Singing in his native island dialect – a language few Bluefest patrons will have ever heard before, he sings with an achingly beautiful voice that soars high over his acoustic guitar – putting these ancient words into a modern context that makes them even more accesible and precious. As the set drew to an end, with Gurrumul’s last note drawn out over the enraptured crowd, there was a brief moment of almost transcendent silence as the beauty sank in to us all, before the tent thundered to life with applause and appreciation for this gifted, incredible musician.
Missed:Robert Randolph,Public Opinion Afro Orchestra, The RedEyes, The Snowdroppers
Man, did the crowd go crazy for The Cat Empire tonight. This Melbourne based band has become an institution at Bluesfest, and there were certainly some folks in the crowd whose dancing may land them in an institution at some point. The Cat Empire may be the only Prog Ska band in the world, and I have to admit, that, well – I didn’t get it. Was it supposed to be fun, funky ska songs we could dance to? Or was it more like a Grateful Dead style, jam band thing, with extensive indulgent solos over ska beats? Or was it a kind of singalong, showboat kind of a grown up Wiggles concert? To me it seemed to be all of these, randomly segueing from one to the next without any rhyme or reason.
Regardless of my confusion, folks around me seemed to be relishing the band. I snuck out past all of my new mates (“Sorry Mate!”,”Excuse me Mate!”, “Thanks Mate!”) to go take in the last part of the Derek Trucks & Susan Tedeschi Band’s set down on the Crossroads Stage. Holy Blues Explosion – these guys play with a ferocity and authenticity that is incredibly powerful. Sporting two incredible guitarists, and two equally formidable drummers, this band is a high intensity affair. Susan Tedeschi sings with the power of Three Dixie Chicks, and plays the most soulful lead guitar I have heard in a long, long while. Added to the mix, her husband Derek Trucks – the youngest musician to make Rolling Stone’s “Top 100 Guitarists of All Time”, who plays on the road with Eric Clapton and The Allman Brothers, in addition to his own band – and what we have here is a guitargasm the likes of which I have never heard before. Makes me want to go practice. Or quit. Amazing.
Missed:Cecilia Noel, Barrence Whitfield, Little Bushman
[Each Easter Weekend, the most easterly point of Australia hosts a 5-day blues and roots festival that attracts some of the greatest names in music. Dubbed “Bluesfest“, the acts that are performing this year are amazing in their diversity and their talent. The biggest problem with a Festival this size, is determining exactly what to see, and more painfully, what to miss out on!]
Concert: Byron Bay Bluesfest 2011 – Day 3
Don't take the Brown Acid!
Another day of perfect blue sky weather – the swell was up, the wind was off-shore, the water was warm, and the Byron BluesFest was in full swing as we fought back Festival Fatigue for another round of amazing performances.
Imogen Heap is one of those unique artists who’s medium happens to include music – one of those art-first artists. Although she’s very much herself, I was reminded of other like minded weirdos, such as Amanda Palmer, or Kate Bush. As she played us some of her eclectic tunes full of lively arrangements, cello, piano, and some fantastic new age synth sounds, the crowd was kind of stunned – in a good way. It’s clear that Imogen has some incredible musical chops – and she has an equally incredible pitch perfect voice. A strange choice perhaps, for Bluesfest – but a good one – aren’t we all here for a new experience?
I also snuck over to the Jamablaya stage to catch the opening few tunes from Tim Robbins & the Rogues Gallery Band. Once you get past the fact that yes, that is totally the guy from the Shawshank Redemption, what you find is some genuine easy going laid back folksy blues with heart and a social conscience. A cover of Tom Waits “All the world is Green” featuring the singing saw was really impressive.
Missed:Trombone Shorty, Phil Jones & The Unknown Blues, Hank Greens Blues
Hanging out at the Mojo Tent, I could hear Robert Randolph going off, big time over at the crossroads stage judging by the cheers of the crowd, and I was sorely tempted to scoot on over and join them – but then Wolfmother returned to the Bluesfest Mojo stage. I don’t know what this band would actually be doing if somebody hadn’t come up with music festivals. Wolfmother are a band that are made to play to big sweeping crowds, stadiums. The other thing that springs to mind whenever I see Andrew Stockdales mega-fro, is the question: Am I really supposed to take this band seriously? The hair, and the big, sweeping RAWK sound – long vamping solos, crunchy stompy distortion pedals. Wolfmother are the most cock-rock band I have ever seen – so much so that they are almost a parody of themselves. And the whole thing leaves me on a critical level, somewhat puzzled – but on a more primal level, I find myself punching the air, doing air guitar solos on my knees in the mud. Go figure.
Missed:Robert Randolph, Raul Malo, Grace Barbe Afro Kreol, Nat Col & the Kings
The Indigo Girls have been singing together for 25 years, and it’s clear that they are both still in fine voice. The duo sang their beautiful, inspirational tunes to a crowd of adoring fans – with just a couple of acoustic guitars and perfect harmonies, they were a long way from the preceeding act – back to campfire roots.
I also managed to take in Trinity Dub – a reggae/soul outfit from New Zealand – in fact one of NZ’s most successful recording artists of the 2000′s. There were more than a few Kiwi fans in the audience, cheering wildly as they busted out some huge dirty reggae grooves – the awesome fat basslines reverberating across the tent had the crowd enthusiastically bobbing their heads and smoking weed. (Actually, I don’t think that was really the band’s influence, folks probably would have done that anyway). With soaring three part harmonies, and tasty guitar licks, these guys are alright, bro.
Missed:Derek Trucks & Susan Tedeschi, BB & the Blues Shacks, Victor Valdes & the Marin Brothers
Having been blown away by Michael Franti and Spearhead’s Thursday night show, I was never going to miss a chance for a second. This longer set had all of the hallmarks of the first – bursting with positive energy, amazing musicianship, audience participation, and Michael Franti working the whole massive Crossroads tent, everyone jumping and waving and singing along. “The Sound of Sunshine” featured giant yellow balloons tossed around by the crowd – “Hey, Hey, Hey” saw Franti again disappear through the crowd to turn up in the center of the tent. All the while, the outpouring of love from the crowd was growing and growing. As one bare chested sweaty fan yelled at me “Can you feel the Franti-Love?” Oh yeah. We can feel it.
For the closing finale, Michael dragged all the young kids out of the audience on to the stage to dance as the whole tent danced and sang to “Say Hey” – a stripped back, acoustic, barn-stomping celebration of love:
I say hey, I be gone today
But I be back around the way
Seems like everywhere I go
The more I see, the less I know
But I know one thing, that I love you
I love you, I love you, I love you
If there is anything in the world than can make you forget your troubles, and lose yourself, to harness the power of music to transform your life, and to leave your soul refreshed and renewed, A Michael Frante & Spearhead concert has to be pretty close to the top of the list.
Missed:John Legend, Melbourne Ska Orchestra, The Bamboos, Blackbirds
[Each Easter Weekend, the most easterly point of Australia hosts a 5-day blues and roots festival that attracts some of the greatest names in music. Dubbed “Bluesfest“, the acts that are performing this year are amazing in their diversity and their talent. The biggest problem with a Festival this size, is determining exactly what to see, and more painfully, what to miss out on!]
