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Raphael SaadiqBimbo’s 365 – San Francisco, CA. – Wednesday night, August 20th, 2008.The ever artistic Raphael Saadiq made a Wednesday night a ‘happening’ with an energetic, authentically soulful and funky concert at Bimbo’s 365 in the North Beach area of The City. Saadiq, backed by a powerful eight-piece band and two background singers, intermingled hits with new material from his forthcoming album, “The Way I See It”.  

 

It occurred to me during the set, (and I am a fan of the man) that Saadiq has quietly amassed a strong catalog of songs that soul music lovers know intimately. As he breezed through tunes from Tony! Toni! Tone’!, Lucy Pearl, and from his solo career – Bay Area heads sang along as if belting out a standard.

 

The show’s highlight for my $22? The rocked out versions of Be Here and Excuse Me. Blazing with four guitar players (sometimes five when Saadiq has his bass in-hand), the band thumped and thrived behind musical director/guitarist Rob Bacon. I would love to tell you the rest of the band’s lineup but Saadiq never said their names. I recognized Bacon – a longtime Saadiq cohort, and I think one of the other cats was Kenya Gruv.

 

Songs I recall being played:

 

The show started with Marvin Gaye’s version of the National Anthem.

Be Here

Love that Girl

Ohh Girl

100 Yard Dash

Dance Tonight

Still Ray

Charlie Ray

Tick-Tock (Saadiq forgot words to second verse)

Get Involved

Excuse Me

Feels Good

If I Had no Loot

Ask of You

Just Me and You

Pillow

Anniversary

It Never Rains in Southern California

Staying in Love

 

The encore was:

Callin’ (with guest singer)

Big Easy (New song about Katrina hurricane)

 

Overall, another very good performance by Saadiq who seems a bit more focused at this point in his career than he may have been in the past. The songs I heard from his latest album have a 60’s Motown feel but that is nothing new if you have been listening to Saadiq at any point in his songwriting career. The difference this time is that the product appears more polished and it has the backing of Columbia Records. 

 

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