If you were there you'd know...

For reasons beyond this blog's control, reallyrather wasn't there back in 1965 when the Motor Town Revue was tearing up the dancehalls of England. Happily, a contemporary take was available for two delirious nights last week at the Jazz Cafe in Camden courtesy of Oakland's Raphael Saadiq and a sizzlin' nine-piece band. Trailing his startling faithful Tamla homage release The way I see it, sharp-suited Saadiq , a playful, engaging performer replete with skinny tie and Poindexter glasses, threw all those classic Temps shapes in unison with his two dynamic, harmonizin' sidekicks...
The effect was a bit like one of those jukebox West End musicals, minus the lame interlinking storybook but with some fantastic, freshly-minted original tunes and generous lashings of the man's extensive pop-soul pedigree. And lest anyone should regard this is as mere vogue-ish neo-soul bandwagon jumping, it should be remembered that Saadiq was old-skool when the current slew of protagonists were still at playschool...





Oh yeah, that Tony Toni Tone album Sons of soul (their third), now fifteen years old, was such a sweet, funkalicious rnb stew and still stands up. Saadiq drops a couple of medleys from those days into a 90-minute set and a few choice post-TTT cuts (like Still ray, and Dance tonight from his Lucy Pearl days) but songs from the new record comprised at least half the show and they all hit the ground running...

Marvin, Curtis, Sam, Smokey, Eddie Kendricks, they're all at the party often in the same song. On The way I see it Saadiq melds their individual and collective essence quite miraculously. Opener Sure hope you mean it hits like Marvin Gaye circa How sweet it is; 100 yard dash tips a hat to the late Norman Whitfield's influence at Tamla; Keep marchin' is exactly what a Smokey Robinson and Impressions-era Curtis Mayfield co-write would've sounded like while Big easy is a box-fresh Nothern Soul floor-filler.
And so it goes on, back into the '50s with the gorgeous Daddys home doowop of Calling, forwards into the '70s and the sorely overlooked sweet soul genius of The ChiLites' Eugene Record on Sometimes and Oh girl, and the Jackson Five on Staying in love. Blimey, even Joss Stone is employed to good effect (tho' she did cut a suitably sheepish presence in a 'surprise' guest appearance on the second of the Jazz Cafe nights).
In playing it so straight and with such obvious respectful feel Saadiq succeeds in raising the project above and beyond plain Rutles-style pastiche. Should this blog be concerned that such an ostensibly backwards-looking exercise can yield such an unfeasible amount of pleasure? Maybe, but heck, judging by the scores on the doors reallyrather is certainly not alone...
[raphael saadiq][it's showtime!]

And there's lots more Californian analog goodness to be had on Acid tongue, Jenny Lewis' second solo outing. Since the earliest days of Rilo Kiley Lewis has been a 'buy it blind' act for this blog (one of very few come to think of it) and once again doesn't disappoint. And its pleasingly fitting to see those Warner Bros. palm trees embossing this very satisfying collection of soulful Cali-roots-rock. The back-to-back volley of See Fernando and Godspeed neatly encaspulate what's on offer this time round - the former's roughhouse gee-tar tumble followed by the mellow lamentations of a piano-led arm-waver...

...not, of course, that there were any such cheesy goings-on at her show at Koko a few weeks back, oh no. Very respectful we were in our broadsheet-music-section-readers' way. The feel of the record was always going to be easy to achieve given the relatively immediate way Acid tongue came together. The set peaked with the title track itself, just Lewis and her acoustic beneath a yellow spot and framed by a shaggy boys chorus; tinglesome, indeed. This blog's album highlight could well be the sinuous scratch of Pretty bird but segmental epic rocker The next Messiah (which visits Creedence and the Black Keys along its course) and the rollickingly efficient Carpetbaggers kick up some mighty fine dust...

Not that everybody's happy, mind. In particular, some have bemoaned a perceived departure from the quirky indie-girl perspective they have loved Lewis for hitherto. Sounds to me like a simple case of artist maturation but for anyone who does feel this way reallyrather, helpful as ever, has THE VERY RECORD for you...

Sliding this disc into the laptop, all the media player comes up with is 'Unknown Artist - Unknown Album' which, quite scandalously, is a state of affairs not that far removed from the reality. But Haley Bonar's Big star deserves a much wider hearing and if this blog had the remotest sense of how these things are done it would sign up the European licensing rights, you've guessed it, pronto.
Her third album proper, Big star is Bonar's most accessible and cohesive set to date and scores some early points for concision, most of the songs here coming in under three minutes. This brevity doesn't betoken lack of ideas but focus and keener editing. There's a couple of numbers on here, Little maiden gin and Mayday, which wear the some of the clothes we're familiar with (a watery, pensive reflectiveness) and which Bonar is gradually beginning to shed. But the bolder, more open melodies coming in their stead are no empty vessels, carrying some personal, distinctly wary lyrical freight.

When you exhale do you still smell smoke, when you laugh now is it still at a joke or are you so full of fire that you feel yourself choke, on your better half.

This song, Better half, sits at the heart of the set and exemplifies its best qualities - jaundiced music biz observations (possibly informed by Bonar's dalliances with the likes of VirginAmerica), a strong confident vocal and ace production mix (Tchad Blake). But, strong as it is, reallyrather ranks it only about third or fourth best track on the album. Top of the pile, and shaping as outright Song of the Year, is Arms of harm, a beautifully executed piece which constantly evolves and builds with some great musical detailing from the band.
Another standout is Something great - indeed, indeed. Shaken tambo and more great just-so drumming (Dave King) help propel a highly attractive tight-lipped, multi-tracked vocal melody. And ping!, its gone before you know it; 1min59 and nothing to add. Queen of everything wouldn't sound out of place on the Jenny Lewis record with its roots-rock heft and restrained rock guitar. And the album glides out on a pair of achingly lovely slices of indie-girl melancholy, Along and Tiger boy.
Haley Bonar seems to be reversing into the (lime)light. On her website are some dazzlingly attractive promo shots yet the portrait chosen for the record cover is of a somewhat reluctant mien framed in the refuge of a fur hood. Thing is, if you have a problem with fame putting out a record as appealing as Big star isn't gonna do you any favours. Spread the word: Haley Bonar is no longer an acquired taste. If you're ready for Jenny Lewis you're more than ready for Haley. Whether or not she's ready for you is a whole other question...
[haley bonar][buy big star..like, now]

So, what are you doing for Christmas? No idea? Why not start by releasing your inner six-year-old at The Boy Least Likely To's last show of '08 (OK, so there's only been about three all told - hardest working band in showbiz), Hoxton Square Bar & Kitchen Dec 15...
[tbllt]

And if anyone's Most Likely to appreciate this little animation to accompany the release of the new Mascott album Art project [got mine, get yours] it's Pete, Jof & co...