Are joss stone and raphael saadiq still dating
'I’d go back and I’d listen to the music I loved – Aretha, Roberta Flack, Gladys Knight – and I’d cry because I knew my voice wasn’t anything like theirs. I could just belt it out and that’s what I was told to do.I hated my voice and that just made me miserable a lot of the time.’ ‘I wasn’t academic but I knew I could sing.1 I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you.I loafe and invite my soul, I lean and loafe at my ease observing a spear of summer grass.Following his widely successful album ‘The Way I See It,’ Raphael Saadiq is continuing to draw from Motown soul on his upcoming fifth studio LP, ‘Stone Rollin’.’ The 10-track LP, currently slated for a March release, is led by the single ‘Radio.’ The song finds the Oakland native going even further back in time by dipping into ’50s doo-wop and early Beach Boys.It was released to the web yesterday and can be streamed at Raphael The smoke of my own breath, Echoes, ripples, buzz'd whispers, love-root, silk-thread, crotch and vine, My respiration and inspiration, the beating of my heart, the passing of blood and air through my lungs, The sniff of green leaves and dry leaves, and of the shore and dark-color'd sea-rocks, and of hay in the barn, The sound of the belch'd words of my voice loos'd to the eddies of the wind, A few light kisses, a few embraces, a reaching around of arms, The play of shine and shade on the trees as the supple boughs wag, The delight alone or in the rush of the streets, or along the fields and hill-sides, The feeling of health, the full-noon trill, the song of me rising from bed and meeting the sun. 3 I have heard what the talkers were talking, the talk of the beginning and the end, But I do not talk of the beginning or the end.
‘I know William and Harry – I’ve done performances for them.On a cold Thursday night in January, we find Saadiq and his quintet (guitar, bass, drums, two singers) sitting on stools under a dimly lit crystal chandelier in a spacious suite on the 16th floor of San Francisco’s classy Clift Hotel, breezily running through a few tunes from his new album, , which was shot on a set made to look like a swinging bachelor’s penthouse apartment, that’s what this room looks like.And by the time Saadiq casually kicks into the album’s first tune—“Heart Attack,” which he admits is a nod to one of his idols, Sly Stone—the crowd of about 75 local writers, music biz types, and a few friends from his days across the bay in Oakland, is well-lubricated and in a good mood. Handsome, relaxed, dressed head to toe in black (including his trademark black-framed glasses), and cradling a Telecaster on his lap, Saadiq tells stories about his new songs and even takes questions from the audience.The handful of tunes he performs run the gamut from the rockabilly shuffle “Daydreams” (inspired by Ray Charles and Johnny Cash, he says) to traditional soul-flavored tunes more reminiscent of his hugely popular 2008 album . ; the short-lived R&B supergroup Lucy Pearl (Saadiq, En Vogue’s Dawn Morrison, and A Tribe Called Quest’s Ali Shaheed Muhammad); and his solo albums.
That disc, with its uncanny extrapolations on the traditional mid-’60s Motown sound, created quite a sensation and brought Saadiq a whole new audience—mostly young, mostly white folks who frankly were unaware of his long and illustrious history dating back to the smash late ’80s, early ’90s Oakland soul and new jack swing group Tony! No doubt many of the audiences who saw him play huge festivals such as Bonnaroo, Outside Lands, and Bumbershoot (he’s playing Coachella and South By Southwest this year) thought he was a new artist who’d just stepped off a bus from Detroit in 1965.
Concurrently, Wright performed with Pieces of Peace, a group of musicians who recorded music sessions for Jackie Wilson, The Chi-Lites, Jerry Butler, Curtis Mayfield and The Impressions.