Raphael Saadiq Had a Spiritual Experience Working on Sinners

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Amiri Baraka explores the idea of “rhythm travel” in his 2006 collection of short stories, “Tales of the Out & the Gone“. This Afrofuturist concept allows a character to traverse musical rhythms and visit legacies from past, present, and future. It’s a thought-provoking exploration of speculative fiction that builds upon concepts Baraka had earlier expressed in “Blues People“, a groundbreaking work delving into the role of Delta blues and its descendants in shaping modern Black history.

It’s not surprising that director Ryan Coogler delved into Baraka’s work while crafting the script for his latest blockbuster, Sinners. This chilling film is built upon a profound respect for the blues, its significance within African-American culture, and the ominous specter of its misuse. In a poignant scene, this lineage becomes evident as Miles Caton’s character Sammie sings the evocative “I Lied to You,” a song that illustrates the ancestral origins of blues music in Africa, then showcases its numerous offshoots. As Raphael Saadiq, an experienced songwriter, explains, “I allowed my spirit to guide me through various stages, from hip-hop to The Hawkins Family.” Saadiq, who co-wrote the track with composer Ludwig Göransson, humbly states, “I consider myself more of a conduit.

Saadiq frequently creates music across diverse genres such as funk, soul, R&B, and country, boasting a rich collection of hits. Throughout his distinguished career, this gifted singer-songwriter has consistently been at the heart of Black music, making a natural progression to work together on an original track that honors the blues and related genres. Saadiq reflects, “Sidney Poitier once told me that I have both accountability and responsibility. While I’ve accomplished much, there is always room for more growth and contribution.

What led you to be part of the Sinners project? Ryan Coogler and I share a connection through our roots in the Bay Area, as my late brother D’Wayne Wiggins and his father went to school together. We seemed to have a spiritual or ancestral bond, and this film provided the perfect opportunity for us to collaborate. Ludwig is also an impressive individual with musical talents; I admire all of his work.

They departed to film the movie, and Ryan phoned me requesting a song. On that particular day, we met up, and he shared the idea behind the movie with me. In my usual practice from working with John Singleton on projects like “Boyz n the Hood” and “Higher Learning,” I wrote the track without previously reading the script.

Inquiry: What information did Ryan provide regarding the movie?

Ryan disclosed that his uncle is a fan of blues music and that the film served as an ode to it. It was quite serendipitous, given my family’s roots in Monroe and Shreveport, Louisiana. When he mentioned the song, I contemplated returning to the studio to work on it and potentially sending it over the following week. However, he asked, “Can you do it immediately?” Consequently, I wound up recording it myself.

The idea for the song has been in my mind since I was around 19 or 20 years old. The line “they say the truth hurts, so I lied to you” represents me lying to a girlfriend when I was younger. It seems fitting in a blues song because I grew up surrounded by the blues – my father and stepfather both loved it. In fact, I used to play in a group called the Gospel Hummingbirds, where our songs were inspired by Delta blues. For “Lied to You,” I incorporated my Baptist-church background and let the spirit guide me. I hadn’t heard the song again until Ryan showed me the film just two weeks ago.

https://youtube.com/watch?v=watch?v=aGJlfjRUb1s

How did you feel when you witnessed Miles Caton singing the song? I was astounded, motivated, and contemplating many of my ancestors. There’s a generation that actually picked cotton, just like they show in the movie. The quartet groups I used to perform for as a child always had men in their 50s who spoke about picking cotton.

As a passionate cinephile, I had the incredible privilege of premiering my movie in Oakland at the iconic Grand Lake Theater. It was an unforgettable moment – the most exhilarating homecoming I’ve ever known. The screening itself was profoundly moving. There was a mesmerizing circle of ancestors and fellow Black individuals, their drums and rhythm pulsating, evoking all those soulful melodies that I often hummed in my Baptist church. That’s the essence of Black gospel; that’s the heart of blues music.

Did you resonate with that scene showing how Delta blues plays a significant role in modern Black American music? Given your extensive musical journey across various American genres, did it feel like a personal connection to witness so many Black music styles being highlighted on screen? Indeed, I did! The dialogue reminded me of my upbringing. As the church community disapproved of blues singers due to their belief in singing for the devil, it mirrored my own experiences. Growing up in the church and later experimenting with different genres only added fuel to the rumors that I was playing for the devil. Writing the song wasn’t a challenge because it was an echo of my past, and I didn’t have to ponder over it much.

Is it true that in the horror film “Sinners,” vampires symbolize the ongoing influence of black music and its connection to “whiteness” and the blues? I wonder if you think the urge to imitate and borrow from Black music still persists today?
Yes, indeed. We are the pioneers when it comes to music. It was us who originated the blues – we dance, move, run, jump, and do it with a level of passion that’s unparalleled. The phenomenon of cultural appropriation is undeniable. If Stevie Wonder performs an emotive vocal run, for instance, everyone else will attempt to follow suit. Take New Edition, then you have the New Kids on the Block; Usher and Justin Timberlake come after. However, in Black music, one must be exceptionally skilled to capture our attention – there’s no room for frivolity. You need to touch us deeply like Frankie Beverly’s “We Are One.” There are many talented white guitarists who excel at playing the blues and can execute numerous licks, but none of them can emulate the raw emotion conveyed by artists like Eric Gales, Buddy Guy, Albert King, or Little Jimmy King. Our history is rich and complex; you cannot replicate the struggle. It’s acceptable that we set the pace, and everyone else follows. But I always aim to make it difficult for others to imitate me. If you don’t want someone to mimic your style, let your spirit guide you. You can’t duplicate that.

Your question reminds me of my collaborations with Beyoncé on Renaissance and Cowboy Carter, which blend various Black genres. To achieve this harmonious fusion, I prefer working with artists who are dedicated and share a common vision. For instance, I’ve been collaborating with Syd from the Internet, a multi-talented artist who produces, writes, and engineers her own work. Though she doesn’t necessarily need my input, she invited me into her creative space. The same goes for Beyoncé; working with her is like being in school because of her profound understanding of music. It’s the kind of environment you aspire to be part of until the end of your days, and you always strive to produce your best work.

In this process, I find myself drawing inspiration from iconic artists such as Shalamar, S.O.S. Band, Prince, Herbie Hancock, and jazz greats like D’Angelo. As I present my creations to the artists, I aim for them to feel the influence of these musical legends without even realizing it.

You’ve got a solo performance coming up at the Apollo next month, which will trace three decades of your work. It’s quite a challenge to pay tribute to the vast body of music you’ve created throughout your career. How do you prepare to encapsulate this rich discography on stage?

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2025-04-23 20:54