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As D’Angelo told Ebony Magazine at the time, he wanted to “make strong, artistic Black music.”Īs if trying to conjure up the ghost of Jimi Hendrix and all those that recorded there, D’Angelo decamped to Electric Lady Studios in Greenwich Village and brought his motley crew of fellow musicians to soak in soul and rock records and try to recreate some of the magic that had been made there.
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A method that harkened back to how funk records were made in the pre-Napster era.
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Recruit the best R&B musicians around, give them free rein to jam, and capture the magic on tape. When it came time to record, D’Angelo took a page from his predecessors and set out to create a spontaneous, jazz-like approach to recording.
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Fans held out hope, with two promo singles, first the sample-driven “Devil’s Pie” in ’98 and “Left and Right” with features by Redman and Method Man a year later. During the five year interim between the two records, he’d switched managers, changed record labels, made brief cameos, and tinkered in the studio for years on end. What perhaps meant to be a vulnerable statement looked more like an illicit invitation.ĭ’Angelo’s perfectionism is well documented and with the fate of R&B foisted upon his shoulders, he was debilitated by the fear of the sophomore slump and determined not to make another Brown Sugar. With its cover and provocative video for “Untitled (How Does it Feel),” D’Angelo bared more than his soul. The album made an arresting statement, not just musically but visually. Voodoo emerged as a response to this, bringing back earthy 70s production powered by experimental, hip-hop-influenced rhythms.Īfter its release, Voodoo topped the Billboard albums chart just two weeks later, won two Grammy’s, achieved platinum status, and produced a hit that would turn D’Angelo into a pin-up for ages. But on the dawn of Y2K, contemporary R&B had morphed into a slick, club-friendly state. At the ripe young age of 21, he was responsible for rethinking an entire genre and had laid the path for Maxwell’s Urban Hang Suite (’96), Erykah Badu’s Baduizm (’97), The Miseducation of Lauryn Hill (’98), and the neo-soul movement. Once hailed as the next Marvin Gaye, D’Angelo become the harbinger of hip-hop soul with his first release Brown Sugar in 1995.