D’Angelo, my dad’s classic drop-top and nostalgic warmth
The shocking death of soul pioneer D’Angelo causes music lovers such as myself to reflect deeply on how his art immensely impacted our lives.
– BY JESEF WILLIAMS –
The smooth, jazz-infused sounds of D’Angelo’s soulful single “Brown Sugar” always take me back to 1995, a pivotal year in my life. In what could have been a tumultuous time for a child, my memories of that period are decorated with nostalgic warmth via revolutionary soul music.
In 1995, my parents separated in what would be a temporary, two-year split. After my sixth-grade school year ended, they told me about the separation plans and allowed me to decide what I wanted to do: stay in Fairfax, SC with my mom or go with my dad to North Charleston.
As a kid who grew up in a military family and was accustomed to — and somewhat excited about — moving, I chose to go with my dad, as I saw it as an opportunity for yet another adventure.
Good music always played from the speakers inside my dad’s 1969 Pontiac Firebird, a classic drop-top whip that sported eye-catching candy apple red paint. During our drives to and around the Charleston area, I fondly remember “Brown Sugar” being one of the songs that played. D’Angelo released it in June 1995 as the first single from his debut album of the same name. It was a hit record (pronounced “reckid”) that stayed in rotation on radio stations, with the accompanying video getting considerable run on BET. Eleven- and 12-year-old Jesef liked it a lot!
SOUL SCHOOL, A CONTINUATION
By the mid-90s, I had already established an eclectic, well-calibrated ear for good music. See, I grew up with music-loving parents. My dad had a thing for classic rock, blues and soul that dated back to the 1950s and decorated the 60s. I’m talking ‘bout Chuck Berry, Fats Domino, Buddy Holly and Chubby Checker. How about Jackie Wilson, Otis Redding, James Brown, Wilson Pickett and Sam Cooke? Absolutely!
Meanwhile, my mom had – and still maintains – an affinity for 70s soul, specifically Minnie Riperton and Stevie Wonder. She wore out her “Songs in the Key of Life” vinyl reckids. I seem to recall her spinning that LP in the house on a weekly basis. Looking back, with that type of foundation and sonic exposure, it was only right that I gravitated toward D’Angelo. His music sounded new and different from everything else on the radio at the time, yet it also felt somewhat familiar.
D’Angelo’s “Brown Sugar” LP marked the beginning of neo soul, a term retroactively coined and applied to the artist and album. The wild irony is that D’Angelo loathed the term while serving as its chief flagbearer. Nonetheless, D essentially started the R&B subgenre characterized by 60s-inspired live instrumentation, introspective and socially conscious lyricism, and analog recording methods. He was soon joined in the movement by the likes of Maxwell, Erykah Badu, Lauryn Hill, Jill Scott and many others. Their music is food for my spirit – soul food, if you will.
AN “UNTITLED” MASTERPIECE
The “Brown Sugar” album is a certified, groundbreaking classic. However, D’Angelo’s second studio project – “Voodoo” – is his magnum opus, in my soulful opinion.
The 2000 LP served as a core pillar of the Soulquarians movement of the late 90s and early 2000s. This is when D’Angelo teamed up with Questlove of The Roots and hip-hop producer J Dilla, among others, to create a roster of albums that remain among my all-time favorites. Erykah Badu was in the mix, as were Common, Mos Def, Talib Kweli, Q-Tip, Bilal and James Poyser of The Roots. Given my taste in soul and hip-hop music, you know I’ve been ALL about the Soulquarians collective.
Check out this animated video about the Soulquarians. I like to revisit it occasionally.
While D’Angelo’s “Brown Sugar” took on more of a smoother jazz approach, “Voodoo,” on the other hand, was grittier and funkier – and I love it! The influences of his idols Sly Stone and Prince are evident. I hear the James Brown impact, as well.
The album included the mega hit “Untitled (How Does It Feel),” a favorite song of mine that I view as a fascinating case study. Most people may recall its attention-grabbing music video, which featured a naked D’Angelo. The ladies loved it, rightfully and understandably so. But all of the superficial attention detracted from the musical brilliance of the reckid. Looking back, I didn’t begin to appreciate and love “Untitled” until at least a year or two after the initial video buzz. Even today, I don’t think most people realize how musically phenomenal it is.
Peep the audio below, and listen with good speakers or headphones. Those basslines and guitar riffs must be fully absorbed and appreciated.
“Untitled” is just as much spiritual as it is sensual. It’s an experience, complete with emotion, sonic movements and phases that seem to symbolize the ebbs and flows of lovemaking. You hear sensual pleas and impassioned vocal runs akin to those of Marvin Gaye, with ultimate Prince-like grooves. The guitars are funky – so sick that I typically make the scrunched-up stank face a few times when listening.
The full 7-minute, 10-second album version is necessary listening; I can’t mess with the shortened radio version. I need every moment of that masterpiece.
The overall experience was so ill that I want to visit again. It’s truly one of our country’s music meccas.
Through the years, I’ve listened to “Untitled” – and the entire “Voodoo” project – on unabashed, aggressive repeat. Just this year alone, before D’s passing, I probably listened to the album about 20 times. In recent days, I’ve obviously been engaging with his material a lot more. It’s therapeutic as we mourn.
This photo is courtesy of Kelly Usher, a fellow neo soul enthusiast.
I believe for many of us, D’Angelo’s death is as significant as Sam Cooke or Marvin Gaye’s passing was decades ago. D was a soul music giant. His material is real. It’s raw. It’s funky. It’s gospel-esque. It’s ultra-Black. From a community standpoint, it’s ours.
As “Untitled” plays in the background, I realize I don’t even have a clever way to end this essay. I’m just going to sit back, listen to more of his incredible music and reflect on touchpoints from yesteryear, such as my dad’s candy apple red Firebird.
Riding with the top down was always enjoyable.
Jesef Williams is founder and owner of Spectacular Vernacular LLC. The Florida-based company provides personalized communications, marketing and storytelling services that help individuals and organizations:
- Effectively convey sentiments
- Properly emphasize points
- Soulfully capture special moments, events and occurrences
- Successfully reach target audiences
