#488 - D'Angelo - Voodoo

I'm torn about this album. On one hand, I love the heavy jazz and early R&B feel of this album; from its slow and scintillating drum beat to its' thick bass lines. Honestly, I first listened to this album in its' entirety driving to work in the middle of the day and while I was "just okay" with the album I was less than overwhelmed. Gladly, I gave it another listen while laying in my bed one night and D'Angelo definitely deserves a great deal more credit than I had previously given him.

Recorded at the Jimi Hendrix constructed Electric Lady Studios in Manhattan, Voodoo is chock full of inspiration from artists such as Marvin Gaye, Prince, Hendrix, Al Green, and a multitude of early R&B greats. Word has it that the recording of this album consisted of a number of musical minds sitting in the studio studying bootleg performances of the greats. The summation of these sessions, Voodoo became a neo-soul classic, bringing (along with D'Angelo's first effort Brown Sugar) the genre to the forefront of the music world.

The album as a whole is wonderful in its' entirety, but, with the exception of "Untitled (How Does It Feel?)" lacks memorable tracks. In fact, the only other major single off the album was "Left & Right" (featuring Method Man and Redman,) which actually seems a bit alien and inappropriate given the albums deep submersion in the old-school jazz and R&B schools. This track, although decent, is exactly the type of song D'Angelo had claimed he was disappointed about in terms of the direction R&B had taken towards becoming pop music. It sounds as if it falls within such other hits of the time as the Method Man and Mary J. Blige collaboration "All I Need."

The issue with writing a critique of this album is that, although I was thoroughly satisfied with its components, I felt it lacked more than one memorable song. At its closure, I do not feel overwhelmed, nor can I name one specific song that I absolutely love. Musically, I appreciate the craftsmanship, but in the same vein as I would appreciate listening to classical music while I'm writing. Perhaps, the main issue is D'Angelo's voice while, although mimicking the R&B greats and Prince's delivery, lacks the force those previously mentioned artists exhibit. His whisper works, but doesn't grab you the way those voices of Teddy Pendergrass, Marvin Gaye, Otis Redding, Sam Cooke, Al Green, or Lenny Williams have held us over the years. To me, that is the glaring problem of modern-day R&B. Besides, the hip-hop influenced production of the genre that has led it down a less than stellar path, the issue remains that aside from Rihanna (which is a subject that could easily lead me down an anger-infused tirade if I let it) there are no distinguishable voices in R&B. The closest we've come in the last few years would be Alicia Keys, John Legend, and Raphael Saadiq.

Again, I appreciate the production and musical savvy of D'Angelo's album, but I think all the credit is given because he and a number of other attempted to create a new R&B renaissance while holed up in Electric Lady Studios over the span of something like five years. Ultimately, they came up with what appears (at least in my humble opinion) an album that is "just okay" with one great and memorable track.

This album's cover song isn't an actual cover, but equally enjoyable; thanks to Jamie Foxx.

-d.

Despite great reviews and respect from musical peers, this albums genius was mostly overlooked by its audience. Rarely is music this overshadowed by some abs and a bit of pelvic bone. It’s a shame too. There are some really great songs here, by far the best of that era in R&B. Of course, when you’re up against Sisqo, can you really lose? Seemingly his career (and sadly his mental state) were destroyed in the long run by his sex appeal, and he has ducked the spotlight ever since. His downward spiral into addiction and self destruction led this man to become that man.

Let’s just get this out of the way. Untitled (How Does It Feel) was written as an homage to Prince, and it certainly lives up to its inspiration. A sparse bit of soul that builds intensity simply by holding off the climax til the last second, then ending the song abruptly. It borders on cruelty to the listener, yet adds to the beauty of the song. The final screams are a highlight, not just of this album, but of the entire neo-soul movement.

The entire album is a credit to the balance of great songwriting and great musicians. Some of the best in the world are featured throughout. Pino Palladino, Raphael Saadiq, Amhir Thompson and Charlie Hunter all take turns building the songs. They accomplished what is almost lost in modern r&b, sculpting music that is shocking in its brilliance without over riding the vocals. They never rely on a beat to carry a whole song. Also, when was the last time you heard a guitar solo on a soul cd? Common place in the seventies, the idea of recruiting a great band to back a solo artist has all but disappeared.

Spanish Joint has a nice Latin jazz feel, with a busy horn part. Feel Like Makin’ Love Is a very simple groove anchored by the insanely tight combo of ?uestlove ‘s drums and Pino’s bass. Makes me wish Pino has replaced Hub in the Roots (nothing against the immensely talented Owen Biddle). The only song I’m not a huge fan of is Left & Right. It’s not bad at all, but the inclusion of Method Man and Redman breaks the flow of the record. The music is good, and the verses put forth by both are solid, but stylistically it just doesn’t fit.

All in all, Voodoo is a great addition to the list. Haven’t listened to it in years, and I’m glad to have these songs back in my head. Hell, I’m inspired to get back to working on my soul chops. If you don’t know some of these musicians, click here for Hunter and here for Pino (yes it’s with John Mayer and yes it is still amazing).

TFM