D'Angelo

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D'ANGELO

Born: Michael Eugene Archer; Richmond, Virginia, 11 February 1974

Genre: R&B

Best-selling album since 1990: Voodoo (2000)

Hit songs since 1990: "Brown Sugar," "Untitled (How Does It Feel)"

D'Angelo emerged as the leading artist of the neosoul movement, which favored live instrumentation and classic R&B song structures. Endowed with a voice, writing talent, and sex appeal, he initially attracted attention as a songwriter. He released his first album, Brown Sugar, in 1995. His songs suggest the classic R&B style of artists such as Al Green and Marvin Gaye as well as the deep funk of hip-hop. His cult grew slowly, spurred on by the commercial success of like-minded artists such as Erykah Badu, Maxwell, and Lauryn Hill. In the five years between his first and second albums, word of mouth had made D'Angelo a star, as evidenced by the debut of Voodoo (2000) at number one on the pop album charts.

D'Angelo took to music at an early age, teaching himself piano while growing up in Richmond, Virginia. Considered something of a local prodigy, he was encouraged to enroll in the weekly amateur talent show at Harlem's Apollo Theater in 1991 and handily won the competition three straight times. Those accolades, along with his songwriting work for the hip-hop group I.D.U., won him a publishing contract with EMI Records. He remained in Virginia for the next few years, working on songs and perfecting his craft. His first noticeable success came as writer and producer of "U Will Know," a song performed by the R&B supergroup Black Men United for the soundtrack of the film Jason's Lyric (1994). With a solid hit under his belt, EMI gave D'Angelo the go-ahead to write and produce his own album.

Brown Sugar (1995) was released at a low point for the R&B genre; it pointed both to the future and the past. The record's rich instrumentation and deep, soulful grooves stand in opposition to the shrill production style popularized by R. Kelly and Sean "Puffy" Combs. As a songwriter D'Angelo invokes the balladry of a soul crooner like Stevie Wonder, but he balances that sweetness with the conflicted, confessional style of Prince. His songs are as complicated as they are smooth, exuding retro warmth and hip-hop energy. The title track is an irresistible and nearly psychedelic ode to love. "Me and Those Dreamin' Eyes of Mine" is a soaring ballad that displays the singer's talents in full bloom—its tight structure allows his voice to dance playfully over the groove, creating an emotional experience that recalls the blissful heyday of soul. The album closes on a contemplative note with the atmospheric "Higher."

D'Angelo spent the next few years in relative seclusion, releasing the live set Live at the Jazz Café (1998) and a handful of songs for various soundtracks. During this quiet time, however, his popularity grew. Brown Sugar was hardly a blockbuster upon release, but it steadily sold more than 2 million copies, fostering a devoted audience and driving intense interest in his work.

After jumping to Virgin Records, D'Angelo began a new album with help from several musicians, including Lauryn Hill and Method Man. The release of Voodoo in 2000 ended years of waiting and presented fans with a looser, more experimental set. The album abandons the precise arrangements of Brown Sugar for an expansive exploration of deeper tones and textures. On most tracks D'Angelo lets his voice wander over a jammy instrumental, giving the songs an unadorned, live-in-the-studio feel. A less talented artist would have difficulty sustaining such a freewheeling mood over an entire album, but D'Angelo succeeds with confidence and stirring style. "Untitled (How Does It Feel)" provides the template for the record: the singer emotes forcefully over a bare-bones funk guitar riff. "Chicken Grease" and "Spanish Joint" are similarly stripped down, allowing for the delivery of maximum soul with minimal sound and making for an innovative and invigorating interpretation on contemporary R&B.

D'Angelo's neosoul style emanates from his method of operation: He does not rely on well-worn structures, nor does he simply inject hip-hop beats into familiar melodies. He reinvents the genre by applying a hip-hop attitude to an older form; and he follows his own muse rather than chart trends. His work is challenging, often defiant R&B with a rare vibrancy.