D’Angelo was soul music’s bard of devotion

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“How does it feel?”

I’ve always been struck by how D’Angelo really *lived* with a single question in what I consider his most defining song. He didn’t just ask it, he explored every corner of it – repeated it maybe two dozen times, really digging into what it meant.

D’Angelo’s seven-minute song “Untitled (How Does It Feel)” from his 2000 album *Voodoo* is a slow, sensual invitation. It begins with a quiet request for intimacy, and the song’s sparse beat and hushed vocals create an irresistible pull. As the music builds, the lyrics become more explicit, with D’Angelo offering a deeply personal connection. Despite layers of instrumentation, he maintains a focus on his partner’s experience, culminating in an abrupt ending that feels like a moment of exposure.

“How does it fe—,” we hear him sing, a man suspended in a state of eternal concern.

I was really saddened to hear about D’Angelo passing away at just 51. For thirty years, he made soul music that felt incredibly intimate and thoughtful. His songs weren’t afraid to be honest about love and desire – “Brown Sugar” is just a beautiful celebration of someone’s body, while “Really Love” gets at the more everyday, less glamorous side of being with someone for a long time. And “Lady”… that song perfectly captures that feeling of possessiveness and slight paranoia when you’re with someone everyone else wants, and you’re tired of keeping it a secret.

“I’m tired of hiding what we feel,” he pleads, “I’m trying to come with the real.”

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This Virginia-born artist didn’t release a lot of music – just three albums plus some live recordings and unreleased tracks – but each piece beautifully explored the power of sound itself. You can hear this in the close harmonies of “Send It On,” the rich, atmospheric electric piano in “One Mo’Gin,” and the intricate rhythms of “Sugah Daddy.”

In his music, D’Angelo fashioned intimate psychic spaces with infinite sonic detail.

D’Angelo’s 1995 album, “Brown Sugar,” stood out in the popular R&B and rap scene of the mid-90s with its classic feel. It helped define a new genre called neo-soul, which blended the sounds of 1970s soul with the energy of hip-hop. Artists like Maxwell, Jill Scott, Erykah Badu, and Angie Stone were also key figures in this movement. D’Angelo reportedly wrote songs for Stone on “Brown Sugar” and they later had a child together. Sadly, Angie Stone passed away in a car accident in March.

D’Angelo resisted being called a neo-soul artist, preferring to say he simply made “Black music.” However, his strong roots in classic soul were clear – he famously covered songs by artists like Smokey Robinson and Roberta Flack.

D’Angelo’s album “Brown Sugar” achieved platinum status and launched him to fame. He then used his newfound influence to gather a collective known as the Soulquarians. Together, they recorded “Voodoo,” taking their time to create a complex and richly detailed sound reminiscent of artists like Prince and Stevie Wonder.

I remember reading an interview with D’Angelo from way back in 2000, and he explained he was just really focused on the creative process – he wasn’t rushing anything, he just wanted to make the best music he possibly could. It was cool to hear how much care he put into his work.

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As a concert honoring her approaches at the Hollywood Bowl, friends and family are reflecting on the life and impact of the late R&B singer.

Raphael Saadiq, a well-known R&B artist, recently shared how he unexpectedly found himself at the recording sessions for the album at Electric Lady Studios in New York City. He was simply walking through Greenwich Village one summer day and wandered into the studio, where he joined D’Angelo and other musicians like drummer Questlove, bassist Pino Palladino, and trumpeter Roy Hargrove.

Saadiq was looking for something to smoke when he went to the studio and found D’Angelo working. Instead of just getting a cigarette, D’Angelo invited him to collaborate on a song. That collaboration resulted in “Untitled (How Does It Feel).” Saadiq explained the song ends abruptly because they actually ran out of tape while recording.

During a 2000 interview with the Times, D’Angelo mentioned he felt his song “Brown Sugar” was a bit too polished. He aimed for something different with “Voodoo,” prioritizing a raw, imperfect sound. This resulted in a funky, layered, and slightly rough album that went on to influence artists like Frank Ocean, SZA, and Steve Lacy.

Despite the success of D’Angelo’s album “Untitled” – it reached number two on the R&B charts and earned him a Grammy – its music video created problems. The video portrayed him in a highly sexualized way, and D’Angelo felt uncomfortable with that image. This discomfort led him to step away from public life right when his career was taking off.

After years of battling addiction and health problems, he also faced legal issues. He was deeply troubled by events around the world, and in 2014, he released the album “Black Messiah.” This album was heavily influenced by the issue of police brutality against Black people. The song “The Charade,” released after Michael Brown was killed in Ferguson, Missouri, reflects this, with the lyrics, “All we wanted was a chance to talk / ’Stead we only got outlined in chalk.”

Even in its most somber moments, D’Angelo’s music offered a unique kind of insight – exploring themes of love, ethics, and social issues through passionate expression. In songs like “Betray My Heart,” where he sings, “Just as long as there is time, I will never leave your side,” he consistently used emotion to break down barriers and connect with listeners.

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2025-10-15 13:34