Brown Sugar (album)

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Brown Sugar
Studio album by D'Angelo
Released July 3, 1995
Recorded 1994–1995
Battery Studios, RPM Studios
(New York, New York)
Pookie Lab
(Sacramento, California)
Genre R&B, neo soul, soul, funk, hip hop
Length 53:17
Label EMI
Producer D'Angelo, Ali Shaheed Muhammad, Bob Power, Raphael Saadiq
Professional reviews
D'Angelo chronology
Brown Sugar
(1995)		 Voodoo
(2000)
Singles from Voodoo
  1. "Brown Sugar"
    Released: August 1, 1995
  2. "Cruisin'"
    Released: October 12, 1995
  3. "Lady"
    Released: February 20, 1996
  4. "Me and Those Dreamin' Eyes of Mine"
    Released: June 25, 1996

Brown Sugar is the debut album of American R&B and neo soul musician D'Angelo, released July 3, 1995 on EMI Records. Recording sessions for the album took place from 1994 to 1995 at Battery Studios and RPM Studios in New York City and at the Pookie Lab in Sacramento, California. While the album featured contributions from record producers including Ali Shaheed Muhammad, Bob Power and Raphael Saadiq, the majority of its production, instrumentation, arrangements and songwriting was handled by D'Angelo. Consisting mostly of romance and love-themed lyrical content, Brown Sugar features a fusion of gospel and classic soul music with contemporary R&B and hip hop elements. D'Angelo's singing style on the album ranges from his predominant falsetto crooning to sensual vocals with hip hop influence in flow and production. Since its initial reception, the album's sound has been dubbed as "neo soul".[12]

Contents

[edit] Conception

[edit] Background

Following the formation of his native-Richmond, Virginia musical group, Michael Archer and Precise, and its success on the Amateur Night competition at Harlem, New York's Apollo Theater in 1991, eighteen-year old singer-songwriter and multi-instrumentalist Michael D'Angelo Archer dropped out of school and moved to New York City,[13] as an attempt to develop his music career.[5] The group previously enjoyed some notice in Richmond, evenly dividing their repertoire between soul covers and originals, while D'Angelo accumulated compositions of his own and developed his songwriting skills.[13] The group's turnout on Amateur Night resulted in three consecutive wins and cash prize,[14] after which, upon returning home to Richmond, D'Angelo was inspired to produce an album and began composing material.[15] After a brief tenure as a member of the hip hop group I.D.U. (Intelligent, Deadly but Unique),[16] D'Angelo signed a publishing deal with EMI Records in 1991 after catching the attention of record executives through a demo tape, which was originally by the group.[17][18] After an impressive audition for EMI execs, a three-hour impromptu piano recital,[14] D'Angelo was signed to a recording contract in 1993.[13] A&R-man Gary Harris was primarily responsible for his signing,[19] while manager Kedar Massenburg helped negotiate the contract as well.[20] Massenburg became D'Angelo's manager after hearing of him through "the buzz on the streets".[20] He had previously managed hip hop group Stetsasonic and formed the artist management-firm Kedar Entertainment in 1991, which he diversified into production, music publishing and publicity.[20]

In 1994, his first significant success came in the form of the hit single "U Will Know".[17] D'Angelo co-wrote and co-produced the song for the all-male R&B supergroup Black Men United, which featured R&B singers such as Brian McKnight, Usher, R. Kelly, Boyz II Men, Raphael Saadiq and Gerald Levert.[21] D'Angelo composed the music for "U Will Know", while his brother, Luther Archer, wrote the lyrics.[22] Originally featured on the soundtrack to the film Jason's Lyric (1994), the single peaked at number 5 on the Hot R&B/Hip-Hop Singles & Tracks and at number 28 on the Billboard Hot 100.[23] The music video for "U Will Know" featured D'Angelo as the group's choir director; he reprised the role for the live performance of the song at the Soul Train Music Awards.[21] That same year, he wrote and produced the song "Overjoyed" for the Boys Choir of Harlem,[9] which appeared on their studio album The Sound of Hope (1994).[24] The success of "U Will Know" helped build the buzz surrounding D'Angelo, which was followed by a number of highly promoted showcases, and added to the buzz among music industry insiders.[21] Soon after this success, the recording sessions began for D'Angelo's debut studio effort, Brown Sugar.

[edit] Recording

After his successful performance with his group Precise at the Apollo Theater in 1991, D'Angelo received a $ 500 check for his work at the venue and used most of it to purchase a four-track recorder and a keyboard.[25] At his mother's house in Richmond,[25] he began writing and recording most of the material that would constitute Brown Sugar during 1991 and 1992.[13] Recording for the album took place during 1994 and 1995 at Battery Studios and RPM Studios in New York City, and at the Pookie Lab studio in Sacramento, California,[26] which served as the personal recording studio of R&B musician and record producer Raphael Saadiq.[27] Additional recording took place at Back Pocket Studios in New York City for the track "Cruisin'".[26]

In contrast to the production style of contemporary R&B at the time, which featured predominant casting of well-known record producers for an artist's project, D'Angelo handled most of the album's production, as well as contributing all of the vocals.[28] While most of the production was handled by D'Angelo, other producers contributed as well, including Saadiq, Ali Shaheed Muhammad of A Tribe Called Quest and legendary studio engineer Bob Power,[26] who had previously produced Me'Shell NdegéOcello's debut album Plantation Lullabies (1993).[29] D'Angelo's expertise and ability to play such instruments as drums, saxophone, guitar, bass, and keyboards aided him in the recording of Brown Sugar,[22] as most of the album's instrumentation and production was credited to his name.[26] In a 1995 interview, he discussed the influence that musician Prince had on his approach to recording, stating "I was one of those guys who read the album credits and I realized that Prince was a true artist. He wrote, produced, and performed, and that's the way I wanted to do it."[22] For the album, D'Angelo and the production personnel utilized antiquated, vintage equipment, including Wurlitzer musical instruments and dated effects boxes, as well as modern electronic devices such as drum machines and computers.[5] Notable instruments used by D'Angelo were the Fender Rhodes electric piano and the Hammond organ.[30][28] The album was later mastered by engineer Herb Powers Jr. at The Hit Factory mastering studio in New York City.[26]

[edit] Music

[edit] Musical style

Born to a Pentecostal-minister father, D'Angelo was brought up to an early appreciation of gospel music, while his mother, a jazz enthusiast, introduced him to the musical complexities of trumpeter Miles Davis and the R&B and soul music of the 1970s.[13] In addition to old gospel records,[31] these factors inspired him during the making of Brown Sugar, as D'Angelo drew upon his roots of traditional gospel and soul, and infused the sound of contemporary R&B and hip hop music to create a stylistically unique and soulful sound for the album.[22] The album has been noted by critics for its classic soul and vintage influences,[1][4][28] as well as the sound of live instruments and organic grooves, which are reminiscent of the work of Stevie Wonder and Sly & the Family Stone.[14][32] The album's sound is predominantly driven by keyboards, sensual vocals and smooth melodies,[33] while it evokes the work of such artists as Prince, Isaac Hayes, Marvin Gaye, Smokey Robinson and the Isley Brothers.[34][9] Along with its modern aesthetic and vintage texture,[9] Brown Sugar also encompasses the sounds of the blues, gospel and jazz in a contemporary fashion.[28] Most of the songs on the album have a stripped-down feel, without complex orchestrations, and have heavy drum beats and bass lines, which are accompanied by electric piano riffs and minimal guitar work.[16]

D'Angelo's vocal style throughout the album is a smooth, falsetto crooning with gospel influence,[35][30] and has earned comparison to the singing voice of musician Prince,[36] Al Green,[37] Donny Hathaway, and Sam Cooke.[38] Despite the album's retro influence, music writers have noted his delivery as having a hip hop approach and "swagger", as one critic described the album as a "blend of classic soul and urban attitude".[34] Another writer described the album's vibe as "sultry" and D'Angelo's vocal delivery as "sly".[39] Music journalist Christian Hoard later called D'Angelo a "classicist, in other words, cloaked in the guise of a hip-hop roughneck."[38] According to D'Angelo, the hip hop influence present on the album "came from the Native Tongues movement - Tribe Called Quest, Gangstar and Main Source."[40] The title track features the most hip hop influence on the album, as Ali Shaheed Muhammad's co-production for the song developed a seamless integration of hip hop beats into D'Angelo's old school-influenced material.[22] The vocal delivery on the track resembles the flow of most emcees at the time.[21] In a 1995 interview, D'Angelo cited hip hop artists Rakim and KRS-One as one of his greatest influences, and explained his affinity with rapping, stating "All rap is street soul. They just have a different method."[22] With the exception of the title track, a thinly-veiled ode to smoking marijuana, most of the album's material consists of traditional romance ballads and love songs, in the style of classic soul music.[16] The lyrical content of the album closer, "Higher", combines the spiritual love of God and the carnal love of a woman, and is similar to the lyricism of Prince,[41] who has been noted by music writers for exploring the "eternal dichotomy" of spirituality and sexuality.[21] Music writers have noted the lyrical "openness" of the album, and the honesty and "earnestness" of D'Angelo's songwriting,[37][16] in comparison to contemporary R&B at the time.[28]

[edit] Content

Opened by falsetto ad-libs, an organ refrain and pulsating bass lines,[41] the title track "Brown Sugar" features a dark, thick texture and a gutbucket-jazz style and rhythm.[6] The instrumentation throughout the song, highlighted by Jimmy Smith-style organ work, atmospheric percussion and snapping snare drums, has been described by music writers as "organic".[28][36] The song's sound is also similar to the work of funk, soul and jazz musician Roy Ayers,[21] while D'Angelo's soulful tenor-delivery throughout the song's verses is stylistically similar the flow of most emcees at the time.[21] Misinterpreted as a traditional love song a about a femme fatale by most R&B audiences,[21] "Brown Sugar" takes the form of a conventional love song.[41] However, through its use of the personification of a brown-skinned woman, the lyrics are an ode to marijuana use.[42] This thematic substitution is a conventional lyrical technique in hip hop.[38] Music journalist Peter Shapiro wrote of the song's lyrical content, stating "D'Angelo was extolling the pleasures of pot-fuelled solipsism ('Always down for a ménage à trois/But I think I'ma hit it solo/Hope my niggaz don't mind') and intimating that love, or at least love of the herb, leads to insanity ('Brown sugar babe/I gets high off you love/Don't know how to behave')."[36] Writer and academic Todd Boyd compared the song, along with Dr. Dre's The Chronic (1992) and Styles P's "Good Times" (2002), to Rick James's "Mary Jane" (1978), stating that the song "celebrated his love for gettin' blazed and spawned ... a truly large following."[43] Concerning the consequences of a relationship and reassurance of its security, "Alright" contains raw-sounding drums and has engineer Bob Power contributing with guitar.[42] "Jonz in My Bonz", co-written by singer Angie Stone, features a predominant lyrical refrain,[4] and compares love to addiction, while D'Angelo's falsetto moans are overdubbed in an array for effect.[36] One critic noted its production as similar to that of Prince's Sign o' the Times (1987).[36]

The romantic and melodic "Me and Those Dreamin' Eyes of Mine" exhibits a funky, organ-driven groove accompanied by live drums,[44] strings in the chorus and a distinct rhythm guitar.[6][9] It features a tick-tocking drum-frame beat and lyrics concerning a man's love fantasy.[36] In keeping with the album's general love theme, "Dreamin'" is a traditional romance song in a classic soul-style, highlighted by the chorus line "Ooh wee baby, you’ve redefined my vision of love it seems/Your love be da cherry in my chocolate covered dreams/So it seems, my oh my/Me and those dreaming eyes of mine".[16] Cited by one critic as "the nastiest cheating song since that hoary old standard of 60s rock, 'Hey Joe'",[36] "Shit, Damn, Motherfucker" (listed as "Sh★t, Damn, Motherf★cker")[26] has a bluesy sound,[1] as well as funk instrumentation similar to the work of Stevie Wonder.[19] Contrary to most lyrical narratives, the song features a string of emphatic interjections (the chorus line "shit, damn, motherfucker" describes his reaction)[42] and rhetorical questions by the narrator after walking in on his wife and his best friend in bed together.[36] On the chorus, critic Christopher J. Farley called it a "little like the Fuhrman tapes, with a beat",[9] while music critic Mark Anthony Neal described the song as being "drenched with Marvin Gaye’s paranoia."[45] D'Angelo's vocal delivery is considerably subtle throughout the song. Music journalist Cheo H. Choker wrote of the song's attenuate vocals, stating "the sinister 'Motherfucker' underwhelms with its subtlety but becomes more intriguing once you realize the smoove lyrics are about an O.J.-like lover killing his best friend and wife."[6] The tale of infidelity and murder concludes with the final verse "Why the both of you's bleeding so much?/Why I am wearin' handcuffs?", and is led out by wayward drumming and incisive wah-wah guitar riffs.[36] "Smooth" contains jazz-based instrumentation with a piano solo by D'Angelo and input from contemporary jazz guitarist Mark Whitfield.[37]

The quiet storm-love song "Cruisin'", a cover of Smokey Robinson's 1979 hit of the same name, features a predominant string section.[36] The longest track on the album, "Cruisin'" employs violin, viola and cello, as well as shakers and light percussion, while sleigh bells are featured in the chorus.[46] Flutist Lauryn Vivino contributes with piccolo.[26] The song has steady piano-playing by D'Angelo,[47] and has Brooklyn Funk Essentials-member Bob "Bassy" Brockmann playing the trumpet.[48] "Lady" contains a melodious chorus similar to the sound of the Four Tops, and is accompanied by predominant funk licks by the song's co-writer Raphael Saadiq.[28] It has a mid-tempo groove with heavy bass lines, intricate vocal harmonies and a predominant piano,[21] which is played by Tony! Toni! Toné!-member Tim Christian.[26] The song's lyrical theme concerns the narrator's plea to his lover to be open with their relationship. One music writer noted that the song uses "the jazzy hallmarks of bohemian soul to emphasize the singer's insecurity".[36] The album closer "Higher" is a love song with a strong gospel influence in its arrangement and instrumentation,[9][47] featuring D'Angelo's organ set to a choir of his overdubbed vocals.[28] The lyrical content blends the album's prevalent love theme with a more spiritual approach, as demonstrated by the verse "Feels like heaven when I think about you/Sparking that love within my soul."[9] Christopher John Farley of Time magazine cited "Higher" as the album's best track.[9]

[edit] Critical reception

The album's appeal was widespread among music writers and critics.[28][49] Martin Johnson of the Chicago Tribune gave the album 3 out of 4 stars and praised D'Angelo fusing of "elements of Prince, early '70s Smokey Robinson and post-Woodstock Sly and the Family Stone".[2] Entertainment Weekly praised the album in a 1995 article and giving the album an A rating, while NME magazine wrote that "D'Angelo's downbeat world blurs the borders..., kicking over the traces of the genre game" VIBE magazine also praised the album, writing "determined to give pre-hip hop forms like blues, soul, gospel, and jazz a mid-'90s vibe....inhabits his songs from odd angles, without non-stop Vandross-style aural showmanship." Cheo H. Coker of Rolling Stone magazine praised Brown Sugar for its revolutionary sound and departure from the New Jack styles of the time:

Call him an ndegéocello (Swahili for "free as a bird"), a rebel soul... Like his fellow retrolutionaries Me'Shell NdegéOcello, Joi, Omar and Dionne Farris, he's shattering the conventional definition of "black music." It doesn't have to be a lackluster genre in which format, not content, determines heavy rotation. Brown Sugar is a reminder of where R&B has been and, if the genre is to resurrect its creative relevance like a phoenix rising from the ashes, where it needs to go.[6]
—Cheo H. Coker

In a 1996 article for the Chicago Tribune, critic Greg Kot cited Brown Sugar as "arguably where the current soul revival started".[50] USA Today's Steve Jones wrote that the album "paved the way for innovative albums by Maxwell, Tony Rich and Eric Benet".[51] The song "Brown Sugar" was nominated for the 1996 Grammy Award for Best Male R&B Vocal Performance and Best R&B Song. The album was also nominated for Best R&B Album. "Lady" was nominated for a 1997 Grammy Award for Best Male R&B Vocal Performance. The album was later included in Rolling Stone's "Essential Recordings of the 90's." (Rolling Stone, 5/13/99, p.74) It was also ranked #21 in Village Voice's 1995 Pazz & Jop Critics' Poll (Village Voice, 2/20/96) and ranked #97 in Mojo's "100 Modern Classics".[28]

[edit] Track listing

All songs written by D'Angelo, except where noted.

  1. "Brown Sugar" (M. Archer, Muhammad) – 4:22
  2. "Alright" – 5:13
  3. "Jonz in My Bonz" (M. Archer, Stone) – 5:56
  4. "Me and Those Dreamin' Eyes of Mine" – 4:46
  5. "Sh★t, Damn, Motherf★cker" – 5:14
  6. "Smooth" (M. Archer, L. Archer) – 4:19
  7. "Cruisin'" (Robinson, Taplin) – 6:24
  8. "When We Get By" – 5:44
  9. "Lady" (Archer, Saadiq) – 5:46
  10. "Higher" (M. Archer, L. Archer, R. Archer) – 5:28

[edit] Singles

Single information
"Brown Sugar"
"Cruisin'"
"Lady"
"Me and Those Dreamin' Eyes of Mine"

[edit] Personnel

Credits adapted from album booklet liner notes.[26]

# Title Notes
Brown Sugar

All songs composed, written, arranged, performed and produced by D'Angelo, except where indicated.
Executive producer: Kedar Massenburg for Kedar Entertainment, Inc.
A&R direction: Gary Harris and Kedar Massenburg
Management: Kedar Entertainment, Inc.
A&R administration: Laura Rinaldi
Business management: V. Brown & Co.
Legal representation: Fred Davis, Esq.
Additional assistant engineers: Suz Dweyer, Julio Peralta, Martin Czember
Mastered by Herb Powers Jr. at Hit Factory Mastering, NYC
Art direction: Henry Marquez
Design: C.M.O.N.
Photography: Per Gustafinson
1 "Brown Sugar"

Written by D'Angelo and Ali Shaheed Muhammed
Produced by D'Angelo and Ali Shaheed Muhammad
Vocal arrangements by D'Angelo
All vocals by D'Angelo
Musical arrangements by D'Angelo
All instruments by D'Angelo
Drum programming by Ali Shaheed Muhammad
Recorded at Battery Studios, NYC
Additional engineering by Tim Latham at Soundtrack, NYC
Mixed by Bob Power at Battery Studios, NYC
Assistant engineer: G-Spot
2 "Alright"

Written by D'Angelo
Produced by D'Angelo and Bob Power
Vocal arrangements by D'Angelo
All vocals by D'Angelo
Musical arrangements by D'Angelo
All instruments by D'Angelo
Guitar by Bob Power
Recorded by Bob Power at Battery Studios, NYC
Assistant engineer: G-Spot
Mixed by Bob Power at Battery Studios, NYC
3 "Jonz in My Bonz"

Written by D'Angelo and Angela Stone
Produced by D'Angelo
Vocal arrangements by D'Angelo
All vocals by D'Angelo
Musical arrangements by D'Angelo
All instruments by D'Angelo
Guitar by Bob Power
Recorded by G-Spot at Battery Studios, NYC
Assistant engineer: Rob Farrell, Chaz Harper
Mixed by Russell Elevado at Battery Studios, NYC
Additional engineering by Tim Latham at Battery Studios, NYC
4 "Me and Those Dreamin' Eyes of Mine"

Written by D'Angelo
Produced by D'Angelo and Bob Power
Vocal arrangements by D'Angelo
All vocals by D'Angelo
Musical arrangements by D'Angelo
Guitar by Bob Power
All other instruments by D'Angelo
Recorded by Bob Power at Battery Studios, NYC
Assistant engineer: G-Spot
Mixed by Bob Power at Battery Studios, NYC
5 "Sh★t, Damn, Motherf★cker"

Written by D'Angelo
Produced by D'Angelo and Bob Power
Vocal arrangements by D'Angelo
All vocals by D'Angelo
Musical arrangements by D'Angelo
Guitar by Bob Power
All other instruments by D'Angelo
Recorded by Bob Power at Battery Studios, NYC
Assistant engineer: G-Spot
Mixed by Bob Power at Battery Studios, NYC
6 "Smooth"

Written by D'Angelo and Luther Archer
Produced by D'Angelo and Bob Power
Vocal arrangements by D'Angelo
All vocals by D'Angelo
Musical arrangements by D'Angelo
Bass by Larry Grenadier
Guitar by Mark Whitfield
Drums by Gene Lake
All other instruments by D'Angelo
Recorded by Bob Power at Battery Studios, NYC
Assistant engineer: G-Spot
Mixed by Bob Power at Battery Studios, NYC
7 "Cruisin'"

Written by William Robinson and Marvin Taplin
Produced by D'Angelo
Vocal arrangements by D'Angelo
All vocals by D'Angelo
Musical arrangements by D'Angelo
All instruments by D'Angelo
Orchestra conductor and arranger: Dunn Pierson
Orchestra contractor and copyist: Eugene Bianco
Flute and piccolo: Laura Vivino
Violins: Gerald Tarack, Marilyn Wright, Regis Iandorio, Matthew Raimondi, Masako Yanagita,
Natalie Kriegler, Alexander Simionescu, Winterton Garvey
Viola: Julien Barber, Olivia Koppell, Sue Pray, Eufrosina Railenu
Cello: Jesse Levy, Seymour Barab
Recorded by G-Spot at Battery Studios, NYC
Assistant engineer: Rob Farrell
Additional recording by Butch Jones at Back Pocket Studios, NYC
Mixed by G-Spot at Battery Studios, NYC
Additional engineering by Tim Latham at Quad Studios, NYC
8 "When We Get By"

Written by D'Angelo
Produced by D'Angelo
Vocal arrangements by D'Angelo
All vocals by D'Angelo
Musical arrangements by D'Angelo
Trumpet by Bob "Bassy" Brockman
All other instruments by D'Angelo
Recorded by G-Spot at Battery Studios, NYC
Assistant engineer: Rob Farrell
Mixed by Russell Elevado at Battery Studios, NYC
Assistant engineer: Chaz Harper
Additional engineering by Tim Latham at Battery Studios, NYC
9 "Lady"

Written by D'Angelo and Raphael Saadiq
Produced by D'Angelo and Raphael Saadiq
Vocal arrangements by D'Angelo
All vocals by D'Angelo
Musical arrangements by D'Angelo and Raphael Saadiq
Bass by Raphael Saadiq
Piano by Tim Christian
Guitar by Raphael Saadiq
Additional guitar by D'Angelo
Recorded by Darrin Harris at Pookie Lab, Sacramento, CA
Additional recording by G-Spot at Battery Studios, NYC
Assistant engineer: Rob Farrell, Chaz Harper
Mixed by Russell Elevado at Battery Studios, NYC
Additional engineering by Tim Latham at Quad Studios, NYC
10 "Higher"

Written by D'Angelo, Luther Archer and Rodney Archer
Produced by D'Angelo and Bob Power
Vocal arrangements by D'Angelo
All vocals by D'Angelo
Musical arrangements by D'Angelo
Bass by Will Lee
Drums by Ralph Rolle
Rhythm guitar by Bob Power
All other instruments by D'Angelo
Recorded by Bob Power at RPM Studios, NYC
Additional recording at Battery Studios, NYC
Assistant engineer: G-Spot
Mixed by Bob Power at RPM Studios, NYC

[edit] Notes

  1. ^ a b c Erlewine, Stephen Thomas. Review: Brown Sugar. Allmusic. Retrieved on 2009-01-29.
  2. ^ a b Johnson, Martin. "Review: Brown Sugar". Chicago Tribune: 6. August 17, 1995. Archived from the original on 2009-08-20. (Transcription of original review at talk page)
  3. ^ Christgau, Robert. "Consumer Guide: Brown Sugar". The Village Voice: January 23, 1996. Archived from the original on 2008-08-09.
  4. ^ a b c Mukherjee, Tiarra. Review: Brown Sugar. Entertainment Weekly. Retrieved on 2009-07-09.
  5. ^ a b c Columnist. "Review: Brown Sugar". NME: 50. July 22, 1995.
  6. ^ a b c d e Coker, Cheo H. Review: Brown Sugar. Rolling Stone. Retrieved on 2008-11-27.
  7. ^ Hoard, Christian. "Review: Brown Sugar". Rolling Stone: 210–211. November 2, 2004.
  8. ^ Columnist. "Review: Brown Sugar". Spin: 116. October 1995.
  9. ^ a b c d e f g h i Farley, Christopher John. Review: Brown Sugar. Time. Retrieved on 2009-02-01.
  10. ^ Hunter, James. "Review: Brown Sugar". Vibe: 125. August 1995.
  11. ^ Watson, Jeff. Review: Brown Sugar. Yahoo! Music. Retrieved on 2009-07-09.
  12. ^ Shapiro (2006), p. 105.
  13. ^ a b c d e Oblender (2001), pp. 35–36.
  14. ^ a b c Samuels, Allison. Pop Music: A One-Man Soul Revival. Newsweek. Retrieved on 2009-01-28.
  15. ^ Touré. Untitled Document: D'Angelo, May 2000. Rolling Stone. Retrieved on 2008-12-28.
  16. ^ a b c d e H.W. Wilson Co. (2001), pp. 36–39.
  17. ^ a b Huey, Steve. D'Angelo: Biography. Allmusic. Retrieved on 2009-01-28.
  18. ^ D'Angelo: Artist Bio. MuchMusic. Retrieved on 2009-01-28.
  19. ^ a b Peisner, David (2008). Body & Soul. Spin, pp. 64–72.
  20. ^ a b c Gale Staff (1998), pp. 138–139.
  21. ^ a b c d e f g h i D'Angelo Signed to RCA Music Group (J Records). PRWeb. Retrieved on 2008-12-08.
  22. ^ a b c d e f Onnell (1997), pp. 103–105.
  23. ^ Jason's Lyric: Charts & Awards. Allmusic. Retrieved on 2009-01-28.
  24. ^ Amazon.com: The Sound of Hope. Amazon.com, Inc. Retrieved on 2009-02-01.
  25. ^ a b Biography: D'Angelo. Rolling Stone. Retrieved on 2009-01-29.
  26. ^ a b c d e f g h i D'Angelo (1995), pp. 1–2.
  27. ^ News Review: SN&R - Full gospeldelic. Chico Community Publishing, Inc. Retrieved on 2009-02-03.
  28. ^ a b c d e f g h i j Product Page: Brown Sugar. Tower.com. Retrieved on 2009-02-03.
  29. ^ Discogs: Bob Power Discography. Discogs. Retrieved on 2009-02-03.
  30. ^ a b Norris, Chris. "Review: Brown Sugar". New York: 81. July 17, 1995.
  31. ^ Shapiro (2006), p. 103.
  32. ^ iTunes Store: Brown Sugar. Apple Inc. Retrieved on 2009-02-08.
  33. ^ Farley (2002), pp. 56–57.
  34. ^ a b Barnes & Noble: Brown Sugar. Barnesandnoble.com llc. Retrieved on 2009-02-08.
  35. ^ The History of Rock Music: D'Angelo. Piero Scaruffi. Retrieved on 2009-02-22.
  36. ^ a b c d e f g h i j k Shapiro (2006), p. 104.
  37. ^ a b c Eventful: D'Angelo - Bio. Eventful, Inc. Retrieved on 2009-02-01.
  38. ^ a b c Hoard (2004), p. 210.
  39. ^ Vibe.com: VIBE 150 R&B. Vibe Media Group, Inc. Retrieved on 2009-02-08.
  40. ^ Farber, Jim. Body & Soul: Sexy D'Angelo practices a little 'Voodoo' and spins a hit. Daily News. Retrieved on 2009-03-16.
  41. ^ a b c MusicCity.org: Brown Sugar. Music City. Retrieved on 2009-01-29.
  42. ^ a b c MVRemix Album Reviews: D'Angelo - Brown Sugar. MVRemix Media. Retrieved on 2009-01-29.
  43. ^ Boyd (2007), p. 135.
  44. ^ Metal Lungies: Remix Tuesdays - D’Angelo Part 2. Metal Lungies. Retrieved on 2009-01-29.
  45. ^ PopMatters: D'Angelo - Voodoo. PopMatters.com. Retrieved on 2009-02-01.
  46. ^ Metal Lungies: Remix Tuesdays - D’Angelo Part 4. Metal Lungies. Retrieved on 2009-02-01.
  47. ^ a b W & A's Record Reviews: D'Angelo. Warr.org. Retrieved on 2009-02-01.
  48. ^ Discogs: Bob "Bassy" Brockmann Discography. Discogs. Retrieved on 2009-02-01.
  49. ^ About.com: R&B - Neo-Soul: What Is Neo-Soul?. About.com. Retrieved on 2008-12-08.
  50. ^ Kot, Greg. "Dusting of Old King Soul". Chicago Tribune: 1. July 21, 1996.
  51. ^ Jones, Steve. Gangsta Rap Still Hanging Tough. USA Today. Retrieved on 2009-07-18.

[edit] References

[edit] See also

[edit] External links

Source

Bio, Kedar, Rough Guides

v • d • e
D'Angelo
Studio albums
Brown Sugar (1995) · Voodoo (2000) · James River (TBA)
Other albums
Live at the Jazz Cafe (1998) · Voodoo DJ Soul Essentials (2000) · YODA: The Monarch of Neo-Soul (2007) · The Best So Far… (2008)
Solo singles
"Brown Sugar" · "Crusin'" · "Lady" · "Me and Those Dreamin' Eyes of Mine" · "She's Always In My Hair" · "Heaven Must Be Like This" · "Devil's Pie" · "Left & Right" · "Untitled (How Does It Feel)" · "Send It On" · "Feel Like Makin' Love" · "Really Love" · "I Found My Smile Again"
Related articles
v • d • e
Soulquarians
Groups
Members
Albums
See also
Retrieved from "http://en.wikipedia.org/wiki/Brown_Sugar_(album)"
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