If you ask someone about the Mount Rushmore of neo-soul, D’Angelo’s face sits squarely in the middle. An R&B marksman with genuine charisma and seduction skills, he never cheated the genre. Sure, he released only three albums in 20 years — but each drop was seismic. That’s why losing the icon at 51, early Tuesday (Oct. 14), cuts deeper than usual for the culture.
D’Angelo had an aura before Gen Z knew what that was. Sporting tight cornrows and a bandana draped across his forehead, he was the antithesis of a classic ’90s heartthrob. He wasn’t decked out in suits, whispering sweet nothings in your girl’s ear — he had hood appeal. He delivered ghetto gospel, channeling the reverence of his minister father while preaching his own testaments of love, sex, and relationships. His 1995 slam-dunk debut Brown Sugar is a sacred text for modern R&B, oozing the sly coolness that made D’Angelo one-of-one. While his tenor and falsetto did the heavy lifting, it was his daredevil pen that kept us entranced. If the title track was the appetizer to his storybook career, his Hot 100 top 10 hit “Lady” started the main course. During a freak’n-focused moment in ‘90s male R&B, “Lady” put the priority on the long-term romance, making such relationships a badge of honor.
Though cats tried to replicate his Main Character Energy, D’Angelo put his peers to shame with “Untitled (How Does It Feel).” Dripping with sexual innuendos – not that you could even understand all of them on first listen, so overtaken with the spirit was his vocal – he delivered a masterclass in how to woo women in the bedroom in under seven minutes. And if the song wasn’t enough, the risqué video put the entire music industry on notice: The sculpted singer caused a tizzy, forcing his competition to run to the gym after he brought abs along with vocals to the picnic. Despite a five-year layoff between 1995’s Brown Sugar and 2000’s Voodoo, the latter was well worth the wait. With the rich sonics and layered textures on B-side cuts like “Chicken Grease” and “The Line,” you knew this level of genius wasn’t some overnight concoction.
Still, as magnetic as “Untitled” was, the mental scarring it left on D’Angelo was profound, turning him into a recluse. The death of a close friend fueled his alcohol addiction. He removed himself from the public eye, nearly undoing his venerable legacy. He and Lauryn Hill existed in a vacuum of their own — indelible legacy, jaded by the industry. We would see little of D’Angelo again until 2014, nearly 14 years after the release of his seminal sophomore album. In D’s case, his Midas touch for crystallizing Black music beyond radio and mainstream stood tall in a room full of imitators. His third album, Black Messiah, earned universal acclaim — a wonderland where funk, rock, and R&B flourished. Black Messiah became the soundtrack to a socially volatile moment, as police killings and political reckonings changed the landscape during Obama’s second-term in the ‘10s.
D’Angelo didn’t have the most robust discography. He didn’t clinch his place in R&B lore with gangbuster hits – only “Lady” ever even reached the Billboard Hot 100’s top 10. Instead, he made moments: ones that last forever, ones that transcend the genre and the culture. Moments that remind you that not every hero needs a cape or superhuman strength to uplift the world. Sometimes, a pen, a studio, and a captivating story are all it takes.
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