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Soul - Released December 15, 2014 | RCA Records Label

Hi-Res Distinctions 4F de Télérama - Pitchfork: Best New Music - Sélection JAZZ NEWS - Grammy Awards
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R&B - Released July 4, 1995 | Virgin Catalog (V81)

Distinctions Best New Reissue
By the mid-'90s, most urban R&B had become rather predictable, working on similar combinations of soul and hip-hop, or relying on vocal theatrics on slow, seductive numbers. With his debut album, Brown Sugar, the 21-year-old D'Angelo crashed down some of those barriers. D'Angelo concentrates on classic versions of soul and R&B, but unlike most of his contemporaries, he doesn't cut and paste older songs with hip-hop beats; instead, he attacks the forms with a hip-hop attitude, breathing new life into traditional forms. Not all of his music works -- there are several songs that sound incomplete, relying more on sound than structure. But when he does have a good song -- like the hit "Brown Sugar," Smokey Robinson's "Cruisin'," or the bluesy "Shit, Damn, Motherfucker," among several others -- D'Angelo's wild talents are evident. Brown Sugar might not be consistently brilliant, but it is one of the most exciting debuts of 1995, giving a good sense of how deep D'Angelo's talents run. © Stephen Thomas Erlewine /TiVo
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R&B - Released July 3, 1995 | Virgin Records

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Soul - Released January 1, 2000 | Virgin

Five years after his Brown Sugar album helped launch contemporary R&B, D'Angelo finally returned with his sophomore effort, Voodoo. His soulful voice is just as sweet as it was on Brown Sugar, though D'Angelo stretches out with a varied cast of collaborators, including trumpeter Roy Hargrove and guitarist Charlie Hunter, fellow neo-soul stars Lauryn Hill and Raphael Saadiq, and hip-hop heads like DJ Premier, Method Man & Redman, and Q-Tip. It must have been difficult to match his debut (and the frequent delays prove it was on his mind), but Voodoo is just as rewarding a soul album as D'Angelo's first. © John Bush /TiVo
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R&B - Released January 4, 2019 | RCA Records Label

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R&B - Released January 1, 2014 | Virgin Catalog (V81)

The Japan-only original version of Live at the Jazz Cafe, London was released in 1996 as a stopgap between D'Angelo's first and second albums. Eighteen years later, it was expanded and widely reissued as a stopgap between the artist's second and third albums, the latter of which had yet to materialize. The 1996 release consisted of roughly two-thirds of the September 14, 1995 performance, with the selections presented out of sequence. The 2014 release contains the whole set, from the introduction to the rapt applause at the close of an 11-minute "Brown Sugar." In the U.K., D'Angelo's first single was three weeks away from release, yet the audience knew it from the first notes. In the States, the debut album from the 21 year-old was only two months old, on its way to platinum status. In the liner notes, manager Alan Leeds recalls that D'Angelo had done only a few gigs. Indeed, the early portion of this set sounds tentative. It begins with two-minute versions of Mandrill's "Fencewalk" and Ohio Players' "Sweet Sticky Thing," in which D'Angelo's trio of female background vocalists -- including collaborator Angie Stone, between pioneering rap group Sequence and her solo career -- are more prominent. From there, D'Angelo and his band roll through over half of the debut's songs, including an uptempo version of "Jonz in My Bonz" (co-written by Stone) and a livelier "Lady," greatly enhanced by the extra voices. There are other covers, not just one of Smokey Robinson and Marv Tarplin's "Cruisin'." Al Green's "I'm Glad You're Mine" includes a showcase for guitarist Mike Campbell, an essential player in Voodoo, while a joyously reverent "Can't Hide Love" -- written by Skip Scarborough for Creative Source, made more popular by Earth, Wind & Fire, and practically a standard -- gets another instant crowd reaction. This is a fascinating and satisfying document of a path-clearing young artist who had just gone supernova. © Andy Kellman /TiVo
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R&B - Released July 3, 1995 | Virgin Records

By the mid-'90s, most urban R&B had become rather predictable, working on similar combinations of soul and hip-hop, or relying on vocal theatrics on slow, seductive numbers. With his debut album, Brown Sugar, the 21-year-old D'Angelo crashed down some of those barriers. D'Angelo concentrates on classic versions of soul and R&B, but unlike most of his contemporaries, he doesn't cut and paste older songs with hip-hop beats; instead, he attacks the forms with a hip-hop attitude, breathing new life into traditional forms. Not all of his music works -- there are several songs that sound incomplete, relying more on sound than structure. But when he does have a good song -- like the hit "Brown Sugar," Smokey Robinson's "Cruisin'," or the bluesy "Shit, Damn, Motherfucker," among several others -- D'Angelo's wild talents are evident. Brown Sugar might not be consistently brilliant, but it is one of the most exciting debuts of 1995, giving a good sense of how deep D'Angelo's talents run. © Stephen Thomas Erlewine /TiVo
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R&B - Released January 1, 2000 | Virgin Records

Five years after his Brown Sugar album helped launch contemporary R&B, D'Angelo finally returned with his sophomore effort, Voodoo. His soulful voice is just as sweet as it was on Brown Sugar, though D'Angelo stretches out with a varied cast of collaborators, including trumpeter Roy Hargrove and guitarist Charlie Hunter, fellow neo-soul stars Lauryn Hill and Raphael Saadiq, and hip-hop heads like DJ Premier, Method Man & Redman, and Q-Tip. It must have been difficult to match his debut (and the frequent delays prove it was on his mind), but Voodoo is just as rewarding a soul album as D'Angelo's first. © John Bush /TiVo
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R&B - Released January 1, 2008 | Virgin Catalog (V81)

The title is deceiving, not to mention a little ridiculous, given the short discography from which the disc has to pull. The Best So Far... is more like a sampler of D'Angelo's two proper studio albums -- one that favors the a cappella version of "Devil's Pie" over the original mix, one that includes neither "Spanish Joint" nor "Shit, Damn, Motherfucker" -- accompanied by an incomplete array of soundtrack and compilation appearances and features. It's an obvious cash-in; plenty of fans are so hungry for something new from D'Angelo that they must be willing to partially satiate themselves with the next best thing. It is doubtful that many would have moaned about expanded reissues of Brown Sugar and Voodoo, two of the most excellent and singular R&B albums of the past 15 years, which would've been a less problematic way to put all the rarities back into circulation. And a complete set of non-album material would have been an ideal stopgap, a good way to treat those who have been waiting all this time for album number three (if a licensing headache for Virgin). Anyone with remote interest in D'Angelo needs the two primary albums. There's no way around it; this will not cut it. But if you've been apprehensive to shell out for all the discs containing stray appearances -- including Space Jam, Get on the Bus, Scream 2, Down in the Delta, Marvin Is 60, and Raphael Saadiq's Instant Vintage -- this will come in handy, despite the nagging flaws. There's also a DVD containing seven videos. © Andy Kellman /TiVo
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R&B - Released July 3, 1995 | Virgin Records

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Jazz - Released January 9, 2006 | whatmusic.com

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Soul - Released April 7, 2014 | Oldschoolproductionmgmt

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Electronic/Dance - Released May 18, 2007 | Open Bar Music

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R&B - Released July 3, 1995 | Virgin Records

By the mid-'90s, most urban R&B had become rather predictable, working on similar combinations of soul and hip-hop, or relying on vocal theatrics on slow, seductive numbers. With his debut album, Brown Sugar, the 21-year-old D'Angelo crashed down some of those barriers. D'Angelo concentrates on classic versions of soul and R&B, but unlike most of his contemporaries, he doesn't cut and paste older songs with hip-hop beats; instead, he attacks the forms with a hip-hop attitude, breathing new life into traditional forms. Not all of his music works -- there are several songs that sound incomplete, relying more on sound than structure. But when he does have a good song -- like the hit "Brown Sugar," Smokey Robinson's "Cruisin'," or the bluesy "Shit, Damn, Motherfucker," among several others -- D'Angelo's wild talents are evident. Brown Sugar might not be consistently brilliant, but it is one of the most exciting debuts of 1995, giving a good sense of how deep D'Angelo's talents run. © Stephen Thomas Erlewine /TiVo
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World - Released January 1, 1968 | Equipe