D’Angelo – Brown Sugar

Long before he made noise as an R&B swooner with Voodoo, D’Angelo created his debut album, Brown Sugar, with the intention of truly enveloping himself into every single sound. Inspired by artists like Prince, D’Angelo was involved in everything from production to songwriting and even played a lot of the instruments, including sax, piano and drums. It was an album that gained attention upon its release but has since then and justifiable so, become an album that paved the way for other artists like Erykah Badu and Lauryn Hill to take hold of the scene. Taking a workmanlike approach, the result was what is still one of the finest jazz/blues/soul inspired neo-soul albums of the 90s.

The first song and title track was co-produced by A Tribe Called Quest’s Ali Shaheed Muhammad but the rest of the album is a testament to D’Angelo’s tremendous skill. Immediately after, “Alright” stands out with a grooving bass line and impressive drums that features D’Angelo sounding a lot like Prince. Growing up a gospel listener, the smooth melodies and sultry vocals are what make Brown Sugar such a hit. This song showcases the keyboard skills that D’Angelo possesses and it makes you wonder why he has, to this date, only recorded two albums. (Although there are rumors that a new one is on the way soon.)

After the brilliant rendition of “Cruisin’” comes the jazzy, blues vibe of “When We Get By” that comes equipped with piano and a featured look into the multi-faceted skills D’Angelo holds. His voice here is again in the falsetto range but it’s even more present with the use of what sounds like a Fender Rhodes electric piano. The music itself is supported by the tender jazz motif that D’Angelo employs and still, it pays homage to the soul movement of Al Green, Sam Cooke and even Miles Davis with the trumpet at the end. Albums like this only come once in a while and as impressive as they are, artists like John Legend (who are obviously very indebted to D’Angelo), have never made an album close to Brown Sugar, or its follower for that matter. – Bryan

John Legend - Get Lifted (pt. one)

I remember getting The College Dropout some time in March of 2004 and simply shredding my copy with so much replaying. I had a copy that was pristine and well-kept but I played it so much that it all rotted away. I even had a small DJ gig at the university where I would play music on the third floor of the union to like the fifteen or so people hanging out there. We had these little turntables where you placed the CD inside and got to maneuver it on the top as if you were spinning a record. I must've played “Jesus Walks” a surefire fifty times that semester. I loved the way Kanye could make the song sizzle with controversy and there was a fantastic male voice towards the end, powering the chorus. That man was John Legend and he came out with this album right after Christmas that year. Here is the aforementioned song because it is bad ass.


I remember buying Get Lifted and really digging the soulful textures Legend was honing in on. Influenced by everyone from Stevie to Aretha, Legend is a full-bodied singer that has tremendous range and dynamics. This album was mostly forgotten – it didn’t even get nominated for the 2004 or 2005 Grammys, but not until the 2006 Grammys, how foolish right? – as is with most stuff, it took people forever to finally ‘get it.’ Either way, I had a CD copy of it and it was my personal copy until I gave it away and never bought another copy since. I recently got it on vinyl and while the nostalgia is mostly impossible to ignore, it’s nowhere nearly significant to even care about more than a mention. It’s an album I definitely missed with some stellar Kanye West production sprinkled in.

The first proper song is perfect to begin. On “Let’s Get Lifted” the basis is simple, let him take you on a fantastic ride where everyone can get lifted. Sure, it’s about getting higher than before but it’s not a literal feeling and more of a rush of energy, a rush of excitement, a rush of blood to the head, kind of. I like the laid back drums and the way Legend sings to the calm of his own flow: lush and rich. His voice has always been strong but I like how he sings, sort of raps and more as the star on this album. The song is typical West with vibrant flows but Legend makes it both melodic, driving and sweeping.


I’m mentioning the first half here because it’s where all the West-produced stuff appears. I can maybe write about the second half later because it’s definitely a bit dissimilar. On “Alright” the value comes in the way it’s like a strong, confident smoothness that prevails throughout. There’s piano, rumbling synths and tapping beats that pop and crack at the right time. Legend is basically drawing attention to his swagger and warns that whatever man that wants to mess with him, “You better tell him he don’t want it me.” The lyrical content on this album ranged from cheating females to cheating males to strong, empowered males, to a confidence no matter what the situation is and Legend is definitely an assertive weapon. I don’t even have the second album by him as I stupidly gave it away too, I gotta ‘get with it’ myself because that one has my personal favorite Legend song. Maybe soon. Ha. – Bryan