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Product Description
Amazon.co.uk Review
D'Angelo is obviously inspired by the progressive soul of the early 1970s, but he has also borrowed carefully from the hip-hop of his own generation. Like many of his contemporaries, he has recorded a tribute to marijuana--the album's title--but it's far wittier than most. It takes the form of a conventional love song ("Brown sugar babe, I gets high off your love ... that's why my eyes are a shade blood burgundy") and mimics intoxication in its throbbing bass lines and reverb-heavy organ. Another song, with a title too profane to print, is a blunt tale of infidelity and murder, but in contrast to most rap fantasies, D'Angelo's blues-like narrative acknowledges such acts have serious consequences. Best of all is the Prince-like "Higher", which combines the spiritual love of God and the carnal love of a woman into one dizzying, organ-fuelled hymn. D'Angelo is still rather clumsy with lyrics, and he leans too heavily on ballads over dance numbers, but he has enough talent to grow in any of several directions. It will be an exciting story to follow and one would be foolish to miss the first chapter. --Geoffrey Himes
CD Description
All the new jacks who talk about molding the forces of classic R&B's style, hip-hop's modernism, and jazz's flexibilityinto a sleek, soulful package should take a good close lookat D'Angelo's debut. BROWN SUGAR is audacious enough to succeed on aesthetics alone. Instead of stilted, synthetic textures, there is the constant warmth of a Fender Rhodes electric piano (evoking Stevie and Marvin's mid-'70s records), andrather than filling the air with shrieking castrato vocals,there are four-part harmonies peeking out from behind everycorner. In short, BROWN SUGAR is an honest-to-goodness soulrecord without the hollow bluster of modern soul.
Some of the credit for this must go to the 21-year-old's choice ofcollaborators--or the absence of. Rather than hand his talents over to any of the uber-producers who rule modern R&B, D'Angelo handles most tasks himself--from writing and producing to arranging and playing (including all vocals and most of the instrumentation). When he does turn for help, D'Angelotakes on musicians with distinctive feels--Tribe Called Quest DJ Ali Shaheed Muhammad, and Tony! Toni! TonT!'s Rafael Saadiq--then works to their strengths. "Brown Sugar" percolates between Muhammad's breathy, organic jazz track, accented by a sleek snare and laid-back piano, and D'Angelo's playful, sexually-charged delivery. On "Lady", Saadiq's funky lickstry to steal the song away from the melodious Four Tops-like chorus, playing to a wonderful draw. When alone, D'Angelo sculpts pieces as warmly innovative as "When We Get By", with its swingin' stride bass, and as traditionally uplifting as the gospel "Higher", on which D'Angelo's organ competes for the spotlight with a choir of his voices.
Some of the credit for this must go to the 21-year-old's choice ofcollaborators--or the absence of. Rather than hand his talents over to any of the uber-producers who rule modern R&B, D'Angelo handles most tasks himself--from writing and producing to arranging and playing (including all vocals and most of the instrumentation). When he does turn for help, D'Angelotakes on musicians with distinctive feels--Tribe Called Quest DJ Ali Shaheed Muhammad, and Tony! Toni! TonT!'s Rafael Saadiq--then works to their strengths. "Brown Sugar" percolates between Muhammad's breathy, organic jazz track, accented by a sleek snare and laid-back piano, and D'Angelo's playful, sexually-charged delivery. On "Lady", Saadiq's funky lickstry to steal the song away from the melodious Four Tops-like chorus, playing to a wonderful draw. When alone, D'Angelo sculpts pieces as warmly innovative as "When We Get By", with its swingin' stride bass, and as traditionally uplifting as the gospel "Higher", on which D'Angelo's organ competes for the spotlight with a choir of his voices.
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