About four months ago, we lost one of America’s most ingenious artists, Michael Eugene Archer, also known as D’Angelo. A pioneer of the neo-soul movement of the ‘90s, D’Angelo was considered one of the seminal Black artists of his generation, releasing three critically acclaimed albums: “Brown Sugar” (1995), “Voodoo” (2000) and “Black Messiah” (2014).
After privately fighting a battle against pancreatic cancer, D’Angelo passed away on Oct. 14, 2025. If you are looking for a starting point with D’Angelo’s discography, this serves as a small introduction to his musical works.
Where to start?
Courtesy of Apple Music
Usually, listening to an artist’s discography in chronological order isn’t the best way to get a fair sampling of their work. Since D’Angelo only has three albums, it makes sense to start with his debut, “Brown Sugar.” This is not only D’Angelo’s breakthrough album, but one of neo-soul’s most defining records, a silky and sultry record that pays homage to 60s soul, funk and pop in a way that pleased both critics and audiences alike.
D’Angelo wrote and played a wide range of different instruments on nearly every song on the record, taking inspiration from other Black musical auteurs like Prince. On “Brown Sugar,” D’Angelo worked with producers who were furthering the neo-soul sound, like Raphael Saadiq, Ali Shaheed Muhammad and Bob Power. With their help on production, D’Angelo rejected the synthesizers and computers of the 80s and created an organic, more lived-in and vintage sound.
If you were to start anywhere on the album, begin with the title track, “Brown Sugar.” A sly ode to marijuana disguised as a love song, “Brown Sugar” is a great example of D’Angelo’s mix of 60s soul inspiration and 90s hip-hop influence. D’Angelo usually sings on his songs, but his vocal performance here is more attuned to rapping and the instrumental is more hip-hop-aligned with its heavy drum mix and straightforward composition. The addition of organs and subtle talking in the background gives it an organic, gospel feel that is reminiscent of 60s and 70s soul artists like Marvin Gaye. Many critics say that “Brown Sugar” is the very first neo-soul song, and for that reason, it is a quintessential part of his discography.
Another great track on the album is “Lady,” D’Angelo’s biggest billboard hit. Considered a classic R&B song, “Lady” takes inspiration from jazz and soul, with organic keys and bass supporting D’Angelo’s silky falsettos. It’s a staple on 90s throwback stations for a reason, “Lady” is D’Angelo at his most R&B, at his smoothest.
“Brown Sugar” is for the R&B heads- for those who love smooth vocals and polished production with hip-hop influence. It’s perhaps the most 90s sounding album in D’Angelo’s discography and is not only a great introduction to his work but to the sounds of the 90s in general.
What about his defining work?
Courtesy of Apple Music
“Voodoo” is widely considered as D’Angelo’s masterpiece and as one of the best albums of all time. Rolling Stone has the album ranked at 28 on their “500 Greatest Albums of All Time” list and it consistently ranks on music publication lists as one of the best albums of the 2000s.
“Voodoo” is truly a timeless record, standing as a capsule of the history of Black music in America boiled down to 13 tracks. The entire album was recorded on analog tape, and 85% of the album was recorded live, according to producer and sound engineer Russel Elevado. This unique production gives the album a loose, jam-session sound that contrasts with the polished R&B of the time.
The masterful musicianship present in every performer on this record makes it so that “Voodoo” is as listenable today as it was 26 years ago, because listening to it intensely is as pleasurable as letting it play in the background. You should listen to it front to back, but if you’re short on time, here are a few staple songs to check out.
If one song showcases the musicianship on the album, it’s “Spanish Joint,” a technical track inspired by Latin and salsa grooves. It is one of the grooviest songs on the album (which isn’t saying much– they’re all groovy) and contains the album’s best guitar solo. The solo is courtesy of the talented Charlie Hunter, who plays bass and guitar simultaneously on a custom six-string guitar.
Another D’Angelo classic from this album is “Untitled (How Does It Feel).” A slow, sensual seven-minute ballad with a euphoric climax at the end of the song, “Untitled” oozes with a Prince-style eroticism that gave it a reputation as one of the most memorable songs on the album. It starts staggered and almost silent before introducing one of D’Angelo’s catchiest melodies. From then, it builds and builds until the song breaks into climax, with D’Angelo’s gospel style vocals belting through ecstatic guitar runs and basslines.
“Untitled” is perhaps D’Angelo’s most notorious song, as it thrust him into sex symbol status, a connotation that he became increasingly uncomfortable with, leading to a long hiatus after “Voodoo” and problems with addiction. Nonetheless, “Untitled” is a beloved staple of D’Angelo’s discography and classic love song.
Where did he go after “Voodoo?”
Courtesy of Apple Music
“Voodoo” was followed by a 14-year hiatus, prompted by discomfort with the spotlight, substance abuse issues and depression. When D’Angelo finally returned, it was with his 2014 album “Black Messiah,” a more political and experimental record that saw D’Angelo play with sounds and ideas that he never fully explored with his earlier work. It’s a more deconstructed album than “Brown Sugar” and “Voodoo” that features more political thematic content.
Perhaps D’Angelo’s funkiest song in his entire body of work is the album’s opener, “Ain’t That Easy.” A swampy, almost eerie song, “Ain’t That Easy” features layered vocal harmonies on the chorus and funky guitar and bass lines, supplemented with a slappy, loud drum mix. It is one of D’Angelo’s most experimental and memorable tunes, a Parliament-inspired song that immediately sets the tone for the rest of the album.
Another highlight on “Black Messiah” is “Really Love,” an ethereal, Latin-inspired song with a beautiful orchestral open and flamenco guitar work. It reads as a spiritual continuation of “Spanish Joint” as it contains the same Latin inspiration and infectious groove, and depending on who you ask, might be D’Angelo’s most beautiful song.
Political turmoil and Black struggle in America are prevalent themes on many of the songs on “Black Messiah,” but especially “Till it’s Done (Tutu)” and “The Charade.” The first deals with humanity’s self-destructive nature, with D’Angelo commenting on the destruction of war and the lack of action relating to climate change.
“The Charade” deals more with Black people looking for a seat at the table, politically and socially, as D’Angelo sings “All we wanted was a chance to talk/ ‘Stead we only got outlined in chalk.” “Black Messiah” contains the most explicitly political lyricism in D’Angelo’s discography, which is one of the myriad reasons you should listen to it.
“Black Messiah” is D’Angelo at his most avant-garde. It’s a record that’s simultaneously warm and mechanical, but also spiritual and technical. Production-wise, it’s a masterclass on groove and atmosphere. Content-wise, it’s D’Angelo at his most political, while still containing the classic lyrics of love and heartbreak that have become synonymous with his work. It was the last album he ever made, and it is a fitting end to one of the most consistent discographies in American music history.
Besides his albums…
Apart from his three albums, D’Angelo has a few singles that are worth mentioning. Written for the video game “Red Dead Redemption 2”, “Unshaken” is D’Angelo’s most western-sounding song. It is a melancholic and soulful song that boasts one of his most unique and remarkable vocal performances.
Another fan-favorite is “I Found My Smile Again,” which was originally released with the 1996 “Space Jam” soundtrack, but was re-released with a drum interpolation on D’Angelo’s compilation album “The Best So Far” in 2008. The 2008 version features steady drums and guitar, which mix with D’Angelo’s gospel-style layered vocals to make for a fantastic single.
For live work, his 2015 North Sea Jazz Festival performance stands out, which contains great live performances of songs from “Black Messiah” like “Sugah Daddy” as well as a live recording of “Brown Sugar.” A phenomenal rendition of “Untitled” was performed at that same festival in 2012, which is worth checking out as well.
D’Angelo may not have released as much as other artists do, only releasing three albums in 30 years, but what he gave us was unforgettable. It’s important to understand the role D’Angelo played in the neo-soul movement and his influence on Black music and art. Following his tragic and unexpected death, there is no better time to get into his music than now.
Francisco Aguirre-Ghiso can be reached at [email protected].
