D’Angelo – Voodoo: Round 44, Nick’s choice

dangelo_voodooI decided to play this whilst we were listening to Frank Ocean at Rob’s house last week; despite my comments about that record, the one R&B full-length that has got me from start to finish (almost), is D’Angelo’s Voodoo from 2000.

I don’t like the myth of the ‘romantic artist’, the idea of musicians or poets or painters being magical individuals blessed with talent; I could talk about why not for ages. But Michael Eugene Archer, AKA D’Angelo, born in Richmond, Virginia in 1974, started playing piano age 4, self-produced first solo album aged 20, masterminded Voodoo age 25, then (seemingly, allegedly) went crazy and disappeared because he objected to being objectified for his abs rather than revered for his music and who hasn’t released an album since and only just started playing live again last year, seems like he might be the real deal. He’s certainly not your everyday common or garden pop star.

Voodoo is a strange beast. I bought it almost as soon as it came out, intrigued by salivating hyperbole emanating from critics who talked about it as being an instant soul/jazz/funk/roots/R&B/whatever classic, who placed it in a lineage with Marvin Gaye and Isaac Hayes and Aretha Franklin and Stevie Wonder and Prince and Sly & The Family Stone and Funkadelic and Miles Davis and Jimi Hendrix – no expectation or pressure there then.

The copious sleevenotes, and even more copious musicological analysis you can find online, explain exactly how much of an influence the likes of Sly, Prince, Jimi, Stevie, and Marvin etc were on D’Angelo during the record’s gestation, but for the most part Voodoo sounds like nothing so much as itself. For a start, it’s a record very much about vibe and groove rather than about tunes – I was expecting melodies like Stevie Wonder’s on first listen and was confused and disappointed when they didn’t emerge. D’Angelo absorbed the musical lessons of his idols, and used what he learnt to create something different. As a result, Voodoo is hard to categorise; I think of it and use it more like a jazz album than a collection of songs qua songs.

Recorded on vintage analogue gear at Hendrix’s Electric Lady studio, musically Voodoo is comprised of languid, behind-the-beat drum patterns (courtesy of ?uestlove) and languorous basslines, which are up front and centre like hip hop beats. Above and behind this there are taut, high-up-the-chest guitar lines and riffs, woozy horns, indolent piano and organs, plus scratching, studio FX and chatter. The instruments were apparently recorded almost entirely live in a room, with barely any overdubs.

There are plenty of overdubs on D’Angelo’s vocals, though, as his voice floats over the top of everything else, harmonising with himself almost impenetrably, lyrics hard to discern but mood pretty easy to ascertain. He sings about sex, faith, and love, admonishes the greedy, prays for this son, the vocal melodies less recognisable as songs than understandable as blissful incantations.

Voodoo is world away from the modern digital R&B it was contemporaneous to. Is it better? Not necessarily – the likes of Aaliyah produced some sublime, heart-stopping music – but it is different. As indulgent as an album can possibly be, it is incredibly long, focussed to the point of myopia, obsessed with intangible notions like authenticity and spirit and soul. I go through periods where I get obsessed with it, with unravelling its secrets (and it does feel like it contains secrets), and then I put it away again and forget about it for a year or three or five. Because how often can you find the time and space and mood to listen to a record like this?

“Untitled (How Does It Feel?)”, the penultimate song and big single (with the abs-featuring video that seemingly ruined D’Angelo’s psyche for a decade), is like the ghost of a Prince ballad, the tune so clearly beautiful but so hard to touch that even as you’re listening to it you feel like you’re remembering it rather than experiencing it. It’s the only song to build to a climax, to feature bona fide hooks and a chorus, but it just stops dead, cutting to silence apros of nothing before it ever reaches the ecstatic plateau it’s been teasing you with for seven minutes. For a long time, the fear was that D’Angelo’s career might have done the same.

Tom Listened: In the past two days I have sat through the whole of The Age of Adz and I Can Hear The Heart Beating As One – gargantuan double albums by Sufjan Stevens and Yo La Tengo respectively. And I have experienced almost exactly the same thing as I did when listening to Voodoo at Nick’s house. The albums begin wonderfully, plateau a little and then my own failings kick in and I just want to move on, listen to something else, change the mood in the room and in my head. Sufjan’s and Yo La Tengo’s albums I know well and I thoroughly enjoy both in smaller doses (in the case of the Age of Adz I know I’m probably not supposed to but, for me, it’s a much more enjoyable album than Illinois). But over the course of 70 minutes plus, I find it hard to sustain interest in an single (double) album.

Voodoo suffered a similar fate – right up to about the 50 minute mark I found this wonderful – vital, sharp and intriguing, I certainly see where Nick is coming from in his categorising Voodoo as jazz as it has that freedom and ability to surprise that the more rigid structures inherent in many forms of more traditional pop music discourage. But, to be honest, I could have lived without the last 15 minutes. Like almost all the double albums I know (and many that I love), to my ears, a bit of judicious trimming would probably have improved the work!

Graham listened: I must admit I settled down to listen to this thinking it would be a fairly testing experience. For around about the same time as Tom mentions, I was incredibly surprised to find myself toe tappin’, boppin’ and noddin’ (my best efforts at R&B slang) along. An effortless and restrained jazzy groove and vibe had me hooked. But after three quarters of an hour or so my attention began to fade. I not sure if I had heard enough, the style became closer to what I was expecting originally or the arrival of a Lebanese takeaway played its part? Still, in the right mood and with a little trimming in places, I would happily listen again.

Rob listened: I’m afraid I failed to sustain any interest in ‘Voodoo’, so Tom and Graham have done extremely well by comparison. I knew a little of the backstory, and have read some of the glowing reviews, and I love spending time with many of the record’s apparent reference points, Miles Davis, Stevie Wonder, Prince. After about ten minutes, I could feel the jazz influence coming in and thought the record was going to grow into something as twisting and beguiling as I was hoping for. Instead it seemed just to plod on, one long groove after another. Played beautifully, assembled lovingly, and clearly concealing genuine depths, i’m afraid ‘Voodoo’ left me with two predominant thoughts: ‘I fancy a snooze’ and ‘Where did I last see my copy of ‘Jazzmatazz Vol 1?’

Sly and the Family Stone – Greatest Hits: Round 25, Nick’s choice

Sly and the Family Stone’s 1970 Greatest Hits collection was my introduction to the band, after hearing I Want To Take You Higher played on the radio by the singer in a current band I liked. I made a beeline for the record shop, and Greatest Hits was the only thing on offer; my inner teenage rockist almost certainly wanted a proper album, but beggars can’t be choosers. It wouldn’t be until much later that I’d realise the esteem this ‘mere’ compilation is held in – Christgau describes it as “amongst the greatest rock and roll LPs of all time”, and in 2003 Rolling Stone ranked it number 60 in their 500 greatest albums of all time.

This esteem is because Greatest Hits quite simply houses some of the best music ever made, even though it was devised as a stop-gap to fill time while Sly himself was going mad (more on that later). Sly and the Family Stone, a revolutionary multi-racial group at the time, surfed their way through so many different styles, grooves, melodies, and emotions from 1967 to 1969 that it boggles your brain – they’re ostensibly a rock / soul band, but they were keystones in developing funk and psychedelic music, and they traversed boundaries at will.

Greatest Hits combines all the band’s singles from the albums Dance To The Music, Life, and Stand!, plus a couple of charting b-sides that accompanied those singles, another album track from Stand!, plus three stand-alone singles that followed Stand! in 1969. (Sadly it misses the splendid Underdog from their debut album, 67’s A Whole New Thing). Rather than arranging songs chronologically, the sequencing starts with the epic, heavy funk of I Want To Take You Higher (from Stand!) and finishes with Thank You (Falettineme Be Mice Elf Agin) (one of the stand-alone singles), which function amazingly as bookends. The ten songs between range from the plaintive, heartening Everybody Is A Star to the deranged jerking groove of M’Lady, and the beatific sunshine piano-pop of Hot Fun In The Summertime. I own the albums most of these songs come from, and this order is still the way I prefer to hear them.

Even if you don’t recognize the songs themselves, Sly and the Family Stone have been sampled left, right, and centre, and not just by prime-sampling-era hip hop acts like Tribe Called Quest, Public Enemy, Beastie Boys, NWA, Queen Latifa, Arrested Development, Stetsasonic, Snoop Dogg, Redman, Common, Pharcyde, KRS-One, Mobb Deep, Jurassic Five, De La Soul, Missy Elliott… they’ve also been sampled by Primal Scream, Fatboy Slim, Janet Jackson, Beck, Alanis Morrissette, Four Tet, Skinnyman, DJ Shadow, Kid Rock, Pizzicato Five… The list, quite literally, goes on, and on, and on.

After Greatest Hits, Sly and the Family Stone were a transformed band, never the same again. Things started to hint at negativity a little on Stand! (for instance the racial unease of Don’t Call Me Nigger, Whitey – not included here), but 1971’s infamous, paranoid, cocaine-psychosis-blur There’s A Riot Goin’ On sounded like a different band because it was; Sly himself played almost every instrument, his band disintegrated by his erratic behavior and cavernous drug consumption, as he recorded on the same tapes over and over again until he’d obliterated song after song, hence the infamous muddy tape-hiss sound. There would still be good music after Riot, but nothing as free, as hopeful, as vibrant, as life-affirming, as the material the Family Stone recorded in those first three years together.

Edit: In quick response to Rob, below, Sly and The Family Stone simply don’t seem to have crossed the Atlantic very well – I get the idea from American contacts and friends that they’re held in massive esteem and regard, and hold a huge place in popular culture, that just isn’t reflected or understood over here.

Rob listened: This was a lot of fun while it was on and playing spot the sample is always enjoyable, even if it more often than not leaves me worrying about how quickly my memory is degenerating these days. Clearly hugely influential, Sly and co. have perhaps been denied their place in the pantheon of pop, presumably thanks to Mr Stone’s disintegration. There’s no obvious reason that we should know all the hits by Stevie Wonder or the Bee Gees or The Beach Boys or whoever and not by this bunch. But we don’t. For now they’ll go back on the ‘artists i’m ashamed to say I don’t really know but don’t really feel like i’ll have time to snuggle up to any time soon’ list. Enjoyed hearing them though.

Tom Listened: Worryingly for me, I pretty much agree with everything Rob has written! I enjoyed this, but imagine I would like the paranoid, darker tones of There’s a Riot (a record I have always kept an eye out for but never seen for sale on vinyl) more as I enjoy darkness and paranoia (see recent offerings: Babybird, Big Star, Anais Mitchell, Kate Bush). Sometimes a little cheesy, but always fun and energetic, this was a great collection of tunes and I think it fitted the wonderful bright evenings of April perfectly. Thanks Nick.

By the way: To extend our discussion on the night,other compilations that are possibly more well known than any individual album in an artist’s discography: Legend and Standing on the beach.

Graham listened: Clear and present danger of consensus breaking out over this choice. There were some stonking (not a word I use lightly) tunes on this album. Like Rob says, it almost criminal that some of these don’t have the status of ‘classics’ by the other artists we hear so frequently. If the sun was shining and I had a convertible car, I would be reaching for the 8 track of this and go cruising with the window down and elbow out. Its great that a quick hit of such music can evoke feelings like this. Not sure if the Afro wig would suit me though?