D’Angelo no longer has abs for days like he used to but his long-awaited new record and return is just as sexy, if not sexier.
The album: Black Messiah is a sophisticated-near-futuristic reminder of some type of music rarity and timelessness that I can only relate to his past albums: Voodoo (2000) and Brown Sugar (1995) or Maxwell’s debut album Urban Hang Suite (1996).
The return of the former R&B sex symbol – to me, is like how it would feel for die-hard Jesus followers when the real Messiah returns. In a statement included in the album, D’Angelo reveals that the title Black Messiah was inspired by events in Ferguson and New York. “Black Messiah title is about all of us,” he writes, adding, “It’s not about praising one charismatic leader but celebrating thousands of them.”
So what exactly makes Black Messiah such a gem and so damn sexy? It’s not really because of any utterance of sex in the songs’ lyrics but a slewed mesh of musical elements and strong messages. Black Messiah isn’t about one genre but such multi-dimensional songs and sounds, delivered with a punch that leaves you feeling a little dizzy and sometimes drugged. By the time 1000 Deaths gets to the end, the electric guitars make the song sound exactly how a cultic ritual would if music was involved. Ain’t That Easy is such a sweet entry into the album. D’Angelo has said severally that Prince is his biggest music inspiration. This song is rock–it is Prince.
Certain elements in the album enhance the general narcoticism of D’Angelo’s music. Betray My Heart is at the peak of it all and its theme – at the height of the art of loving someone. We normally strive not to break others’ hearts but when who you love is your definition of love, and you make that synonymous to your heart – surely you can’t hurt your heart.
With a twist and swing to it, this is probably the sweetest and deepest song (after Really Love) in Black Messiah. This song is proof that only D’Angelo’s instrumentation speaks almost as loud as his lyrics. As his ad-libs to “baby – stay right here…” rise in falsetto, the guitars and drums scream sexually with an ascending pace to the lyrics. Please tell me this isn’t sex.
If you’re looking for a really great and well-written song, Really Love it is. What is love? This song and books like Love in the Time of Cholera have taught me that love is different for everyone. Love is what you want it to be, and you can find it in the simplest of places or the extremes of suffering. “When you call my name, when you love me gently, when you’re walking near me, Doo doo wah, I’m in really love with you …” –sings D’Angelo in the first verse. Now I’d love to be in really love, such deep love that will make me talk in tongues like ” Doo doo wah …”
If you’re looking for some dope neo soul Till its Done (Tutu), Back to the Future (Part I), Prayer and Suggah Daddy are must-listens! The Charade is some type of odd sound that only music weirdos like me will really enjoy.
While Black Messiah sometimes sounds like one piece of music, every song ends up having it’s own uniqueness, edge and vibe. You’re guaranteed that loads of elements in the album will leave you bopping your head in surprise that all these elements fit in one place.
While D’Angelo was away, ladies worshipped sex gods like Miguel, Trey Songz and Usher. Other legendary figures in neo soul like Maxwell released albums – read a review of Blacksummers Night. But ladies never really forgot about D’Angelo’s olden sexy demeanour in his famed racy music video: Untitled (How Does it Feel).
To make a return just as sexy without that bod is proof that D’Angelo’s music is more than the visual aspect. It’s a psychological thing that the image of nude younger D and his music has since planted in our minds since we saw that video.
After two decades of missing a very important figure in neo soul music, call it bravado or cocky but D’Angelo and the Vanguard couldn’t have named this return anything better than the Black Messiah. Its title and release (December 2014) has been associated with the Black Lives Matter Movement. Inside the album D’angelo writes, “Not every song in this album is politically charged (though many are) … Black Messiah isn’t about one man. It’s a feeling, that collectively, we are all that leader …”
After struggling with drug addiction, surviving a fatal road accident and taking a sabbatical from music—this return, so solid and soulful, has proven to the world, at a time when speculations run wild about the slow death of R&B and evolving genres, that D’Angelo is a Messiah of sorts. Maybe most accurately – the Messiah of R&B, neo soul, funk, jazz and still– sex.
Black Roses 