he became a legend when he was caught with crack and a trannie

luvsexy4all said:

he became a legend when he was caught with crack and a trannie

Nope, that's when he became a joke.

No where near. D'Angelo is a has-been with a slim body of work who time has damn near erased. For some reason the elitists at Prince.org like to elevate this shoulda-woulda-coulda buzz act from almost 20 years ago to iconic status, but I don't see that sentiment repeated anywhere else but here. "Lady" is about the only song by him that has held up enough to still get minor recurrent play on urban AC radio when they're in the mood to dip back in the day. This guy is not a legend.

I think D has a special place in the hearts of soul/r&b lovers of his Generation..

He and Maxwell are kinda the same.. Maxwell has been 'a bit' more productive but,

he's also had the assistance of various producers/collaborators.

When D came out with his cornrows & his soulful/talented/thug/weed head persona..

He was an Original & i think today thats kinda enough to become a Legend.

Ego101 said:

I think D has a special place in the hearts of soul/r&b lovers of his Generation..

He and Maxwell are kinda the same.. Maxwell has been 'a bit' more productive but,

he's also had the assistance of various producers/collaborators.

When D came out with his cornrows & his soulful/talented/thug/weed head persona..

He was an Original & i think today thats kinda enough to become a Legend.

I would say that Maxwell's output has been more consistent of what a "legend" would be moreso than D'Angelo. I get what you're saying though...D'Angelo was a bit of a fish out of water in some ways because he had a bit of thug passion in a genre dominated by "polished" types like Maxwell.

Exactly!

You see Maxwell and you expect some smooth Marvin Gaye type of Vocalist..

You see D & the last thing in the world that you expect to hear is a soulful falsetto!

SeventeenDayze said:

Ego101 said:

I think D has a special place in the hearts of soul/r&b lovers of his Generation..

He and Maxwell are kinda the same.. Maxwell has been 'a bit' more productive but,

he's also had the assistance of various producers/collaborators.

When D came out with his cornrows & his soulful/talented/thug/weed head persona..

He was an Original & i think today thats kinda enough to become a Legend.

I would say that Maxwell's output has been more consistent of what a "legend" would be moreso than D'Angelo. I get what you're saying though...D'Angelo was a bit of a fish out of water in some ways because he had a bit of thug passion in a genre dominated by "polished" types like Maxwell.

SeventeenDayze said:

Ego101 said:

I think D has a special place in the hearts of soul/r&b lovers of his Generation..

He and Maxwell are kinda the same.. Maxwell has been 'a bit' more productive but,

he's also had the assistance of various producers/collaborators.

When D came out with his cornrows & his soulful/talented/thug/weed head persona..

He was an Original & i think today thats kinda enough to become a Legend.

I would say that Maxwell's output has been more consistent of what a "legend" would be moreso than D'Angelo. I get what you're saying though...D'Angelo was a bit of a fish out of water in some ways because he had a bit of thug passion in a genre dominated by "polished" types like Maxwell.

.

Maxwell played at the same fest as D'Angelo a couple of weeks ago. I've never heard too many Maxwell songs, but he ended up boring the hell outta me. Too many slow songs that didn't sound too interesting melodically either.

.

D'Angelo and his band were funkin awesome though!

Lammastide said:

I dig D'Angelo, but this brother must enjoy the most easily conferred legendary status of all time.

It seems all one has to do to become a "legend" these days is produce a spattering of works just slightly better than those of one's contemporaries... then tease for years that more is coming... then let folks' anticipation do the rest.

[Edited 11/24/14 16:28pm]

Right!

He's released two albums and one of them is an album full of vamps! VAMPS! Most of the kiddies

here have bought into the D'Angelo mystique because the media depicts his narrative in tragic

tones. You can do this with Marvin Gaye, or Charlie Parker, or now even Michael Jackson...

D'Angelo is starting to look like the Kim Kardashian of R&B: famous for one "sex tape" that's not

really all that it's cracked up to be (i.e., Voodoo) and you now get your rocks off by watching how

sad and pathetic life is (Keeping Up With The Kardashians). Oh sure, she's a talentless turd while

D'Angelo is gifted, but two mediocre records and a drug problem does not a legend make.

I look forward to new albums from both Maxwell and D'Angelo, but neither is a legend yet. Nope.

Qazz said:

No where near. D'Angelo is a has-been with a slim body of work who time has damn near erased. For some reason the elitists at Prince.org like to elevate this shoulda-woulda-coulda buzz act from almost 20 years ago to iconic status, but I don't see that sentiment repeated anywhere else but here. "Lady" is about the only song by him that has held up enough to still get minor recurrent play on urban AC radio when they're in the mood to dip back in the day. This guy is not a legend.

I'm a D fan....but this is fairly accurate.

duccichucka said:

Lammastide said:

I dig D'Angelo, but this brother must enjoy the most easily conferred legendary status of all time.

It seems all one has to do to become a "legend" these days is produce a spattering of works just slightly better than those of one's contemporaries... then tease for years that more is coming... then let folks' anticipation do the rest.

[Edited 11/24/14 16:28pm]

Right!

He's released two albums and one of them is an album full of vamps! VAMPS! Most of the kiddies

here have bought into the D'Angelo mystique because the media depicts his narrative in tragic

tones. You can do this with Marvin Gaye, or Charlie Parker, or now even Michael Jackson...

D'Angelo is starting to look like the Kim Kardashian of R&B: famous for one "sex tape" that's not

really all that it's cracked up to be (i.e., Voodoo) and you now get your rocks off by watching how

sad and pathetic life is (Keeping Up With The Kardashians). Oh sure, she's a talentless turd while

D'Angelo is gifted, but two mediocre records and a drug problem does not a legend make.

.

Media narrative? Bollocks. I picked up Voodoo the week it came out because Brown Sugar was great and I wanted to hear what was next. There was no media or external forces involved in my decision. Turns out what was next was even better than the first.

.

Recently converted a friend who's a rock fan to a Voodoo fan, just because it sounds so great. I didn't have to say anything and there was no media involved. The proof is in the pudding.

.

As an aside, you can't listen to Voodoo on a laptop, because Pino's bass has flatwound strings and not many overtones, so it doesn't cut through much at all on small speakers. If you can't hear the bass, you're not properly hearing the chord and therefore you're not hearing the song writing intention, as it's full of jazz chords. That bass is in the low low end. Sit in front of a real stereo and listen to "Send It On". If you don't get it then, you will never get it.

D is way more talented than Maxwell and even Maxwell would say that.

What the hell is a vamp and why is it a bad thing in D's case?

scriptgirl said:

D is way more talented than Maxwell and even Maxwell would say that.

You're entitled to your opinion. Maxwell over D for me. Easily.

Maxwell is a better vocalist, and he's the one with a little more of a catalog.

D may be the better musician as he plays instruments. I like them both.

You just seem to be stuck on the D (take that anyway you want) as you create a new thread on him at least twice a month.

Nick715 said:

I look forward to new albums from both Maxwell and D'Angelo, but neither is a legend yet. Nope.

I agree.

Each artist's career is defined by what they haven't done.

nd33 said:

duccichucka said:

Right!

He's released two albums and one of them is an album full of vamps! VAMPS! Most of the kiddies

here have bought into the D'Angelo mystique because the media depicts his narrative in tragic

tones. You can do this with Marvin Gaye, or Charlie Parker, or now even Michael Jackson...

D'Angelo is starting to look like the Kim Kardashian of R&B: famous for one "sex tape" that's not

really all that it's cracked up to be (i.e., Voodoo) and you now get your rocks off by watching how

sad and pathetic life is (Keeping Up With The Kardashians). Oh sure, she's a talentless turd while

D'Angelo is gifted, but two mediocre records and a drug problem does not a legend make.

.

Media narrative? Bollocks. I picked up Voodoo the week it came out because Brown Sugar was great and I wanted to hear what was next. There was no media or external forces involved in my decision. Turns out what was next was even better than the first.

.

Recently converted a friend who's a rock fan to a Voodoo fan, just because it sounds so great. I didn't have to say anything and there was no media involved. The proof is in the pudding.

.

As an aside, you can't listen to Voodoo on a laptop, because Pino's bass has flatwound strings and not many overtones, so it doesn't cut through much at all on small speakers. If you can't hear the bass, you're not properly hearing the chord and therefore you're not hearing the song writing intention, as it's full of jazz chords. That bass is in the low low end. Sit in front of a real stereo and listen to "Send It On". If you don't get it then, you will never get it.

What do you mean "Media narrative? Bollocks."? I said nothing about "media narrative." I said

the media DEPICTS his narrative in tragic tones. This adds credibility to his mystique as if he's

some tragic artist akin to Marvin Gaye or Michael Jackson. But he doesn't have a comparable

body of work to be depicted as such. You're talking about the media coverage of his album

releases which is somthing I am not speaking to.

Voodoo is marginally better than Brown Sugar. In terms of album production, his studiocraft on

the former sounds better because he incorporated more live instrumentation and had a sound-

scape genius with him at the helm: Jay Dee. But in terms of music composition, D'Angelo cannot

write a song. He writes vamps. After awhile, this becomes boring and musically uninteresting as

vamps, as is their nature, repeat themes over and over again with a minimal amount of changes

and/or progressions. But back to Voodoo: he recorded it, if I'm not mistaken, at Electric Ladyland
and relied mostly upon analog recording equipment as opposed to digital stuff (Pro Tools, etc).
This helps make the album "sound" better, in my opinion. So, it's not like his songwriting grew

leaps and bounds since Brown Sugar. His musicianship stayed mostly the same and he depended

upon his gospel chops and gospel/hip hop arrangements and production techniques as well. I say

all of this to indicate that Voodoo is not so much better than Brown Sugar; but because Voodoo

isn't all that interesting compositionally (it is productionally), that's not saying much anyways. So,

why the attention for Voodoo, if its only marginally better than its predecessor? D'Angelo resorted

to selling sex in that music video. You know which one I'm talking about. Face it: the only reason

why this board is still cumming after an album was released in 14 years ago is because Mr. Archer

sold sex. That's hardly artistic or messianic. The music on Voodoo doesn't keep it alive; (y)our

ghastly fascination with his turmoil awashed with the voyeurism of "Untitled" does.

And your "aside" is inconsequential. I don't listen to music on a laptop. I use studio cans so that
I can hear production nuances. But you don't need to hear Voodoo's base production in order

to "properly hear the chord" or the "songwriting intention" as you mention. The base rarely is

the instrument responsible for the chord progressions of a song. The base typically anchors

and/or accompanies the overall harmonic structure of a tune and usually, it helps establish or

support the rhythm (beat). Depending on how you define "jazz chords," I don't hear any thing

that remotely sounds like jazz on "Send it On." If you want jazzier chords, then try deconstructing

"The Root." And you have Charlie Hunter mostly to thank for that number, not D'Angelo.

In twenty years, this ridiculous board will realize that its attention should have been focused on

whatever Van Hunt was doing. Now if he developed a drug problem, and spent years toiling about

in studios putting together an album that sounds better than On The Corner, Abbey Road, and

whatever else Questlove told us that D'Angelo's new record was the successor to, and totally

teased the fuck outta us, then we'd have the right to gruesomely and schadenfreude-ly take

pleasure in the descent of a tragic R&B figure. I mean, D'Angelo could never write anything that

resembles What Were You Hoping For? Van Hunt pushed R&B past its sonic boundaries. Voodoo

subsists and perdures inside R&B formulations.

It's time for Maxwell, D'Angelo, and Lauryn Hill and their stans to sit down and shut the fuck up.

None of them were the artist the media told us they would be, or who we thought they could be.

Let's start giving props to those who are actually cranking out art, and ignore the ones who are

titty teasing the fuck outta us.

More Van Hunt, Raphael Saadiq, Meshell Ndegeocello legend threads please.

duccichucka said:

It's time for Maxwell, D'Angelo, and Lauryn Hill and their stans to sit down and shut the fuck up.

None of them were the artist the media told us they would be, or who we thought they could be.

Let's start giving props to those who are actually cranking out art, and ignore the ones who are

titty teasing the fuck outta us.

More Van Hunt, Raphael Saadiq, Meshell Ndegeocello legend threads please.

I reluctantly agree.

more tittie teasing please

duccichucka said:

nd33 said:

.

Media narrative? Bollocks. I picked up Voodoo the week it came out because Brown Sugar was great and I wanted to hear what was next. There was no media or external forces involved in my decision. Turns out what was next was even better than the first.

.

Recently converted a friend who's a rock fan to a Voodoo fan, just because it sounds so great. I didn't have to say anything and there was no media involved. The proof is in the pudding.

.

As an aside, you can't listen to Voodoo on a laptop, because Pino's bass has flatwound strings and not many overtones, so it doesn't cut through much at all on small speakers. If you can't hear the bass, you're not properly hearing the chord and therefore you're not hearing the song writing intention, as it's full of jazz chords. That bass is in the low low end. Sit in front of a real stereo and listen to "Send It On". If you don't get it then, you will never get it.

What do you mean "Media narrative? Bollocks."? I said nothing about "media narrative." I said

the media DEPICTS his narrative in tragic tones. This adds credibility to his mystique as if he's

some tragic artist akin to Marvin Gaye or Michael Jackson. But he doesn't have a comparable

body of work to be depicted as such. You're talking about the media coverage of his album

releases which is somthing I am not speaking to.

Voodoo is marginally better than Brown Sugar. In terms of album production, his studiocraft on

the former sounds better because he incorporated more live instrumentation and had a sound-

scape genius with him at the helm: Jay Dee. But in terms of music composition, D'Angelo cannot

write a song. He writes vamps. After awhile, this becomes boring and musically uninteresting as

vamps, as is their nature, repeat themes over and over again with a minimal amount of changes

and/or progressions. But back to Voodoo: he recorded it, if I'm not mistaken, at Electric Ladyland
and relied mostly upon analog recording equipment as opposed to digital stuff (Pro Tools, etc).
This helps make the album "sound" better, in my opinion. So, it's not like his songwriting grew

leaps and bounds since Brown Sugar. His musicianship stayed mostly the same and he depended

upon his gospel chops and gospel/hip hop arrangements and production techniques as well. I say

all of this to indicate that Voodoo is not so much better than Brown Sugar; but because Voodoo

isn't all that interesting compositionally (it is productionally), that's not saying much anyways. So,

why the attention for Voodoo, if its only marginally better than its predecessor? D'Angelo resorted

to selling sex in that music video. You know which one I'm talking about. Face it: the only reason

why this board is still cumming after an album was released in 14 years ago is because Mr. Archer

sold sex. That's hardly artistic or messianic. The music on Voodoo doesn't keep it alive; (y)our

ghastly fascination with his turmoil awashed with the voyeurism of "Untitled" does.

And your "aside" is inconsequential. I don't listen to music on a laptop. I use studio cans so that
I can hear production nuances. But you don't need to hear Voodoo's base production in order

to "properly hear the chord" or the "songwriting intention" as you mention. The base rarely is

the instrument responsible for the chord progressions of a song. The base typically anchors

and/or accompanies the overall harmonic structure of a tune and usually, it helps establish or

support the rhythm (beat). Depending on how you define "jazz chords," I don't hear any thing

that remotely sounds like jazz on "Send it On." If you want jazzier chords, then try deconstructing

"The Root." And you have Charlie Hunter mostly to thank for that number, not D'Angelo.

In twenty years, this ridiculous board will realize that its attention should have been focused on

whatever Van Hunt was doing. Now if he developed a drug problem, and spent years toiling about

in studios putting together an album that sounds better than On The Corner, Abbey Road, and

whatever else Questlove told us that D'Angelo's new record was the successor to, and totally

teased the fuck outta us, then we'd have the right to gruesomely and schadenfreude-ly take

pleasure in the descent of a tragic R&B figure. I mean, D'Angelo could never write anything that

resembles What Were You Hoping For? Van Hunt pushed R&B past its sonic boundaries. Voodoo

subsists and perdures inside R&B formulations.

It's time for Maxwell, D'Angelo, and Lauryn Hill and their stans to sit down and shut the fuck up.

None of them were the artist the media told us they would be, or who we thought they could be.

Let's start giving props to those who are actually cranking out art, and ignore the ones who are

titty teasing the fuck outta us.

More Van Hunt, Raphael Saadiq, Meshell Ndegeocello legend threads please.

.

We'll agree to disagree. I'm a heterosexual male and there is no sex appeal in it to me, I'm solely interested in the music.

.

And vampy is debatable, I find his work harmonically interesting, although I could understand if it's boring to some because it's so sparse on first listen.

.

Besides the music, like you say the production definitely adds to it, but that's nothing to be knocked. Voodoo is really an absolutely stunning album sonically, with exhilarating texture and subtlety. For anyone with a great HiFi system, this is up there with Kind Of Blue in terms of production qualities. It's outstanding. The whole album is a work of art to me.

.

I agree to give props to those artists cranking it out for sticking to their work, it doesn't mean it's necessarily better than D'Angelos or anyone else with as little as two albums though - work should be praised for being of high craft and quality more than of high quantity. When D'Angelo releases his third album, he will have released an equal number of studio albums to the number Jimi Hendrix released when he was alive.

SeventeenDayze said:

I like your style ..

duccichucka said:

nd33 said:

.

Media narrative? Bollocks. I picked up Voodoo the week it came out because Brown Sugar was great and I wanted to hear what was next. There was no media or external forces involved in my decision. Turns out what was next was even better than the first.

.

Recently converted a friend who's a rock fan to a Voodoo fan, just because it sounds so great. I didn't have to say anything and there was no media involved. The proof is in the pudding.

.

As an aside, you can't listen to Voodoo on a laptop, because Pino's bass has flatwound strings and not many overtones, so it doesn't cut through much at all on small speakers. If you can't hear the bass, you're not properly hearing the chord and therefore you're not hearing the song writing intention, as it's full of jazz chords. That bass is in the low low end. Sit in front of a real stereo and listen to "Send It On". If you don't get it then, you will never get it.

What do you mean "Media narrative? Bollocks."? I said nothing about "media narrative." I said

the media DEPICTS his narrative in tragic tones. This adds credibility to his mystique as if he's

some tragic artist akin to Marvin Gaye or Michael Jackson. But he doesn't have a comparable

body of work to be depicted as such. You're talking about the media coverage of his album

releases which is somthing I am not speaking to.

Voodoo is marginally better than Brown Sugar. In terms of album production, his studiocraft on

the former sounds better because he incorporated more live instrumentation and had a sound-

scape genius with him at the helm: Jay Dee. But in terms of music composition, D'Angelo cannot

write a song. He writes vamps. After awhile, this becomes boring and musically uninteresting as

vamps, as is their nature, repeat themes over and over again with a minimal amount of changes

and/or progressions. But back to Voodoo: he recorded it, if I'm not mistaken, at Electric Ladyland
and relied mostly upon analog recording equipment as opposed to digital stuff (Pro Tools, etc).
This helps make the album "sound" better, in my opinion. So, it's not like his songwriting grew

leaps and bounds since Brown Sugar. His musicianship stayed mostly the same and he depended

upon his gospel chops and gospel/hip hop arrangements and production techniques as well. I say

all of this to indicate that Voodoo is not so much better than Brown Sugar; but because Voodoo

isn't all that interesting compositionally (it is productionally), that's not saying much anyways. So,

why the attention for Voodoo, if its only marginally better than its predecessor? D'Angelo resorted

to selling sex in that music video. You know which one I'm talking about. Face it: the only reason

why this board is still cumming after an album was released in 14 years ago is because Mr. Archer

sold sex. That's hardly artistic or messianic. The music on Voodoo doesn't keep it alive; (y)our

ghastly fascination with his turmoil awashed with the voyeurism of "Untitled" does.

And your "aside" is inconsequential. I don't listen to music on a laptop. I use studio cans so that
I can hear production nuances. But you don't need to hear Voodoo's base production in order

to "properly hear the chord" or the "songwriting intention" as you mention. The base rarely is

the instrument responsible for the chord progressions of a song. The base typically anchors

and/or accompanies the overall harmonic structure of a tune and usually, it helps establish or

support the rhythm (beat). Depending on how you define "jazz chords," I don't hear any thing

that remotely sounds like jazz on "Send it On." If you want jazzier chords, then try deconstructing

"The Root." And you have Charlie Hunter mostly to thank for that number, not D'Angelo.

In twenty years, this ridiculous board will realize that its attention should have been focused on

whatever Van Hunt was doing. Now if he developed a drug problem, and spent years toiling about

in studios putting together an album that sounds better than On The Corner, Abbey Road, and

whatever else Questlove told us that D'Angelo's new record was the successor to, and totally

teased the fuck outta us, then we'd have the right to gruesomely and schadenfreude-ly take

pleasure in the descent of a tragic R&B figure. I mean, D'Angelo could never write anything that

resembles What Were You Hoping For? Van Hunt pushed R&B past its sonic boundaries. Voodoo

subsists and perdures inside R&B formulations.

It's time for Maxwell, D'Angelo, and Lauryn Hill and their stans to sit down and shut the fuck up.

None of them were the artist the media told us they would be, or who we thought they could be.

Let's start giving props to those who are actually cranking out art, and ignore the ones who are

titty teasing the fuck outta us.

More Van Hunt, Raphael Saadiq, Meshell Ndegeocello legend threads please.

Again, what do you mean by writing vamps, why is that bad? How do you know D can't write a song? What the hell is a vamp?

D'angelo can and has written traditional songs..

in fact he's got an encyclopedic knowledge of other artist' tunes..

James Brown-P Funk- Al Green-Curtis Mayfield-Prince-Hendrix ect..

I believe he 'leans' on the Funkier side of things by choice.

scriptgirl said:

Again, what do you mean by writing vamps, why is that bad? How do you know D can't write a song? What the hell is a vamp?

scriptgirl said:

Again, what do you mean by writing vamps, why is that bad? How do you know D can't write a song? What the hell is a vamp?

Are you kidding me?

Go look it up, you lazy lima bean. And writing vamps in and of itself is not "bad." For me to

cream my pants over an artist, he or she has to be able to do something harmonically

interesting. Voodoo eschews conventional song structure for grooves; this is not a bad thing.

But it means in that forsakeness, boredom can creep in due to repetition.

You could argue that James Brown's entire career is just one big ass vamp. That's being a bit

too simplistic because there is much that you can do with a vamp. But like I said, the way

this board carries on about D'Angelo and clamors for a new album, you'd think he'd be an artist

worthy of all the commotion at Prince.org; as a glorified vamp writer, he's not, in my humble

estimation. Voodoo is horribly, horribly culturally significant; Voodoo is horribly, horribly

overrated musically. But, I have to take into consideration that we are still talking about an album

that was released 14 years ago. Does it speak to its musical innovation (there isn't any) or to our

fascination with his narrative, I don't know. Does it speak to the music video? Absofuckinglutely;

that's why Voodoo went platinum, if you ask me.

The only thing legendary about D'Angelo is the squandering of his gargantuan talent. His vocal

production techniques alone should be taught at all modern music schools. It's that astonishing.

(James Brown was not harmonically complex or interesting, by the way. But this does not speak

to his historical significance or cultural significance or to me bobbing my head to "The Payback"

which is, beat wise, the dopest thing I've ever heard in my life. And Ego is right: D'Angelo has

written conventional songs, like "Higher" for example.)

I think I need to soften my criticisms of Voodoo, and judge it for what it is, not what I want it

to be.

It's intended as a groove album, and with that, it's spectacular. He didn't set out to write

Giant Steps or Le Sacre du printemps.

My bad, y'all.

I like your style..

duccichucka said:

I think I need to soften my criticisms of Voodoo, and judge it for what it is, not what I want it

to be.

It's intended as a groove album, and with that, it's spectacular. He didn't set out to write

Giant Steps or Le Sacre du printemps.

My bad, y'all.

I Dont think its really fair to D'angelo the 'Man' to be ripping him apart for his human failings..

He never told us that we should be waiting 14 years later for anything.

IMO He got swept up in the whole image 'business' side of the industry,

& i think that messed him up a bit.. but.. He's a Badass dude!

As duccichucka said:

His vocal

production techniques alone should be taught at all modern music schools.

It's that astonishing.

Graycap23 said:

duccichucka said:

It's time for Maxwell, D'Angelo, and Lauryn Hill and their stans to sit down and shut the fuck up.

None of them were the artist the media told us they would be, or who we thought they could be.

Let's start giving props to those who are actually cranking out art, and ignore the ones who are

titty teasing the fuck outta us.

More Van Hunt, Raphael Saadiq, Meshell Ndegeocello legend threads please.

I reluctantly agree.

Yup me too. But even Maxwell's 4 albums, 5 if u count MTV Unplugged are DOUBLE De'Angelo's output!! And a Lauryn Hill "stan" really should be an oxymoron. She's indefensible at this point

Ego101 said:

I Dont think its really fair to D'angelo the 'Man' to be ripping him apart for his human failings..

He never told us that we should be waiting 14 years later for anything.

IMO He got swept up in the whole image 'business' side of the industry,

& i think that messed him up a bit...

Incidentally, duccichucka and I went back and forth years back on a Bilal thread about this same issue, and he was right.

It is not up to the artist to meet anyone's expectations. D'Angelo, Maxwell, Lauryn Hill et al. have every right NOT to produce records. I think their only culpability is in those increasingly infrequent instances where they stoke speculation or expectations of a new album. (See Maxwell's social media posts over the last 3 years or D'Angelo's GQ profile around 2012(?)).

As GC and ducci each indicated, audiences are free to and should move on to artists actually building a body of work.

Graycap23 said:

duccichucka said:

It's time for Maxwell, D'Angelo, and Lauryn Hill and their stans to sit down . . . None of them were the artist the media told us they would be, or who we thought they could be.

Let's start giving props to those who are actually cranking out art
. . . More Van Hunt, Raphael Saadiq, Meshell Ndegeocello legend threads please.

I reluctantly agree.

As do I.

****If there is (or ever was) such a thing as an heir to Prince, Me'Shell is it, though I think she's been kind of stuck in neutral since The World Has Made Me The Man of My Dreams, save for some of Devil's Halo and recent Miguel Migs collabos. Just my

namepeace said:

Graycap23 said:

I reluctantly agree.

As do I.

****If there is (or ever was) such a thing as an heir to Prince, Me'Shell is it, though I think she's been kind of stuck in neutral since The World Has Made Me The Man of My Dreams, save for some of Devil's Halo and recent Miguel Migs collabos. Just my

Miguel Migs has some new stuff out? I loved his "Outside the Skyline" album. Guess I need to head over to iTunes and see whats up.