http://www.npr.org/event/...th-dangelo

LAWD! Can't wait!

https://twitter.com/RBMA/...33/photo/1

Of course Questlove, aka Grandma Jenkins is there and he hijacked the interview.

scriptgirl said:

Of course Questlove, aka Grandma Jenkins is there and he hijacked the interview.

>

It's all good though. He's an encyclopedia and he has the gift of gab. Can't complain too much...

Questlove is doing too much gabbing. He needs to take some damn Kaopectate for that verbal diarrhea of his.

Dammit ask him when this damn album is coming out!!!!

Memorable statement from the interview: "To a fault, I'm in a bubble. I put myself in there. It doesn't bother me at all. " Translation: My next album won't see the light of day this decade.

Identity said:

Memorable statement from the interview: "To a fault, I'm in a bubble. I put myself in there. It doesn't bother me at all. " Translation: My next album won't see the light of day this decade.

>

Exactly. Oh D, there was a time...

The interview ended abruptly after Nelson George pressed him on the long-delayed album. Bummer.

I know there's such a thing as buildup but I blame Nelson for not confronting the elephant in the room from jump!

No, this is the quote of the night:

"I'm just trying to get deep, deep in the onion" - D'Angelo

Agreed. Nelson George missed a golden opporunity to ask him if the album is coming out in the very near future, as in before 2020! Other questions he might've asked: "How many completed songs have you archived?" "Will you tour to support the project?" "Do you suffer from writer's block, ever?" "Do you fear releasing it to the public, hence the long wait"?

Apparently, the interview ended when they tried to talk of the new cd.

the interview will be on youtube soon

I'm just annoyed. I almost convinced myself that he might even preview a new single tonight. LOL. I said ALMOST. But Nelson should've asked all those questions Identity suggested and he should've done it in the beginning so time would'nt conveniently run out.

Old boy ain't previewing shit.

Identity said:

The interview ended abruptly after Nelson George pressed him on the long-delayed album. Bummer.

Hmmm no the museum closes at 9pm and they had to wrap up....

he had the build of a retired football player in a black leather jacket, grey scarf and ripped, baggy jeans.

In his questions, George made frequent references to new, more rock-oriented D'Angelo music, which at present can only be heard in recordings of the artist's sporadic string of live shows between 2011 and 2013. But there were no specifics about an oft-teased new album, which has been gestating in secret for years and was characterized vaguely by D'Angelo as a distinct but natural evolution from "Brown Sugar" and "Voodoo."

from billboard recap

Loving the thread title.

getxxxx said:

Identity said:

The interview ended abruptly after Nelson George pressed him on the long-delayed album. Bummer.

Hmmm no the museum closes at 9pm and they had to wrap up....

Ok, but that serves to underscore the amount of time Nelson George wasted before asking the one question that fans wanted to hear.

novabrkr said:

Loving the thread title.

He was called RnB Jesus in a Christgau article, I don't know if he came up with it though.

Yeah, Christgau is the person who decided to call D that.

Jesus Saves

I was at Radio City for Q-Tip, who didn't show. R&B Jesus I was just checking out. D'Angelo isn't a songwriter, not really; the Marvin comparisons are the exaggerations of r&b faithful yearning to be led out of the wilderness, and the ridiculously long-aborning Voodoo is self-indulgent and riddled with blank spots. This boded poorly for his stage ethos. Well, I joshed, at least he'll take off his shirt.

D'Angelo did take off his shirt, but I doubt even the girls who went crazy truly needed it on top of two-and-a-half unfailingly generous hours. Blank spots were nonexistent--songs averaged well over 10 minutes, and when they ended the audience had a harder time catching its breath than a band that included superbassist Pino Palladino, Roots drummer ?uestlove, three backup singers with their own lives, and appropriately breathtaking brass: trumpet luminaries Roy Hargrove and Russell Gunn, widely traveled trombonist Frank Lacy, and a sax man from Martinique who spieled in French and looked like Chris of 'N Sync.

I name these sidepeople because the best funk band in the universe deserves some props. On Voodoo, "Devil's Pie" is a touch hokey; with Pallodino vibrating the chandeliers, it instantly established that this was going to be some night. Slow ones started warm and turned torrid; "Chicken Grease" and "Spanish Joint" and "Shit Damn Motherf*cker" were seismic from jump street. D'Angelo sang and danced and preached and flexed and crooned and humped the floor and covered Roberta Flack and snapped a mike stand in two and danced and sang and sang some more. Everything meshed; all stops were pulled out. It was already the greatest concert I'd seen in years when Redman and Method Man propelled the climactic "Left and Right" through the vaulted ceiling. I flashed on P-Funk's "Sadie," Apollo 1981. What a privilege to experience such a thing again.

I saw Marvin Gaye at this venue shortly before he was murdered, and it was no contest. Gaye was fine, but self-indulgent and riddled with blank spots. Totally committed, D'Angelo betrayed neither weakness nor ego--and gave so much Thursday that Friday he canceled with a sore throat I absolutely believe was the truth. He was r&b Jesus, and I'm a believer. Travel to another city to see him now.

Village Voice, Mar. 28, 2000