D'Angelo's Grammy Award-winning 2000 masterpiece back in print, on double vinyl
Expanded gatefold tip-on jacket
New liner notes by Jason King, including interviews with ?uestlove, Pino Palladino, Charlie Hunter, James Poyser, Alan Leeds and Russ Elevado
Featuring the classic cut "Untitled (How Does It Feel)"
"Musically a triumph of hands-on, real-time, old-school soul minimalism, Voodoo is simultaneously tough as old wood and as fragile as a smoke ring." — Pitchfork, Top 200 albums of the 2000s — No. 44
"The decade's most magnificent R&B record was also its most inventive — so far ahead of its time that it still sounds radical." — Rolling Stone, 100 Best Albums of the 2000s — No. 24
D'Angelo's last album finally gets a long overdue repress. Voodoo was like crack for purists—this was real music, serious as a heart attack, deeply reverent and worshipful of the past. Voodoo hit store shelves on January 25, 2000, just a few weeks after the New Year celebrations to end them all. But the first great album of the new millennium was born in the 1990s, and its muggy grooves capture the sound of premillennial anxiety. The album is the product of perfectionism, obsession and paranoia. 1995's debut Brown Sugar had already strategically positioned D'Angelo — born Michael Eugene Archer, and Virginia-raised to a Pentecostal preacher father — as the next Hendrix-like deity in black music, after Prince and maybe Lenny Kravitz. But since its release, D'Angelo had become distracted by weed and weightlifting, he'd been shaken by the deaths of Tupac Shakur and The Notorious B.I.G. and debilitated by sophomore pressure. In the interim he'd fathered two children, switched managers and jumped to a new record label.
The concept behind Voodoo was simple. Put together a brilliant ensemble of R&B musicians bent on grooving together. Record them live, in real-time, jamming face-to-face in an effort to capture their conviviality and chemistry. For Voodoo's core rhythm trio, D'Angelo recruited his friend and colleague, The Roots' visionary drummer Ahmir "?uestlove" Thompson, plus Welsh journeyman Pino Palladino to hold down the bass. It was a combination that gelled immediately.
Though inspired by the birth of his children and trips back to Virginia, Voodoo's roots are in 1960s, ‘70s and '80s funk and soul; a nostalgic nod to the ideas and inventions of black music trailblazers powered by avant-garde hip-hop and jazz-influenced rhythms. D'Angleo's aim, he said, was to reclaim R&B. He wanted to be like Sly Stone, George Clinton and Al Green. And most of all, he wanted to be like Jimi Hendrix.
So D'Angelo turned to New York's Electric Lady studios, recording in the same rooms in which Hendrix and Stevie Wonder reinvented music decades earlier. Voodoo produced the mega-smash single "Untitled" and its intensely sexual video. Although D'Angelo has since made guest appearances and even toured in 2012, he's recorded no follow-up album. His silence, both musically and in his refusal to talk to the press — has only helped the cult of Voodoo grow.
|Left & Right ft. Method & Redman|
|Send It On|
|Feel Like Makin’ Love|
|Untitled (How Does it Feel?)|