D’Angelo’s sophomore album, Voodoo, turned 25 this past week. Released on January 25, 2000, the record bridged the gap between classic R&B, hip-hop, and funk, cementing D’Angelo as one of the most visionary artists of his era.
A New Blueprint for Soul
By the mid-90s, the soul and R&B scene had been largely defined by slick production, digital beats, and the lingering influence of new jack swing. Brown Sugar had already challenged those conventions with its warm, organic textures, but Voodoo went even further—stripping away the polish and diving into something rawer, looser, and more immersive.
Central to this shift was D’Angelo’s embrace of the analog-driven, improvisational style championed by the Soulquarians—a collective that included The Roots’ Questlove, Erykah Badu, Common, and others. Recorded at Jimi Hendrix’s Electric Lady Studios, Voodoo absorbed the essence of past legends while forging a distinctly modern identity.
The Fusion of Hip-Hop and Gospel Tradition
Unlike his predecessors in soul, D’Angelo fully embraced hip-hop, not just in aesthetic but in approach. The album’s most striking example was “Devil’s Pie,” produced by DJ Premier—one of the most celebrated beatmakers in hip-hop history. Built on a menacing, stripped-down groove, the song carried a sermon-like weight, addressing temptation and the darker forces of fame, mirroring the classic struggle between the sacred and the profane that artists like Marvin Gaye and Al Green had explored decades prior.
Photo credit: Thierry Le Gouès, 1999
D’Angelo’s Southern Pentecostal upbringing permeated the album, evident in the swelling harmonies, call-and-response structures, and the deep emotional weight of his vocals. Tracks like “The Line” and “One Mo’ Gin” felt like modern spirituals, blending sensuality with a sense of longing and redemption.
A Collaborative Masterpiece
Much like the great funk and soul records of the past, Voodoo was the product of an ensemble effort. The album’s groove-heavy foundation came from Pino Palladino’s fluid basslines, inspired by Motown legend James Jamerson, and Questlove’s unshakable drum pocket—often played just behind the beat, creating a mesmerizing push-and-pull effect.
Meanwhile, Raphael Saadiq’s contributions on guitar and Q-Tip’s co-production guidance helped shape the record’s sonic palette, ensuring that Voodoo remained both progressive and deeply rooted in tradition. The guest appearances from Method Man and Redman on “Left and Right” and trumpeter Roy Hargrove’s touches throughout the album further emphasised D’Angelo’s ability to blend musical worlds effortlessly.
D’angelo on the cover of VIBE Magazine, April 2000
The Influence and Legacy of Voodoo
At the time of its release, Voodoo was met with critical acclaim, but it was also a slow burner, requiring deep listening to fully appreciate its nuances. Over time, its influence only grew, inspiring a new generation of artists—from Frank Ocean and Anderson .Paak to Janelle Monáe and The Internet—who continue to explore the intersection of R&B, jazz, and hip-hop.
One more thing worth mentioning—Voodoo gave us “Untitled (How Does It Feel),” one of D’Angelo’s most celebrated songs. While the track was praised for its raw emotion and musicianship, the intense attention surrounding its music video shifted the focus away from his artistry. The overwhelming scrutiny took a toll on him, leading to personal struggles and a long hiatus from the spotlight. A reminder that fame, even when earned through true talent, can be a double-edged sword.
