The allure of D’Angelo began in 1995 on his debut single “Brown Sugar,” where he emerged as a nostalgic figure in modern soul. Armed with a honeyed voice and hip-hop swagger, D’Angelo was equal parts Marvin Gaye and LL Cool J, the consummate musician and the coolest guy in the room. It’s like he’d been here before and knew how to do it right this time. His blend of 1970s R&B and hip-hop felt uniquely vintage and modern. He appealed to wide swaths of listeners and helped usher in a new strain of black music.
Brown Sugar, D’Angelo’s debut, became an important forebear of what’s now called neo-soul. Released before Maxwell’s Urban Hang Suite (1996) and Erykah Badu’s Baduizm (1997), D’Angelo changed the sound of R&B while paying homage to its pioneers: Stevie Wonder, Donny Hathaway, Curtis Mayfield and the like. The success of Brown Sugar paved the way for artists like Anthony Hamilton, Jill Scott, and Alicia Keys to break into the mainstream and achieve their own levels of fame. “Maxwell told me Brown Sugar’s success got his Urban Hang Suite off of Columbia’s shelf,” writer Nelson George penned in an essay for Brown Sugar’s deluxe edition. And to think, the album was essentially a small-scale event compared to its follow-ups—the groundbreaking Voodoo and the eruption of Black Messiah. No, Brown Sugar was truly bedroom soul: “I wrote … the majority of that record in my bedroom in Richmond,” D’Angelo recalled in 2014. “And all of the demos for it were done on a four-track [there].”
The son of a Pentecostal minister, D’Angelo grew up playing piano and won three amateur competitions as a teenager at the famed Apollo Theater. He signed a publishing deal with EMI in 1991, and prior to Brown Sugar’s release, the singer co-wrote and co-produced a gospel-infused song that appeared in 1994 film Jason’s Lyric. The song, “U Will Know,” featured a who’s who of prominent R&B singers at the time—Gerald Levert, Keith Sweat, Usher and Tevin Campbell, among many others—and earned D’Angelo his first bit of recognition. That buzz helped lay the framework for the musician’s first ever solo release.
Brown Sugar arrived during the peak of hip-hop’s golden era, when rappers like Nas and The Notorious B.I.G., and groups like Wu-Tang Clan and A Tribe Called Quest were at the height of their powers. D’Angelo instantly fit the mold. With his straight-back cornrow braids and baggy clothes, he looked like a rapper of that period, yet his music countered that which dominated the airwaves. Until Brown Sugar arrived, Top 40 R&B skewed very much toward hip-hop, from the upbeat tick of its beats to the guest rap verses that felt obligatory for almost every single. Songs like Monica’s “Don’t Take It Personal,” Montell Jordan’s “This Is How We Do It” and Adina Howard’s “Freak Like Me” seemed influenced by Teddy Riley’s New Jack Swing-style production, which dominated urban music in the late ’80s and early ’90s.