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Black Messiah: A Voodoo Childs (slight ) Return from Exile On Main St.
D’angelo has released his follow-up to Voodoo. After an indeterminable wait, he released it with no fanfare in an apparent rushed fashion due to the current issues regarding Travon Marton, Mike Brown, And Gardner in a move that is akin to James Brown performing a concert to quell the masses in the aftermath of the Martin Luther King assassination.
Like The Rolling Stones album Exile On Main St. (they left their native country due to excessive taxation laws, taking up self imposed exile in France), the lyrics/vocals are buried deep in the mix. At the time of Exile’s release it was panned for sloppy production and that nobody could understand what Mick was saying. While Voodoo was murky, BM’s vocals are twisted, buried, and mixed in the grooves as an instrument unto itself. Everything is to the fore equally. And it’s a shame as the lyrics are profound personally and politically.
Sensibly he saved some of the reported experimental guitar, possibly for later releases, however black Messiah still has it’s experiments with rock undertones. And like Graffiti Bridge, D’Angelo goes through four decades of black musical within the first four songs.
BM welcomes with the Funkadelic slice of Aint That Easy where he lets the audience know that even after 15 years, we cant let him go. He also tells us sincerely “I need the comfort of love, to bring out the best in me.” Open and honest. Not only does he require love for his best, he hopes when referring to his well being, he hopes it isn’t referring to “the physical shape he’s in singing “I hope its not my abdomen, you’re talking about when wondering the shape I’m in” showing some humor and male esteem that’s rarely shown, echoing the vulnerability as such soul men as Marvyn Gaye and Prince.
Politically, he raises the still burning Sly Riot flag, on ‘1000 Deaths’ war cry set to African drum circle madness that either propels you to action or get knocked the funk out. Charade is Parade era Prince, with upbeat pop psychedelica dripped in shit funk with lyrics of “wanting a chance to talk..instead we got outlined in chalk” that belies the poppy music.Really Love is delicate and tender statement of being in love, while Sugah Daddy, Brown Sugar’s sequel ala The Red Hot Chili Peppers ‘Dani Californication’ saga is Voodoo’s Chicken Grease dropped in juke joint juice production.
The swinging ‘Back To The Future’ is akin to Stevie Wonder’s ‘I Wish’ or at least ‘Every Ghetto’ from Lauryn Hill in its remember when lyrics and swing and Till It’s Done is akin to current era The Roots, leaving one awaiting Black Thought to begin rhyming ferociously but never to come in. Black Messiah reaches it’s apex on “Another Day,” the Adore of now, with a melody that floats on a crescendo of the earthiest of Marvyn Gaye’s What’s Goin On, Princes’ Power Fantastic, his own Untitled (How Does It Feel?), and a spiritual soul that’s at the same time beautiful and painful.Don’t be fooled by the tender love raps on Really Love and Another Day as it also appears that his absence has made him grittier with Dangelo using some of the most salicious lyrics throughout, ( “I hit it so I made the pussy fart” “I got just what you need, babe , all this love you'll receive, yeah, I been waitin' so long,” I love you deep when you come to my bed” ) as well as the political lyrics mentioned in 1000 Deaths and The Charade, while getting environmental on Till It’s Done with the lines“Carbon pollution is heating up the airDo we really know? Do we even care?Acid rain dripping on our trees and in our hairAre you there?”
And like Exile On Main Street, it’s a shame that the lyrics are somewhat buried in the mix as an instrument itself as they are profound personally and politically. The spirit of Sly/Pfunk, Prince, Gaye, and like one of them, their spirit shines on him and he wears them all on his sleeve and presents it in his own way/version.
And like Parade, it seems a bright black and white. And it’s a shame that the lyrics are somewhat buried in the mix as an instrument itself as they are profound personally and politically. Sometimes it sounds like though it's Rolling Stones Exile on Main Street with its murkiness or the bonus disc from Prince And The Revolutions ‘Parade’
It’s presents overall as a natural progression from Voodoo. The piano licks throughout the release are more pronounced in celebrated more than the reported guitar and at times it feels as if you’re listening to early Funkadelic or a Parade bonus disc yet still wrapped in the D’angelo’s version of juke joint music. And where Voodoo’ songs meandered or took some time to get going, Black Messiah songs are more concise leaving the listener wanting them to continue.
Whereas Voodoo’s aftermath seemingly had an effect on him emotionally and mentally, hell physically, BM predicts a positive future whereas Voodoo left a premonition of evil and for all the reported notorious troubles he has had during BM’s creation, the music is lively, upbeat, black and white and still colorful.
Regardless of the frustrations and rumors that had one dismissing the artist and the reality of it’s existence, go ‘head..like those on the cover art...raise your hands and testify.
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