Ten great D'angelo songs to start with.There are few acts in R&B music that have had the type of impact D'Angelo has had over his 24 year career. Despite the fact that he's only released three albums, each one has had a huge impact on music at the time.Brown Sugar blended the worlds of R&B, soul, and funk to help usher in the movement of 'neo-soul.' Voodoo refined the movement through studio sessions at Electric Lady with the Soulquarians.

More recently, Black Messiah commented on social equality while delivering a stellar album that was worth the fourteen year wait.While he isn't prolific, he is potent when he's around. There isn't another man like the 'R&B Jesus,' and so we've decided to highlight D'Angelo's ten essential tracks in this week's segment.

. 'Released: October 31, 1998.

'Released: October 19, 1999. 'Released: January 1, 2000. 'Released: March 25, 2000. 'Released: April 8, 2000Voodoo is the second by American singer, songwriter, and multi-instrumentalist. It was released on January 25, 2000, by.D'Angelo recorded the album during 1998 and 1999 at in New York City, with an extensive line-up of musicians associated with the musical collective. Produced primarily by the singer, Voodoo features a loose, -based sound and serves as a departure from the more conventional song structure of his debut album, (1995). Its lyrics explore themes of spirituality, love, sexuality, maturation, and fatherhood.Following heavy promotion and public anticipation, the album was met with commercial and critical success.

View credits, reviews, tracks and shop for the 2000 Vinyl release of Voodoo DJ Soul Essentials on Discogs. Label: Virgin - 7087 6 14969 1 8,Cheeba Sound - none. Format: Vinyl 12 D'Angelo - Voodoo DJ Soul Essentials (2000, Vinyl) Discogs.

It debuted at number one on the US, selling 320,000 copies in its first week, and spent 33 weeks on the chart. It was promoted with five singles, including the hit single ', whose music video garnered D'Angelo mainstream attention and controversy. Upon its release, Voodoo received general acclaim from music critics and earned D'Angelo several accolades. It was named one of the year's best albums by numerous publications.D'Angelo promoted Voodoo with an international in late 2000. While successful early on, the tour became plagued by concert cancellations and D'Angelo's personal frustrations. Voodoo has since been regarded by music writers as a creative milestone of the genre during its apex.

It has sold over 1.7 million copies in the United States and has been certified by the (RIAA). If I was a singer this would be the record I'd make. But that doesn't mean this is for everybody. Music lovers come under 2 umbrellas. those who use it for growth and spiritual fulfillment and. those who use it for mere background music.

The thing is, this record is too extreme to play the middle of the fence.—, 1999D'Angelo was dissatisfied with the direction of R&B and soul music when conceiving the album. In an interview for, he said that 'the term R&B doesn't mean what it used to mean. R&B is pop, that's the new word for R&B.'

He also found contemporary R&B to be 'a joke', adding that 'the funny thing about it is that the people making this shit are dead serious about the stuff they're making. It's sad—they've turned black music into a club thing.' In the liner notes for Voodoo, Saul Williams examined the album's concept and echoes D'Angelo's dissatisfaction with the mainstream direction of contemporary R&B/soul and hip hop, noting a lack of artistic integrity in the two music genres. In an interview for, D'Angelo said of his role and influences for Voodoo, 'I consider myself very respectful of the masters who came before.

In some ways, I feel a responsibility to continue and take the cue from what they were doing musically and vibe on it. That's what I want to do. But I want to do it for this time and this generation'.

In the album's, D'Angelo said that Voodoo is 'like a funk album. The natural progression of soul, the next step to soul is funk'.Producer and drummer issued an essay in 1999 that discussed the album's creation and analyzed its songs. He described the project as a 'vicarious fantasy', a 'new direction of soul for 2000', and 'the that will reveal the most for your personality'.

He addressed the inspiration behind Voodoo, saying 'It was a love for the dead state of black music, a love to show our idols how much they taught us. I hope you enjoy it. Just have an open mind to new shit. Just give us that.' Questlove discussed his expectations of a reaction from music listeners to the concept, saying in an interview for upon the album's release, 'We knew this album would be a hard pill to swallow.

People may want D to play into their R&B love-god fantasies—wearing Armani suits, singing something sweet in your ear—but he made a conscious effort to shake people up, to take a chance. It's not a middle-ground record—you're either going to love it or hate it.' In an interview for, D'Angelo said of the album's title and its meaning, 'the myriad influences found on it can be traced through the blues and back deeper in history through songs sung–in religious voodoo ceremonies.' In an interview for magazine, he stated that his intentions for recording the album were to express the power of music and artistic respect for it. The theme is illustrated in Voodoo 's liner photography by Thierry LesGoudes, which depicts D'Angelo participating in a voodoo ceremony. Voodoo 's press release discussed D'Angelo's concept, stating 'Lyrically, D'Angelo offers that much of Voodoo is personal reflection: touching on subjects like spirituality, sexuality, growth, and in particular, becoming a father.

Musically, as he puts it, Voodoo is 'definitely groove-based'. D'Angelo also said that 'My inspiration was just to go farther. To get to that next level. To push it even further. To work against the floss and the grain and to get even deeper into the sound that I'm hearing.

And the thing is, I'm just looking at Voodoo as just the beginning. I'm still developing and growing and still listening to that sound I hear inside my head. So this is the first step'. Recording and production. Played drums, co-wrote four songs, and assisted D'Angelo.D'Angelo and his supporting personnel constructed several of the songs' for the album to sit far behind time, directly on top of time, or pressing on the time, making them cluttered and loose in style. Questlove helped design the sparse funk, soul and hip hop beats on the generally groove-based record.

In later interviews, Questlove discussed that he and D'Angelo incorporated much of the distinctive percussive rhythms of Detroit hip hop producer, -member and -affiliate, also known as Jay Dee. A part of the musical collective Soulquarians, Dilla served as a frequent collaborator of theirs. Although album tracks such as 'Left & Right' and 'Devil's Pie' help to bring this claim to light, J Dilla himself was not officially credited for production. However, he contributed significantly to Voodoo 's overall sound, specifically the rhythm and percussion.One of the characteristics of the drumming style implemented in recording the album is its adherence to human timing, as the tracks were mostly programmed mechanically during recording, therefore resulting in the album's intentional sloppiness. In a later interview, Questlove discussed the intention and purpose of including imperfection in the album's sound, stating 'we wanted to play as perfectly as we could, but then deliberately insert the little glitch that makes it sound messed up. The idea was to sound disciplined, but with a total human feel.'

Questlove also acknowledged J Dilla's influence over the recording sessions for Voodoo. He said of Dilla's unique programming method during the sessions, 'He makes programmed stuff so real, you really can’t tell it’s programmed. He might program 128, with absolutely no. When Q-Tip from first played me some of his stuff, I said, 'The drums are messed up!

The time is wrong!' And when we did a song for D'Angelo's record that was supposed to play on, Lenny said, 'I can’t play with this — there’s a discrepancy in the drum pattern.' And we’re like, 'It's supposed to be this way!' Scrapped tracks According to Questlove, a duet track by D'Angelo and Lauryn Hill, 'Feel Like Makin' Love', was planned. Although tapes were sent via FedEx between the two, the collaboration was aborted and the song was instead recorded by D'Angelo. Questlove later said that the duet failed to materialize due to 'too many middle men.

I don't think Lauryn and D ever talked face-to-face.' Mistakenly, some critics who reviewed the final track assumed that Hill's vocals are present in the recording.During the final days of recording Voodoo, Questlove spent time recording a version of Fela Kuti's 'Water No Get Enemy', a melodic protest song from Kuti's 1975 album. He and D'Angelo had intended to revamp the composition into a minimalist soul ballad for Lauryn Hill to contribute vocals for. However, Hill declined and the track ended up as a place-holder for the rough mix of the album. A reconceptualized version of the song was recorded by D'Angelo and guest artists on the charity album (2002). Musical style Voodoo incorporates musical elements of jazz, funk, hip hop, blues, and soul, as well as with a musical layer shaped by guitar-based funk.

It features vintage influences and a looser, more improvisational structure, which contrasts the more conventional of Brown Sugar. Music writer has considered the album a production of the Soulquarians, calling it 'the most radical of the many fine records' conceived by the collective's members. In an interview with the 's Shawn Rhea, D'Angelo attributed the album's experimental and -like atmosphere to the fact that most of Voodoo was recorded 'live and its first take'. On its eclectic and conceptual style, Rhea commented 'D'Angelo seems to have channeled the brilliance of his musical forefathers, living and dead, during the crafting of this album. It is a complex, intricate collection of songs that, like voodoo, is simultaneously secular and spiritual, sensual and sacred, earthbound and ethereal'. Recording engineer Russell Elevado's analog mixing and old school production techniques contributed to the album's jazz element and vintage sound.

On its jazz influence, D'Angelo stated 'because a lot of the album was cut live and has free playing on it, it was hard not to go in a jazz direction'.While most musical compositions rely on tension and release, which can be produced by factors such as soft verses and loud choruses, gradual buildup, subtle tension within verses or over the course of the bridge, or harmonic tension in chords that provides space for improvisation, D'Angelo's arrangements for Voodoo subdivide the tension into each of the songs' moments. According to music critic Steve McPherson, the concept results in 'no linear way to measure how far off things slide before they pull themselves back. Can't be measured in beats or fractions of beats in a meaningful way. For lack of a less cliched word, it's entirely 'feel'. This type of serves as the center for Voodoo, rather than the more conventional method of using it as flavoring or departure from the center. According to music journalist Jim Farber, 'In order to counter the slickness of modern R&B, D'Angelo's album reconfigured – and updated – the adventurous song structures and lowdown grooves of early-'70s works like Curtis Mayfield's ', Isaac Hayes' ' and Marvin Gaye's '.' The album features aggressive of D'Angelo's voice, a technique similar to the production of Sly & the Family Stone's There's a Riot Goin' On (1971) and Marvin Gaye's Let's Get It On (1973).

The multi-tracking on Voodoo significantly affected the clarity of D'Angelo's vocals. In Voodoo 's liner notes, Saul Williams wrote of its heavy use of multi-tracking, stating 'You might respond, 'Lyrics? Yo, I can't even understand half the shit that D'Angelo be saying. That nigga sounds like on opium'. And I'd say, 'You're right. Neither can I. But I am drawn to figure out what it is that he's saying.

His vocal collaging intrigues me'. Music writers have also noted the production style and sound of Voodoo as reminiscent of the sound of the P-Funk opus (1975), Gaye's downtempo disco-soul record (1976), and 's jazz fusion works (1969) and (1970).D'Angelo and his crew also utilized a style, which often subordinates song structure to a stable foundation for a rapper's delivery. This was familiar to D'Angelo, as his first original recordings were rap demos. Subsequently, most of the songs were performed without a definitive, settling into a mid-tempo groove with minimal verse-chorus-bridge progression.

This also resulted in an emphasis on texture over both structure. Writer Ethan Smith noted this occurrence, stating 'most of the songs aren't really songs at all – at least, not in the traditional sense'. While not predominant on the album, some tracks incorporate. Most of its production was influenced by hip hop producer J Dilla's input. On J Dilla's influence, Questlove stated 'He's the zenith of hip-hop to us. Jay Dee helped to bring out the album's dirty sound and encouraged the false starts and the nonquantized sound of the record'. Songs The opening track 'Playa Playa' features basketball metaphors and gospel overtones, which accompany the track's slow funk and jazz vibe.

On his bass playing in the song, Pino Palladino recalled 'I was thinking about Stevie Wonder in the choruses and P-Funk in the verses'. Rob Evanoff of called the song 'an uplifting soul ride', and stated that it evokes an image of 'a musical train seen far off in the distance, slowly getting bigger as it gets closer'.

Version:1.0Date:2007-06-28File Size:58.56KSupported OS:Windows XP, Windows Vista 32 & 64bit, Windows 7 32 & 64bit, Windows 8 32 & 64bitVersion:1.0Date:2007-06-06File Size:11.16KSupported OS:Windows XP, Windows Vista 32 & 64bit, Windows 7 32 & 64bit, Windows 8 32 & 64bitVersion:6.1.7600.16385Date:2006-06-21File Size:350.69KSupported OS:Windows 7 32bitVersion:6.1.7600.16385Date:2006-06-21File Size:356.32KSupported OS:Windows 7 64bit. Please, ensure that the driver version totally corresponds to your OS requirements in order to provide for its operational accuracy. Acer p221w monitor drivers for mac. To download the needed driver, select it from the list below and click at ‘Download’ button. ACER P221W: Supported Models of LaptopsWe have compiled a list of popular laptops models applicable for the installation of ‘ACER P221W’.

Evanoff also compared the track's style to the jam-sound of, and wrote 'it surrounds you with a deep thick infectious groove that, at first, shadows and then envelopes your senses in such a way that is equal bits liberating, intoxicating and hypnoticyou close your eyes and are transported into another dimension'. On the song's lyrics, one critic wrote that 'D'Angelo disses all neo-soul wannabes by calmly singing 'Bring the drama playa/Give me all U got'. 'Devil's Pie' is a funk and hip hop diatribe with a lyrical theme concerning hip hop excess, and it is accompanied by P-Funk style harmonies and low-key singing by D'Angelo. It is a bass-driven track produced by, who contributes to its hip hop texture.

The song's theme also incorporates religious imagery into its message of social strife. Questlove has stated that 'Devil's Pie' was written to address the issues of 'the money hungry jiggafied state of the world we're in'.' Left & Right' is a funky party jam featuring rappers Method Man and Redman, who exchange verses as D'Angelo sings the song's verses and chorus. Entertainment Weekly 's Matt Diehl calls Method Man's and Redman's lyrics 'misogynistic', adding that it upsets Voodoo 's 'organically sensual vibe'. The introspective track 'The Line' has a downtempo, spiritual sound with lyrics about dealing with some unnamed adversity.

According to one critic, it 'could be about his status ('Will I hang or get left hangin?/Will I fall off or is it bangin?/I say it's up to God'), or about anyone facing doubters with a revolver loaded with talent and self-confidence ('I'm gonna put my finger on the trigger/I'm gonna pull it, and then we gon' see/What the deal/I'm for real')'. Music critic interpreted the lyrics to be 'unjudgmental, unsentimental. In which a young black man lays out the reasons he's ready to die-leaving the listener to wonder why the fuck he should have to think about it'. Andy Peterson of viewed that the adversity is 'the price of fame' or 'lamenting a lost lover'. The song's light, sparse funk sound was the result of old school production techniques employed by recording engineer Russell Elevado.Problems playing this file?

See.The sparse funk song 'Chicken Grease' has lyrics advising against acting 'uptight', and it features D'Angelo referencing the line 'I know you got soul' from 's (1987). It contains an ambiguous harmony and bass by Pino Palladino, who evokes the playing style of, with spontaneously improvised variations-on-a-theme parts that sit back '.

The track was originally intended for Common's Like Water for Chocolate, but D'Angelo offered Common the song 'Geto Heaven Part Two' as a trade. 'Chicken Grease' is named after a technical term that musician Prince used for his guitarist to play a 9th minor chord while playing 16th notes. The song contains background voices, which one writer described as 'omnipresent party people channeled in from ' and ', laughin and carryin on all over'.

Co-written by D'Angelo's former girlfriend, singer Angie Stone, 'Send It On' contains lyrics concerning themes of honesty and faith in love, and features jazz trumpeter on. Titled after a southern conflation of the terms 'One More Time' and 'Again', the mid-tempo ballad 'One Mo'Gin' has its narrator reminiscing about a former lover. Its introductory sound consisting of soft organ work and dim percussion evokes the sound of D'Angelo's 'Sh★t, Damn, Motherf★cker' (1995). 'One Mo'Gin' contains strong jazz overtones and a prominent drum rhythm played by Questlove. It incorporates -style bass and keyboard-driven verses with a melodic hook. The song is introduced with lead-in bass licks by Pino Palladino, who adds musical texture to its sparse composition by using 10th notes and other shapes.

According to 's Tricia Romano, the song's music actualizes 'new skool sensibility with old school soul'. The high tempo, salsa-influenced track was recorded with no overdubs, and features Latin grooves and jazzy trumpet by co-writer Roy Hargrove.Problems playing this file?

See.According to Questlove, 'The Root', 'Spanish Joint', and 'Greatdayndamornin' / Booty' serve as the 'virtuoso part of the record', featuring intricate technical arrangements, no overdubbing, and Charlie Hunter playing both electric and bass guitar. 'The Root' is a mid-tempo heartbreak song with the bass line and guitar solo played simultaneously by Hunter on an eight-string guitar. It is about a vengeful woman's effect on the narrator: 'In the name of love and hope she took my shield and sword. From the pit of the bottom that knows no floor/Like the rain to the dirt, from the vine to the wine/From the alpha of creation, to the end of all time'. Writes of the song's subject matter, 'it can actually be digested and emotionally felt, sadly rare for R&B.' Co-written by Roy Hargrove, 'Spanish Joint' is a -infused, high tempo track about karma.

It incorporates rhythmic by Hunter, funky arrangements by Hargrove, and Latin grooves and instrumentation similar to Stevie Wonder's ' (1973). ' is a cover of 's 1974 hit of the same name with a low-key, sound.

'Greatdayndamornin' / Booty' features double placed behind the by Questlove. D'Angelo didn't see this at first because we had already did a song about his son. But I told him the music here fit the mood better. It's like a bunch of toy boxes playing at once. It gives you that sad feeling that 'Higher' gave you on Brown Sugar; a dope song that you don't want to hear because you know that this is the last song you're gonna hear in some time. I know D wanted to do a song that spoke of history. Not just to his son.

But to God, to Africa and the world.— Questlove, on 'Africa', 1999Co-written by, 'Untitled (How Does It Feel)' is a tribute to one of D'Angelo's primary influences, Prince, and evokes his early. The similarity of D'Angelo's music on Voodoo to Prince was addressed in Saul Williams's liner notes, as he stated 'I'd pay to see Prince's face as he listens to this album.' Questlove described the song as 'finding the line between parody and honesty. In an era of 'the cover song', redoing a Prince song was taboo.

This is the second best thing'. It follows a six eight and features electric guitar interplay throughout, which is reminiscent of the Jimi Hendrix guitar style and ' sound.

The song contains a drum pattern with a uniform. D'Angelo's vocals were overdubbed several times to produce the sound of a choir singing harmonies during choruses, all of which were sung by D'Angelo.

The song's sexually explicit lyrics describe the narrator's plea to his lover for sex, as exemplified in the second verse: 'Love to make you wet/In between your thighs, cause/I love when it comes inside of you/I get so excited when I'm around you, baby' It has been cited by critics as the album's best song. The album's closing track, composed by D'Angelo in honor of his son and his cultural rootsProblems playing this file? See.The philosophical album closer 'Africa' celebrates D'Angelo's heritage, while reaffirming his contemporary mission in life. It has been cited by Questlove as his favorite song on the album.

The theme of 'Africa' concerns the finding of a spiritual home amid geographical displacement, and of passing that sense of belonging on to one's children. 'Africa' was originally written in honor of D'Angelo's son, Michael Archer, Jr., and ended up as a dedication to history, Africa, and God. Opening with a shimmery rustle of, the song contains a drum interpretation of Prince's 'I Wonder U' from his (1986), which was also utilized for the and The Roots track 'The Return to Innocence Lost' from Things Fall Apart. Questlove discussed producing the opening chime sounds for 'Africa', stating 'we took the cover off the and 'd 'em'. One critic described 's guitar work for 'Africa' as 'backward guitar solos (at least they sound backward)'. Another critic described the song as a ' and 'a gorgeous, opalescent closer.

A prayer of sorts'. Voodoo 's, which consists of chopped-up track snippets run backwards, plays at the song's conclusion. Marketing The album's release was preceded by several delays, which were primarily caused by the folding of D'Angelo's former label EMI Records and legal troubles with his management. Originally scheduled for release on November 23, 1999, Voodoo was released the following year on January 25 by the - Cheeba Sound in the United States, January 18 in Canada and February 14 in the United Kingdom on, awaiting eager anticipation from fans and critics. Voodoo was issued with a label, due to profanities and sexually explicit lyrics present on the tracks 'Devil's Pie' and 'Left & Right', and also as a ' edited version with an alternate cover. A release was made available in the UK through EMI.

When Voodoo was originally presented to Virgin Records executives prior to its release, mixed opinions formulated on whether or not it would be favored commercially, as the project had been heavily financed by the label. In return for the production budget, Virgin executives expected a record with potential for radio-oriented success. However, Voodoo 's unconventional sound proved difficult to translate into singles suited for contemporary radio success, in contrast to the more accessible Brown Sugar.By the album's release date, three singles had been released, 'Devil's Pie', 'Left & Right', and 'Untitled (How Does It Feel)', with only the latter making a significant commercial impact. The limited success with singles and lukewarm opinions from label executives led to more promotional efforts and a public response made by D'Angelo's management through issuing a statement, which cited Voodoo as the R&B musical equivalent of art rock band 's acclaimed studio album (1997).

While both records feature an experimental edge, in terms of sound and lyrical themes, the English indie rock scene to which the latter had belonged was album-oriented, as opposed to the contemporary R&B scene in the United States, which was more single-oriented at the time. Prior to its release, Virgin launched an extensive, multi-layered campaign for the album, which setup several promotional performances by D'Angelo in 1999, including a guest performance on the season premiere of on September 17, New York's Key Club, the National Black Programmers Coalition meeting in New Orleans on November 20, San Francisco's House of Soul show on December 10, and L.A.' S Holiday Cooldown on December 11.

Following commitments made by the label for the album's distribution in the UK, continental Europe, Australia, and New Zealand, D'Angelo appeared at London's on October 6. Other promotional events included signings and in-store appearances by D'Angelo at shopping venues such as, and in New York City, which attracted a considerable number of D'Angelo's female fans. A remix album, (2000), was also issued by Virgin.A press release for Voodoo was issued in January, discussing the album's experimental edge and the anticipation for its release. It called Voodoo 'the CD that D'Angelo was put on this earth to create' and 'quite literally the record that much of the universal soul nation has been feenin for.' A video for 'Send It On' included footage from Voodoo 's supporting tour. A music video for 'Left & Right', created by director and producer Rich Ford, Jr., was anticipated by fans and network executives that had planned special promotions and a world premiere for the clip. However, Sayeed's concept of a concert video that paid tribute to funk shows of the past expended Virgin's budget and resulted in a missed deadline for the MTV premiere.

As punishment, the network refused to put the final edit of music video in rotation. It was eventually by on.The release of the controversial 'Untitled (How Does It Feel)' prior to the album's release has often been cited as having the greatest promotional impact. Directed by, the video features D'Angelo, filmed from the waist-up, lip-synching in the nude. According to writer Keith M. Harris, it portrayed D'Angelo's 'discursive play with masculinity and blackness'. The video gained a significant amount of airplay on the BET and MTV networks, and increased mainstream notice of D'Angelo upon Voodoo 's release, while exposing him as a to a newer generation of fans. It also proved to contribute significantly to the album's commercial success.

The music video for 'Untitled (How Does It Feel)' was also viewed at a promotional party thrown in celebration of the album's release, which took place in January 2000 at the Centro-Fly nightclub in. Of wrote of the club's appearance as 'packed and sweaty, with decor and soul music out of a 1970's time warp: multiple video screens playing images of Curtis Mayfield and vintage Soul Train episodes, replete with dancers in Day-Glo bell-bottoms'. Sales The album debuted at number one on the US chart, selling 320,000 copies in its first week. It entered the Billboard 200 on February 12, 2000 and remained on the chart for 33 consecutive weeks. Its debut replaced Carlos Santana's (1999) at the number-one spot on the chart. It had sold over 500,000 copies within its first two months of release. The album charted for 33 weeks on the Billboard 200.

Voodoo charted on several international album charts, including the United Kingdom, Switzerland, France, the Netherlands, Sweden, Norway, and New Zealand. On February 24, 2000, it was certified gold in sales by the, following sales in excess of 50,000 copies in Canada. Two months after its US release, Voodoo was certified platinum on March 1, 2000 by the.

The album's platinum certification had coincided with the commencement of Voodoo 's supporting tour. By mid-2000, the album had reached sales of 1.3 million copies in the United States.

As of 2005, the album has sold over 1.7 million copies in the US, according to.Despite its success, Voodoo did not achieve his debut album's sales performance nor generate the single-oriented success D'Angelo's label had envisioned. Its first two singles, 'Devil's Pie' and 'Left & Right', peaked at number 69 and number 70 on the chart. The latter was commercially aimed at R&B and hip hop-oriented radio stations due to the prominence of rappers Redman and Method Man on the track. According to Rich Ford, Jr., producer of the 'Left & Right' music video, both the single and the video went commercially unnoticed due to MTV's refusal to place the song's video in rotation, serving as punishment for missing the deadline for its initial premiere. The fifth single 'Feel Like Makin' Love' was less successful, reaching number 109 on the. 'Send It On', the album's fourth single, achieved moderate chart success, peaking at number 33 on Billboard 's Pop Singles chart.The album's third single, 'Untitled (How Does It Feel)', became its greatest chart success, peaking at number 25 on the Hot 100 Singles and at number two on the R&B Singles chart. The infamous music video for 'Untitled (How Does It Feel)' helped in boosting the song's appeal, as well as D'Angelo's.

Wrote of the video, 'it's pure sexuality. D'Angelo, muscularly cut and glistening, is shot from the hips up, naked, with just enough shown to prompt a slow burning desire in most any woman who sees it. The video alone could make the song one of the biggest of the coming year'.

It earned three nominations for the, including Video of the Year, Best R&B Video, and Best Male Video. Critical reception Professional ratings Review scoresSourceRatingA−9/1010/10A−Voodoo received rave reviews from contemporary, who dubbed it a 'masterpiece' and D'Angelo's greatest work. In, Robert Christgau called it a 'deeply brave and pretentious record. Signifies like a cross between lesser and Sly's ', and wrote of D'Angelo, 'he leads from strength' rather than 'tune-and-hook', 'a feel for bass more disquieting than.' Praised its diverse sound and commented that the album 'represents nothing less than at a crossroads. To simply call D'Angelo's work neo-classic soul, as per corporate diktat, would be reductive, for that would be to ignore the elements of, funk and bass grooves, not to mention hip-hop, that slip out of every pore of these 13 haunted songs.' Of called it a 'richly imagined CD'.

Of called it 'the working blueprint for 'post-Soul' black pop'. Joshua Klein of commented that the album 'often recalls the muddier bits of Sly Stone's later works. and the much-missed balladry of prime Prince' and stated, 'D'Angelo's mellow strategy frequently pays off. a brave antidote to current pop and hip-hop trends.' Despite perceiving a 'heavy-handed emphasis on groove over melody' and 'self-indulgent' song durations, of viewed the album as a progression for D'Angelo and compared it to Prince's acclaimed (1987), noting that the latter album was initially perceived by most critics as 'uneven'. Of dubbed it 'the most daring song-oriented album by a mainstream R&B artist of his generation.'

Steve Jones of wrote that 'no other R&B artist today seems to have as acute an understanding of where he comes from as D'Angelo, and none seems as willing to take risks in exploring where he should be heading'. 's Christopher Gray commented that ' Voodoo unlocks the brain's inner freak like an especially nimble '. Rob Evanoff of gave it five out of five stars and called it 'a record you put on and let it seep in, soaking your essence and one that evolves over subsequent listens.

An aural aphrodisiac'. He found it to be in the tradition of classic jazz albums and wrote of its musical significance, stating:As most jazz aficionados will already attest to, a truly classic record is not one you can turn on and off as if it were only a switch. It’s an important ingredient of an otherworldly experience. When you set the needle down on Miles' or Coltrane's or Dexter Gordon's, you have an ulterior motive, you seek to escape, to enjoy, to experience, to extrapolate your inner demons. This process is a musical form of Voodoo, which Sir D'Angelo discovered while making this record, and hopes you will too.However, some critics found it inconsistent.

Music journalist criticized its 'loose playing and bohemian self-indulgence', stating ' Voodoo drifted all over the map in a blunted haze'. Rolling Stone 's James Hunter disapproved of the experimental and loose-sounding structure, and viewed that it does not attain its potential, stating 'long stretches of it are unfocused and unabsorbing.

Voodoo flatters the real at the expense of the thing. The result is superb smoke, but smoke nonetheless'. Jon Caramanica wrote in (2004), 'D'Angelo achieves through nuance what some singers with decades of experience and training never achieve: a throbbing, vital presence, that demands attention, even as it shuns it'. Accolades In 2001, Voodoo won a at the, which was awarded to D'Angelo and recording engineer Russell Elevado.

The song 'Untitled (How Does It Feel)' won for and was also nominated for. The song was also ranked number 12 on The Village Voice 's critics' poll of 2000, as well as number 4 on Rolling Stone magazine's 'End of Year Critics & Readers Poll' of the. Voodoo proved to be one of the most critically praised and awarded albums of the year, topping several critics' and publications' 'end of year' lists, including the number 6 spot on The Village Voice 's 2000 Pazz & Jop critics' poll. Rolling Stone and Spin magazine both ranked it number 4 on their 'albums of the year' lists, while Time magazine named Voodoo as the number 1 album of 2000. Voodoo was named one of the top ten albums of 2000 by several New York Times staff writers, including Ben Ratliff (number 2), (number 3), (number 2), and (number 1).In 2003, ranked the album number 488 on its list of, and at number 481 in a revised list in 2012, calling it 'an album heavy on bass and drenched in a post-coital haze'. In 2009, ranked Voodoo number 44 on its list of the Top 200 Albums of the 2000s decade, calling it 'a triumph of hands-on, real-time, old-school soul minimalism' and citing D'Angelo's vocals as 'maybe the most erotically tactile singing put to disc this decade'.

Rolling Stone placed the album at number 23 on its list of the 100 Best Albums of the Decade, stating 'The decade's most magnificent R&B record was also its most inventive — so far ahead of its time that it still sounds radical'. Editor Andy Kellman has cited Brown Sugar and Voodoo as 'two of the most excellent and singular R&B albums of the past 15 years'. PublicationCountryAccoladeYearRankUnited StatesAlbums of the Year2000.United StatesAlbums of the Year200036Amazon.comUnited StatesThe Best of the Decade in Music. So Far2006.Amazon.comUnited StatesThe 100 Greatest Romantic Albums of All Time200916United StatesAlbums of the Year200012United StatesAlbums of the Year2000.(, Issue No.