{"id":81397,"date":"2015-01-08T18:53:57","date_gmt":"2015-01-08T23:53:57","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=81397"},"modified":"2015-01-09T12:40:12","modified_gmt":"2015-01-09T17:40:12","slug":"alone-together","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/01\/08\/alone-together\/","title":{"rendered":"Alone Together"},"content":{"rendered":"

On D\u2019Angelo\u2019s <\/em>Black Messiah and the disappearance of R&B groups.<\/em><\/p>\n

\"blackmessiah\"<\/a>

From the cover of Black Messiah.<\/i><\/p><\/div>\n

The last number-one R&B single from a group was \u201cIndependent Women,\u201d by Destiny\u2019s Child. Since it slipped from Billboard\u2019s top slot in January 2001, only solo acts have held the position.* Groups have all but disappeared from the mainstream in every genre, but their absence is especially apparent in R&B, where, in 1994, for instance, four of the ten number-one singles were by groups, and in 1974, thirteen R&B groups made it to the top of the charts. Now, zero\u2014for fifteen years, solo artists have dominated music. Who knew the thesis of Bowling Alone<\/em><\/a> applied even to this, our most collaborative art form?<\/p>\n

Anyone can rattle off the names of big R&B groups: Earth Wind & Fire, the Isley Brothers, TLC, Boyz II Men, the Supremes, the Pointer Sisters, the Force MDs, Jodeci, and on and on. What these groups foregrounded\u2014and what\u2019s noticeably lacking in present-day R&B\u2014were vocal harmonies. Obviously the Top 40 is still loaded with backup singers; I don\u2019t mean to say that vocal harmony has gone extinct. But a certain kind of performance has gone missing from the charts, a choral style for trios, quartets, or quintets, where the harmony was just as essential as the melody. In songs like these, you could hear the genre\u2019s connection to jazz and especially to gospel.<\/p>\n

Not that you have to be a music scholar to enjoy the sound of people singing together. At the risk of getting all Kumbaya about it, isn\u2019t it just sort of nice<\/em> to hear voices working in harmony? To me, the sound of a group has always been more approachable than that of a soloist\u2014a collective is bound to be more welcoming than an individual, especially if they\u2019re a collective of really pretty voices. I think pop music at the moment is as inventive as it\u2019s ever been, but still: Where have our great R&B groups gone, and why have they ceased to capture the public imagination? <\/p>\n

When D\u2019Angelo\u2019s Black Messiah<\/em><\/a> was released suddenly last month to frenzied, almost automatic praise, I started to recognize what I\u2019ve always enjoyed about his music: it sounds like group R&B. It scratches the same itch. He\u2019s only one man, of course, but on tape D\u2019Angelo\u2019s vocal work presents him as a small (and very tender) army. The tracks on Black Messiah<\/em> are stacked with vocal overdubs\u2014a recording technique he\u2019s made his signature, singing take after take of the same lyric to different notes. Plenty of singers add emphasis or two-part harmony this way, but no one approaches it with an ear for chorus like D\u2019Angelo; he wrote his first published song, after all, for the Harlem Boys\u2019 Choir<\/a>. On Black Messiah<\/em>, as with 2000\u2019s Voodoo<\/em>, he simply becomes the choir himself, sculpting full, sometimes downright bizarre chord structures and voicings from his overdubs. You hear a quintet, a sextet, hell, maybe even a dodacatet of D\u2019Angelos, all endowed with the mild, dark timbre of his falsetto. The effect is the single most original thing about his music. One man becomes a group, with all the inviting warmth of a group\u2019s sound. The clones beckon.<\/p>\n

D\u2019Angelo is hardly the first artist, or even the first male R&B singer, to make artful use of vocal overdubs\u2014think of Prince\u2019s \u201cAdore,\u201d in which a murderers\u2019 row of Purple Ones seduce you in unison, or the mournful congregation of Marvin Gayes on \u201cWhen Did You Stop Loving Me, When Did I Stop Loving You.\u201d But today he seems to be one of the few R&B acts pushing the possibility of harmony, or employing it at all: his songs are much more harmonic than melodic, and his song\u2019s hooks, insofar as they exist at all, are more indebted to John Coltrane\u2019s sheets of sound than to anything on the radio. If group R&B is truly done for, he\u2019s proof that its sound still has appeal.<\/p>\n

In addition to Prince and Gaye, critics are fond of comparing D\u2019Angelo to Sly Stone, Funkadelic, and Curtis Mayfield; in this week\u2019s New Yorker<\/em>, Sasha-Frere Jones notices Black Messiah<\/em>\u2019s similarity to Isaac Hayes\u2019s Black Moses<\/em><\/a>. But no critic seems to have noticed that Black Messiah<\/em> shares its name most blatantly with a record from Cannonball Adderley, The Black Messiah<\/a><\/em>, one of the great overlooked jazz-fusion albums of the early seventies, later abundantly sampled by hip-hop artists. D\u2019Angelo has never acknowledged the namesake, but he must be aware of it. Adderley\u2019s Messiah <\/em>is deep, murky, and shambolic, like D\u2019Angelo\u2019s; it came toward the end of the saxophonist\u2019s career, when he was borrowing from every genre around, trying to move his music forward while retaining what made it his own. In the process, his band, usually a quintet, had fully doubled in size. \u201cNow, I don\u2019t give a damn whether you can count or not,\u201d he tells the audience before one song. \u201cWe still are the Cannonball Adderley Quintet!\u201d D\u2019Angelo\u2019s album makes the exact opposite point: one is mistaken for many. But the strength of both records is that they make you lose count.<\/p>\n

*Two other groups, Terror Squad and Dem Franchize Boyz, had number-one songs on the Billboard R&B charts in the mid-2000s, but both were hip-hop acts, not R&B.<\/small><\/p>\n

Dan Piepenbring is the web editor of <\/em>The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"

On D\u2019Angelo\u2019s Black Messiah and the disappearance of R&B groups. The last number-one R&B single from a group was \u201cIndependent Women,\u201d by Destiny\u2019s Child. Since it slipped from Billboard\u2019s top slot in January 2001, only solo acts have held the position.* Groups have all but disappeared from the mainstream in every genre, but their absence […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1187],"tags":[16537,14044,16539,16541,12569,46,2379,1329,16538,1718,16543,16542,16540],"class_list":["post-81397","post","type-post","status-publish","format-standard","hentry","category-on-music","tag-black-messiah","tag-dangelo","tag-groups","tag-harmony","tag-marvin-gaye","tag-music","tag-music-criticism","tag-prince","tag-rb","tag-records","tag-tlc","tag-vocal-harmonies","tag-vocals"],"acf":[],"yoast_head":"\nWhatever Happened to R&B Groups?<\/title>\n<meta name=\"description\" content=\"D\u2019Angelo\u2019s \u201cBlack Messiah\u201d may be the work of a solo artist, but it sounds more like group R&B than any record in years\u2014will it help bring groups back in style?\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2015\/01\/08\/alone-together\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Alone Together by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"January 8, 2015 \u2013 On D\u2019Angelo\u2019s Black Messiah and the disappearance of R&B groups. 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