RnB

With a slim oeuvre for which my colleagues have made grand claims, D’Angelo has used writer’s block as a kind of incubator: for thirteen years he watched as Brown Sugar and Voodoo matured into R&B touchstones, unsullied by mediocre contractual follow-ups. At the turn of the century I preferred other Soulquarian releases like Mama’s Gun and Things Fall Apart, not to mention his fellow mononym, the crucially Sade-besotted Maxwell; what they lacked in accretive density they compensated with forthrightness. A dumb binary, I realized later, especially when the accretive density was as tasty as devil’s pie without the addictive qualities.Speaking of “Devil’s Pie” — it inspires D’Angelo’s ambivalence. Not lyrically — he’s an example of why submission to the eddies of his bass lines and the silt of his harmonies produces useful tensions. The moment in that track when hand claps joins the scratching and granitic groove laid down by Questlove as D’Angelo repeats the title hook reveals the potency of devil’s pie as an aphrodisiac, mephitic and deadly. 2014’s Black Messiahreached new heights of studio craft: the stentorian piano of “Another Life”; yet another tumbling opening of a groove in “The Charade”; the sitar as bridge joining East and West, engaged in diplomatic back channel communications with Roy Hargrove; the mumbled imprecations meant as prayers but, despite their unguent qualities, sharpened with menace.Still, I reach for Brown Sugar most in 2017—the impishness with which he scrubs a metaphor of Mick Jagger’s eros-inspired sensationalism.Visit our affiliate/partner site Humanizing the Vacuum for great lists, commentary, and more.

Erykah Badu is this generations queen of soul. Her music is the sound of apocalyptic premonitions, bedroom recriminations, African headwraps, Rhodes keyboards, political claptrap, Nag Champa ashes, and dusty, broken breaks. It’s an oeuvre that is hypnotic, sensual and, above all else, iconic. It’s safe to say that Erykah from Dallas is an emancipation artist: She’s liberated the funk from soul, soul from the past, history from herself, and her audience from their seats. It’s a loopy, wrinkle-in-time logic: One of the foundational figures of R&B’s current futurist, post-everything heatwave is a woman who was considered a nostalgist when she first appeared 20 years ago.And if those mathematics are confusing, swiggle this: What artist, of any genre, has remained as consistently unpredictable or this fearlessly unremitting in her will to constantly redefine her sound for as long as Ms. Badu? If R&B is the lingua franca of modern music, then Erykah was the one who tagged the Rosetta Stone.But what are Erykah’s musical foundations? Luckily, that’s an immensely answerable question. She has always been generous in citing her various influences, and we’ve scoured various interviews, DJ sets, mixtapes, live setlists, and sample databases to compile a list of the tracks that made Erykah, Erykah. If you want to hear her best work, check out our Erykah essentials playlist here; if you’re looking to understand how she got here, this is the place to start.There are at least a few basic sensibilities at play in Erykah’s music. Funk is at the forefront, in various permutations, from the genre’s godfather, James Brown, to his various global descendents: Fela in Lagos, Maurice Washington in Chicago, Prince in Minneapolis, Zapp in Cincinnati, and Thundercat in Los Angeles. Brown’s “King Heroin,” which Erykah included on her phenomenal FEEL BETTER, WORLD! mixtape, features the godfather at his most pensive and mournful, calling for a “revolution of the mind”—another liberation of sorts—over a slinking, understated backdrop.There’s a similar sadness running through Fela’s “Army Arrangement,” which Erykah selected as part one of her favorite Fela tracks in an interview with OkayAfrica. The track was recorded in 1985, as Fela was facing concurrent five-year sentences for trumped-up currency-smuggling charges. After he was imprisoned in Nigeria, his record label gave the masters to Bill Laswell, who chopped up the track’s 30-minute length into something more approachable for Western audiences. "Listening to it was worse than being in prison," Fela quipped. Luckily, the full original version has been restored, and you can hear echos of the track’s loping, hypnotic funk throughout Erykah’s own work.But while funk may be the spoken undercurrent, it’s hardly the only note. Her take on interplanetary psychedelia is also present here. For her BEATS BEES LIKE FOR B-BOYS AND B-GIRLS mixtape, which premiered in 2016 on Zane Lowe’s Beats 1 show, Badu chose Sun Ra’s “Nuclear War.” Sun Ra, an afrofuturist pioneer, was perhaps most famous for claiming that he was an alien from Saturn on a mission to preach peace. “Nuclear War” is the apocalypse as a shuttling, chanted, obscene zen koan. This 11th-hour spiritualism is refracted through Erykah’s own shambolic, shamanistic 2008 masterpiece, New Amerykah Part One, an album that alchemizes the dread and loathing of George W. Bush’s second term. That album also famously sampled Eddie Kendricks’ moody “My People...Hold On,” a track that skirts the boundaries of funk, jazz, psych, and soul to craft an an ode to perseverance and defiance.And while the almost all of the selections here are culled from artists of the African diaspora, the exceptions are notable. For a Complex interview in 2015, she revealed that Pink Floyd’s The Dark Side of the Moon taught her the value of “evolving through experimentation.” It echoed what she told Rolling Stone in a 2011 retrospective of the album, where she relayed being turned onto the Floyd in 1995 by Andre 3000. In that aforementioned Complex interview, she also names Joni Mitchell’s Blue as one of her favorite albums, saying that the Laurel Canyon icon has “one of the most soothing voices I’ve ever heard. The music is haunting.”There’s an underlying tenderness and intimacy in Mitchells work that informs both singers’ work, regardless of which genre the songs work within. It’s the same delicacy that informs many of her soul picks, from Stevie Wonder’s phosphorescent “Visions” to J Dilla’s ethereal “Bye.,” which chopped The Isley Brothers’ “Don’t Say Goodnight” to haunting effect. While no one one-ups Dilla, Erykah did her own impressive interpolation of the Isleys’ version of Todd Rundgren’s “Hello It’s Me” for her 2016 hit collaboration with Andre 3000, “Hello”—a track that conveys the tenderness and warmth of those old friends and lovers.And, in many ways, that yin-yang dynamic—the balancing of intimacy, poetry, and grace with power, prose, and rhythm—sums up Erykah. She’s not only one of pop music’s most powerful artists, but one whose work channels the brightest and boldest impulses of the best popular music of the past five decades.

For the most spectacular comeback of my lifetime, Tina Turner copped not an inch to the Madonna market. She sang Terry Britten and Graham Lyle’s “What’s Love Got to Do With It” from the point of view of a middle aged woman who has seen enough bullshit from young songwriters and producers, many of whom are more desperate than lovers; she has learned to live on reflex. So few popular songs take this point of view that thirty-three years later the triumph feels more earned than ever. Fortunately, Tina Turner kept going. Her best material embodies wanderlust, intrinsically and conceptually: she travels from producer to producer, like her women do for kicks, often ending up burned but with a je ne regrette rien attitude.Visit our affiliate/partner site Humanizing the Vacuum for great lists, commentary, and more.

No way in hell will I essay my own context-building, not when exemplary profiles by Philip Gourevitch and Jonathan Lethem exist. Besides, my intro to James Brown I credit to an episode of The Cosby Show in which Rudy Huxtable did her best “baby baby baby” lip syncing to “I Got That Feelin’.” What Gourevitch wrote in 2002 about “Please, Please, Please” strikes me as definitive:

The song doesn’t tell a story so much as express a condition. The singer might be speaking from the cradle of his lover’s arms, or chasing her down a street, or watching the lights of her train diminish in the night; he might be crouched alone in an alleyway, or wandering an empty house, or smiling for all the world to see while his words rattle, unspoken, inside his skull. He could be anyone anywhere. His lover might be dying. He might be dying. He might not even be addressing an actual lover. He could be speaking of someone or something he’s never had. He could be talking to God, or to the Devil…Speech is inadequate, so the singer makes music, and music is inadequate, so he makes his music speak. Feeling is stripped to its essence, and the feeling is the whole story. And, if that feeling seems inelegant, the singer’s immaculately disciplined performance makes his representation of turmoil unmistakably styled and stylish—the brink of frenzy as a style unto itself.

Facing such a statue in the park, I saw fit, more than ever, to include songs I wanted to hear again, hence the absence of “I Got You” and “Papa’s Got a Brand New Bag.” On the other hand, I included a track from 1991’s forgotten post-prison Love Over-due called “(So Tired of Standing Still We Got to) Move On,” boasting some of the most ferocious rhythm lickin’ of his career — and that’s saying a lot. Also a contender is “What Do You Like” from James Brown Plays the Real Thing, designed to showcase his organ playing. He’s also responsible for one of the more galling examples of plagiarism in popular music: forget “rewriting” and use the verb “re-releasing” Bowie’s 1975 “Fame” as “Hot (I Need to Be Loved, Loved, Loved)”; it works because “Fame” is a monster and so is Mr. Lickin’ Stick.Sigh. An evening I anticipated listening to new music I’llnow spend listening to Star Time. Sigh.Visit our affiliate/partner site Humanizing the Vacuum for great lists, commentary, and more.

For a decade, Terius Youngdell Nash was R&B’s best producer-writer, making everyone from Rick Ross and Mary J. Blige to a young pimply Justin Bieber sound good. He has faltered in the last six years, but after the surfeit of collaborations and works for hire, who could blame him and sometime partner Christopher “Tricky” Stewart if their powder ran dry?The Prince comparisons were too on-the-nose, not when Ready for the World was eager for a Wiki link. Nash’s high, effete voice and commitment to the love-you-down wasn’t as weird as Prince’s. Give him this: like the Purple One he understood that he wrote best for women. Electrik Red’s How to be a Lady Volume 1 remains one of the fleetest and sassiest of the millennium’s R&B albums, and chances are you haven’t heard it if you’re not on my social media lists. Rihanna’s performance on 2007’s “Livin’ a Life” also needs a shout-out; in the last two years she seems to have rediscovered its distinctive empathy.Visit our affiliate/partner site Humanizing the Vacuum for great lists, commentary, and more.

Fitting for someone who was born in New Zealand but currently calls London home, Jordan Rakei covers a lot of ground. His recently released sophomore album, Wallflower (Ninja Tune) is a mesmerizing melange of after-hours R&B, experimental indie-pop, and soul-jazz grooves. To help you get in a suitably nocturnal mood, he made us this playlist of his favorite chillout soundtracks. “To me, these are some of the most beautiful songs in the world. Very sparse. Very relaxing. All have such an amazing energy that keeps bringing me back to them.”—Jordan Rakei

L.A. singer and genuine son-of-a-preacher-man DAVIE has lent his golden voice to recordings by Childish Gambino and CeeLo Green, among others. But he’s recently stepped out on his own with his debut EP, Black Gospel Vol. 1, a modern update of church-schooled soul and smooth ‘70s R&B epitomized by the swaggering lead single “Testify.” For The Dowsers, he’s created “a soulful playlist for your ears and your heart.”Emily King, “Distance”This song is the most beautiful rhythmic whisper. Her voice is soothing and percussive at the same time.Prince, “Darling Nikki”I remember wondering about Nikki "not feeling well" when I first heard this as a kid—and then I realized as an adult it’s about SEXXXXXXX. I love the record and Prince’s seductive delivery.James Brown, “Papas Got A Brand New Bag”Feeling overwhelmed? Dance in your underwear to this song. Problem solved!Jazmine Sullivan, “Lions, Tigers & Bears”This song is so clever and the vocal performance is unmatched! Jazmine is R&B royalty to me.Beyoncé, “Jealous” This is a Beyoncé B-side to the world, but it is such a great song of human struggle with jealousy. The bridge is so simple, but takes the song into a different direction and the song becomes about being insecure.Stevie Wonder, “Signed, Sealed, Delivered (I’m Yours)”This the classic for every celebratory moment in my existence.N.E.R.D., “Provider”This song was my introduction to my hero Pharrell. He was like “we are punk, hip-hop, and rock all at once.” It was unapologetic and I watched TRL because I wanted to be like him in this video, riding the bike with the homies.”Tyler, the Creator, “911 / Mr. Lonely” The Frank and Tyler combo forever!Daniel Caesar, “We Find Love” Issa vibe.Sabrina Claudio, “Confidently Lost”Her voice is sexy, she is bae. I love the cadence in her falsetto—it’s seductive but angelic at the same time. Weird eh?The Clark Sisters, “You Brought the Sunshine” First song these ears ever heard. I learned how to sing and do every riff in the back of my parents’ car.Lauryn Hill, “Ex-Factor”Best song about false expectations towards an ex. Why didn’t they? Why don’t they still care? Also: Lauryn is the GOAT.Frank Ocean, “Bad Religion” Frank’s Channel Orange is the closest thing we have gotten to full body of work like The Miseducation of Lauryn Hill. “Bad Religion” is layered with so much heaviness. Each line could mean four things to the listener.Chris Stapleton, “I Was Wrong”I challenge any contemporary R&B singer to sing as good Chris Stapleton. They cant! Soul is blind to color—this is country, but soooo soulful. His runs are straight-up from the school of Aretha.OutKast, “Rosa Parks”First OutKast song I ever heard. I wanted to learn all the words to it, and I would sneak and watch TRL and write down the words so I could impress my friends at school.Kamasi Washington, “Henrietta Our Hero”This song is heavenly.Aaliyah, “At Your Best (You Are Love)” This song is so pure and beautiful. I love Aaliyah—this is her best song in my opinion. It lives on and still sounds so fresh and relevant.Missy Elliott, “The Rain (Supa Dupa Fly)”This video is everything! Missy is the ultimate hip-hop entertainer. This song introduced me to Timbaland’s production and I was hooked.Kanye West, “Cant Tell Me Nothing” This is Kanye at his best, being honest. My favorite line is “and what I do/ act more stupidly."DAngelo, “Untitled (How Does It Feel)” Sexxxxy time song.

Los Angeles native Miguel Jontel Pimental has been one of the most consistently excellent R&B artists of the 2010s, in part because he conjures the adventurous spirit and rock’n’roll edge of his hero, Prince. Now, Miguel (who started using the guitar as his primary songwriting tool while working on his 2012 sophomore effort, Kaleidoscope Dream) may not be a virtuoso soloist like Prince. But the driving riffs and soulful licks that populate Miguel’s later work have continued to reinforce the link between R&B and rock that few of his contemporaries explore.While “Sky Walker,” the lead single to his fourth album, War & Leisure, returns him to a clubby hip-hop sound alongside Travis Scott, Miguel embraced aggressive guitar riffs with another recent single, “Shockandawe.” And guitars have figured prominently in much of his recent work throughout 2017, including the DJ Premier collaboration “2 LOVIN U” and his contribution to the soundtrack for the animated film Coco.With his voracious appetite for different sounds, Miguel has collaborated in the studio with some very famous guitarists, appearing on Santana’s 2014 release, Corazón, and featured guitar work from Lenny Kravitz and Raphael Saadiq on his own 2015 album, Wildheart. And that album’s single “Waves” was remixed and re-recorded by several artists, including country singer Kacey Musgraves and indie kingpins Tame Impala.Session players like Paul Pesco have contributed brighter guitar sounds to songs like “Do You…” and Miguel’s longtime sideman Dru DeCaro has added intricate licks to album tracks as well as live performances of his hits “Adorn” and “Sure Thing.” Miguel’s taste in guitar tones tends towards the lo-fi, from the amp buzz of his Mariah Carey collaboration “#Beautiful” to the low muddy tone of “Coffee.” And it’s that idiosyncratic embrace of the instrument, and the many sounds it’s capable of, that have made Miguel an unlikely major figure in the future of both R&B and guitar music.

Matt Sharp recently resurfaced with the first piece of new music in three years from his art-pop outfit The Rentals. "Elon Musk Is Making Me Sad" is the lead single from The Rentals upcoming fourth album, which Sharp is working on with Yeah Yeah Yeahs guitarist Nick Zinner, Flaming Lips producer Dave Fridmann, and a backing choir hes christened The Gentle Assassins. But for his Dowsers playlist, Sharp steps out of The Rentals usual synth-smeared sound world to indulge a more private obsession:"Each song on this playlist is taken from a much larger playlist of my favorite old soul songs. The music has often served as the backdrop and soundtrack to many a hot night at my place in L.A., while having a few friends over to throw one-pound bags of corn, 30 feet in the air, into a six-inch diameter circle."—Matt Sharp

Moses Sumney had a certain feeling he wanted to capture when he recorded Aromanticism, 2017’s most irresistibly sumptuous debut album. “That moment as you’re feeling asleep,” he told the New York Times in September, “or right when you wake up, when you’re still one foot in and one foot out of the dream world, and everything is really murky and you feel like you’re floating.”The L.A. breakout artist is hardly alone in his quest to capture that ineffable state. This year yielded a startling abundance of music that had the same alluring softness as Sumney’s blissed-out R&B. Fellow travelers like Sampha, Kelela, Nick Hakim, and Syd all double-downed on the combination of smudgy beats, pillowy synths, and diaphanous vocals that had once marked Frank Ocean as an outlier but now seems everywhere. More cerebral and less carnal than the R&B sound that had been dominant since the rise of Drake, it aims to evoke a more solitary variety of bedroom experience than the genre has typically prioritized.That’s not to say there aren’t great songs about love and sex, too. But there’s definitely a more introspective bent to the new R&B, as well as a more adventurous musical sensibility. Though Frank Ocean gets the most credit for charting out this dream space and building a home there, the Weeknd certainly used to know the neighbourhood. Neo-soul mavericks like D’Angelo, Erykah Badu, and Bilal explored it as well. In their own music and productions for FKA twigs, Kelela, Solange and more, the likes of Dev Hynes and Arca approach it from other angles. In any case, Sumney, Sampha, and other sleepy-eyed occupants of R&B’s vanguard made this space just as inviting to listeners this year.