Remembering D’Angelo: A Personal Reflection

This is not a eulogy for Michael Eugene Archer, known to the world as D’Angelo. As a journalist, I felt compelled to share a different perspective – a personal account of meeting the musical genius on the cusp of his global ascent. It was June 1995, and I, as the Rap Editor for the trade magazine GAVIN, received an advance copy of “Brown Sugar.” D’Angelo, with his chiseled features and cornrows, initially seemed more rapper than the multi-instrumentalist he truly was.

The Genesis of a Musical Revolution

In an era where New Jack Swing was transitioning to hip hop soul, I recognized the hip hop roots of D’Angelo’s story. His debut album had been shelved, but the 1994 hit “U Will Know” by Black Men United, featuring his contribution, brought his music back into the spotlight. The fact that he had waited so long for a release date was astonishing; he was undeniably a star, possessing talents that extended far beyond rapping – playing drums, organ, piano, vibraphone, and guitar, all while crafting deeply moving songs.

As a 23-year-old journalist eager to prove that my coverage could encompass all Black music, not just rap, I knew I had to interview him. D’Angelo, then 21, also had something to prove. After a tense wait for his call – he was reclusive even then, working at all hours – I finally connected with him from Richmond, Virginia. The interview, which took place while I was navigating the chaos of Michael Jackson’s “HIStory” listening party, became a pivotal moment.

An Hour That Changed Everything

We spoke for over an hour, delving into his influences, creative process, and his desire to transcend his hometown scene. He shared how he learned to play by ear, starting in church as a toddler, and his journey to New York City to secure a publishing deal. Missing the King of Pop’s listening party was a small price to pay for securing the first trade magazine cover interview for an artist I knew would change the world. The headline read: “D’Angelo: Smooth, Natural and Revolutionary.”

His music, an enchanting blend of soul, gospel, funk, and hip hop, went platinum. Yet, he remained reclusive and humble, even sending a postcard signed simply ‘D.’ Later, while I was crafting advertising campaigns at Sony Music, he called me again from Virgin Records, inviting me to Electric Lady Studios where he was recording “Voodoo.” The experience was immersive, surrounded by instruments and sonic energies, as he worked on what would become another masterpiece.

Hearing of his passing from pancreatic cancer at 51 was devastating. The thought of such a beautiful, powerful genius in pain was heartbreaking. As I listened to his music in the days that followed, his awe-inspiring talent, carnal desire, and unconditional love for Black women, particularly, resonated deeply. His lyrics often spoke of appreciation, desire, and understanding, making listeners feel seen and adored.

“We may have an understanding/that’s okay/because you’re my girl and I’m your man/and that’s just fine/Girl, your touch still drives me wild/we’ll be alright” – “Alright” (Brown Sugar) — D’Angelo

D’Angelo’s music consistently conveyed a sense of being cherished and desired, a rare gift that resonated profoundly, especially with Black women who often feel misunderstood. His ability to express vulnerability and passion, whether in “Brown Sugar” or “Really Love” from “Black Messiah,” made his artistry deeply personal and universally relatable. Even in songs about heartbreak, like “One Mo‘ Gin,” there was an underlying gratitude for the connection shared.

The world mourns D’Angelo, but for Black women, this loss feels particularly acute. In a time when their strength and beauty are often maligned, D’Angelo’s music offered a sanctuary—a space where they felt safe, seen, and adored. His loss leaves a void, making the world feel like “the worst possible place to be.”