The Lineage of Curtis Mayfield

Each guide is based on legendary musicians believed to be part of D’Angelo’s roots. It then branches out into post-‘Brown Sugar’ and ‘Voodoo,’ drawn from that tree. Here’s Curtis Mayfield.

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Jan 28, 2025

From a narrow definition of soul music, we highlighted R&B that connects back to artists like D’Angelo, hoping it might spark broader interest. Even if you try to explain that “today’s R&B is a direct continuation of old-school soul,” if people don’t see it on the surface, it makes sense they’d ignore it. Those surface-level impressions might tighten the entrance to R&B more than we realize. At the heart of this lineage, this guide covered albums released from 1995 to 2015 that connect to D’Angelo in different ways.

Each guide is built around legendary musicians believed to be part of D’Angelo’s roots (Prince, Marvin Gaye, Curtis Mayfield, Sly Stone, and so on), then branch out into post-D’Angelo R&B releases that draw from that heritage. Inevitably, the selections are a bit biased. They heavily feature the genre often called “new classic soul” or “neo-soul.” So, out of all the artists who’ve been active these past two decades, we’re only showcasing about 60% of them. Still, we take some pride in how major releases by well-known R&B artists line up alongside indie records cherished by devoted fans.

We hope you’ll understand that any artist or album was left out intentionally—and that the artists appearing in each guide don’t necessarily belong in only that guide. We'll be over the moon if this sparks a whole new R&B world for you.

In the 1970s, during the emergence of New Soul, singer-songwriters who began their solo careers—and whose melodies, lyrics, and vocals were simple yet brimming with persuasive power—came to be reevaluated around the time D’Angelo arrived on the scene.

Among them was Curtis Mayfield (born in Chicago in 1942), who is often grouped together with Marvin Gaye, Donny Hathaway, and Stevie Wonder under the moniker “The Four Kings of New Soul.” D’Angelo referenced Mayfield’s “We The People Who Are Darker Than Blue” (1970)—for instance, in the “Baby Boy” soundtrack (which includes “Talk Shit 2 Ya” and “Mother’s Son” [1974]) and on his album Black Messiah with the track “Really Love.” Mayfield’s worldview, rooted in the warmth of Christianity yet capable of going hard-boiled at times, likely resonates with many soul acts of the hip-hop generation.

In addition, when Mayfield was inducted into the Rock & Roll Hall of Fame as a solo artist in early 1999, D’Angelo performed “I’ve Been Trying” (1964) by The Impressions (the group Mayfield led) in a duet with Eric Clapton—while playing the Rhodes keyboard. His fiercely determined falsetto at that ceremony made it clear just how profoundly Mayfield influenced him. And it’s not only D’Angelo—plenty of R&B singers have fallen in love with Mayfield’s falsetto and never looked back.

Smokey Robinson (born in Detroit in 1940), who debuted with The Miracles on Motown (where he also served as a vice president) before going solo in 1972, is another singer specializing in falsetto. Praised by Bob Dylan as “America’s greatest living poet,” Smokey captivated audiences with his exquisite vocal phrasing and lyrical flair. In addition to D’Angelo’s choice to cover Robinson’s “Cruisin’”, his mellow sound could be seen as a precursor to neo-soul.

Also, as mentioned elsewhere, Bill Withers (born in West Virginia in 1938)—whose “Use Me” (1972) D’Angelo covered—had an acoustic, organic style that inspired younger singer-songwriters who value live performance. In fact, the way D’Angelo brought in James Gadson (the drummer who showcased those tight grooves on Withers’s “Use Me”) for Black Messiah seems very much like the logical extension of a singer committed to live instrumentation choosing how to cement his style.

Curtis Mayfield: New World Order

Due to an onstage accident, Curtis Mayfield became partially paralyzed, making it impossible not only to play guitar but even to stand up and sing. Nevertheless, he never gave up singing for the rest of his life. This album—perhaps because he had to lean on others for support or record vocals from behind the scenes—features Curtis’s voice in a softer tone at times, yet still able to pierce you at the core. It hardly feels like he’s under such a physical handicap. That signature cool, self-assured falsetto remains intact. Highlights include tracks such as “Ms. Martha,” in which Organized Noize injects their own twist into Curtis’s style, a passionate duet with Sandra St. Victor on “Believe In You,” and the full backing of The Staple Family on “It Was Love That We Needed,” all of which make for a colorful lineup. There are also beautiful songs co-written with longtime Babyface ally Daryl Simmons and Arnold Hennings, plus a track produced by Narada Michael Walden featuring Aretha Franklin—an impressively fulfilling album in every way. Released in 1999, this would sadly be his final work before he passed away. — B.O.

Rating: ★★★★½ (4.5/5)
Even under dire physical constraints, the legendary Curtis Mayfield delivered an album full of inspiration, vocal expertise, and top-tier collaborations.

Raphael Saadiq: Instant Vintage

Raphael Saadiq first stood out as the lead singer of Tony! Toni! Toné! and is also known as a key figure in neo-soul for co-writing D’Angelo’s “Lady” and “Untitled (How Does It Feel).” The album opens with “Doing What I Can,” which sparkles under Benjamin Wright’s orchestration of strings reminiscent of Donald Byrd’s Places and Spaces. The mid-album highlight “Be Here” (featuring a dope, low-slung funk groove alongside D’Angelo) sets the stage for him to unleash his sweet, youthful-sounding vocals. Billing himself under the concept of “gospel-delic,” he exudes a pure Blackness throughout this expansive work. His presence here calls to mind Curtis Mayfield in the early ’70s. With guest voices from Angie Stone, Calvin Richardson, and T. Poz, plus a heated shout from Leslie Wilson (of New Birth and L.T.D.) on “Uptown,” he continues on subsequent albums to dive deeper into vintage vibes—’70s blaxploitation, ’60s soul, and R&B—intensifying that retro aesthetic. — B.O.

Rating: ★★★★☆ (4/5)
This album is praised for its lush production, strong collaborators (including D’Angelo), and a throwback vibe reminiscent of Curtis Mayfield.

Pharrell Williams: G I R L

“Happy,” which became a global hit, also showcases a strong Curtis Mayfield influence in the vocals. Pharrell’s Curtis-inspired direction first drew major attention with “Frontin’,” recorded under The Neptunes name on The Neptunes Present… Clones (2003) with Jay-Z, but in fact, he was already working in that style on N.E.R.D’s rock-oriented first album (2001). Pharrell’s mellow, refined falsetto radiates a retro feel, yet in tracks like the disco-leaning “Gush,” the futuristic, Madlib-esque groove of “Come Get It Bae,” and the classic Neptunes-sounding “It Girl,” you hear a modern warmth in the four-square programmed beats. This synergy prevents it from becoming mere nostalgia. The track “Brand New,” which feels like a filter-free disco-house jam, is also delightfully pop-oriented. — P

Rating: ★★★★☆ (4/5)
This nicely explains Pharrell’s successful blend of retro falsetto influences (Curtis Mayfield) with forward-thinking production. It’s praised for its balance of modern and nostalgic sounds. Solidly strong, if not entirely groundbreaking.

Sam Bostic: Soul Supreme

Sam Bostic was part of the Tony! Toni! Toné!-related “Oakland soul” scene, performing lead vocals under the name “Tracy.” Before that, he worked behind the scenes on projects by TQ, E-40, and others. Only later did people realize he was the same singer who, back in 1985, had released a Prince-like electro-funk album on Atlantic. Now, 23 years later, this second solo album (which includes “Zodiac Sign,” co-written with Raphael Saadiq) maintains that Oakland soul spirit with a heavy ’70s feel. On tracks like “Get Away,” where he plays acoustic guitar himself, and the gorgeously Tony’s-inspired slow jam “This Is Your Song,” his melodies and falsetto sound nearly identical to Curtis Mayfield. On his cover of The Stylistics’ “Break Up to Make Up,” he imitates Russell Thompkins Jr.’s falsetto. Meanwhile, the playful instrumentation on “1 More Try” seems directly inspired by Prince. — B.O.

Rating: ★★★½☆ (3.5/5)
While it’s a lovingly crafted throwback to ’70s soul (with nods to Prince, Curtis, The Stylistics), it’s largely derivative. Strong musicianship, but perhaps not as innovative. Still a fun listen

Babyface: Face2Face

This album can be considered a masterful example of bringing the Curtis Mayfield tradition into the 21st century. Previously, Babyface was known (since his Deele days) for gorgeous melodies and sweet expressions; while he certainly excelled at falsetto, he was generally linked to a softer, “sweet” image—like on his Stylistics covers. But this time around, check out the lead single “There She Goes”: over a minimalist programmed beat, his intense falsetto is pure Curtis style. The Neptunes (Pharrell’s team) produced it, and that vibe carries over into the funky BackWilde-produced “Lover And Friend” and the hip-hop leaning “Baby’s Mama,” co-produced with Megahertz—both loaded with that Curtis influence. And, of course, his trademark slow jams remain impeccable. Even in his self-penned “U Should Know,” you can feel Curtis’s spirit shining through. — P

Rating: ★★★★☆ (4/5)
A successful fusion of Babyface’s hallmark R&B smoothness with a bolder Curtis-inspired edge, boosted by top-notch producers. It’s a fresh, updated tribute that stands out among his works and deserves a second chance beyond the Neptunes-produced songs.

Sleepy Brown: Mr. Brown

Sleepy Brown was the leader of Organized Noize (ON), contributing to the rise of Atlanta’s R&B scene and fronting groups like Society Of Soul and Sleepy’s Theme. He’s a behind-the-scenes genius who gave Marvin Gaye–style vibes to OutKast’s (Big Boi) “The Way You Move,” bearing some resemblance (including his look) to Isaac Hayes but sporting a smooth falsetto reminiscent of Curtis Mayfield. In fact, ON worked on Curtis Mayfield’s New World Order (1996). On this solo album—best known for its summery track “Marganta” featuring Pharrell and Big Boi—he channels those experiences into a 21st-century take on ’70s soul/funk grooves. From the mid-tempo dancer “Dress Up” to “Me, My Baby & My Cadillac,” which references Jackson 5, the album is packed with excellent songs. Also worth noting is that his father is Jimmy Brown of the legendary Atlanta funk band Brick, who contributes horns here. — P

Rating: ★★★★☆ (4/5)
A creative melding of classic ’70s soul/funk influences with modern production. Strong references to iconic projects (Curtis, OutKast) and impressive collaborations signal a high-quality, cohesive album.

Kevon Edmonds: 24/7

In the ’90s, Kevon Edmonds formed After 7 with Melvin and others. He’s also the brother of [Babyface], and there was once a plan to form a “Milestone” group/album with Babyface and K-Ci & JoJo (as seen in the film Soul Food), but ultimately this solo project was released instead. His voice is still vibrant, and for as long as he continues making music, he’s chosen to skip the cool and funky Curtis-like style to focus on sweet, heartfelt love songs. The first three tracks on the album are simply excellent. “Love Will Be Waiting,” produced by Babyface, Timmy “Timbaland”(?), and Daryl Simmons, flows with a light beat celebrating the birth of new love. Kevon’s straight, soaring falsetto sounds almost boyish. Also contributing are an unknown-at-the-time Robin Thicke and Daryl Simmons (who worked on Curtis’s albums). He released another album in 2009 and continues to perform live with After 7. — P

Rating: ★★★½☆ (3.5/5)
The emphasis here is on romantic ballads rather than the funkier, Curtis-influenced style. The review praises the sweet falsetto vocals and strong songwriting but indicates it stays safely in the “lovely R&B” lane rather than breaking new ground.

The Tony Rich Project: Words

Tony Rich is a Detroit-born singer-songwriter classified among the “new classic soul” movement. After moving to Atlanta, he contributed to that city’s R&B scene and also worked behind the scenes on a Curtis Mayfield tribute. His debut album, which produced a cross-genre hit “Nobody Knows” (even drawing acclaim from country audiences), is an unsung staple featuring a folksy sound brimming with unique sensitivity—reminiscent of Bill Withers or Terry Callier—alongside sweet, delicate vocals reminiscent of Babyface. He’s adept at combining programming with acoustic guitar for a fresh, vibrant sound, a style consistent in his later works on the Hidden Beach label. On the follow-up album Birdseye (1998), Eric Clapton guested (by special invitation), and the slightly Prince-like aesthetic there is somewhat reminiscent of D’Angelo. He teamed up for a duet with Glenn Lewis for a Marvin Gaye tribute. — B.O.

Rating: ★★★★☆ (4/5)
The debut is praised as an “unsung staple,” blending folk, soul, and contemporary R&B flavors. This emphasizes its crossover success and consistent artistry.

Jon B: Cool Relax

If you’ve come this far from Curtis Mayfield to Babyface, then you should also check out this artist: Jon B. Possessing a voice that sounds similar to Babyface and having fully benefited from his production support on “Someone to Love” (which launched him to fame), Jon B was initially dismissed by some as a mere copycat. But with this second album, he truly came into his own, channeling modern R&B. On the title track (produced by DJ U-Neek), he quickly hints at a neo-soul path, and on “I Ain’t Goin’ Out,” he delivers a Smokey Robinson–style ballad in tribute to one of his heroes. The standout is “They Don’t Know.” Its intro, with a lonely acoustic guitar, is captivating; the syncopated bass drum and the way Jon’s vocals weave through the spaces create one of the finest slow grooves of the ’90s. Meanwhile, “Pride & Joy,” produced by Keith Andes, is a gorgeous Babyface-esque ballad—also excellent. — P

Rating: ★★★★½ (4.5/5)
The review highlights a breakthrough in artistry, with strong songwriting and production, culminating in “They Don’t Know,” considered an iconic ’90s slow jam. The text points to a notable step beyond mere imitation.

India.Arie: Acoustic Soul

As the protégé of [Motown President] Kedar Massenburg, India.Arie debuted with major-label fanfare as the next breakout since Erykah Badu, presenting an acoustic brand of “neo-soul.” The album’s title directly reflects its content and retains the organic, down-to-earth atmosphere of Earthseed, the Atlanta-based soul collective/label she was part of. Tracks like “Video” (which quotes the funk band Brick’s “Fun”) affirm a message of self-acceptance, while “Brown Skin” celebrates Black pride. Utilizing acoustic guitar and calm, unadorned vocals, these songs remain pure and natural to the core. Mark Batson and Shannon Sanders (who continues to support her) both contribute significantly. Stevie Wonder strongly influences her, but especially here on her debut, she exudes a vibe reminiscent of a modern female Bill Withers. — B.O.

Rating: ★★★★☆ (4/5)
This review praises its organic soulfulness, affirming lyrics, and acoustic sincerity. It’s considered a refreshing, pure take on neo-soul that made a strong impact.

Cody ChesnuTT: Landing On a Hundred

Cody ChesnuTT’s 2002 double-disc self-introduction, The Headphone Masterpiece, was recorded on a 4-track recorder. It was folk-inflected, it rocked, and it crammed an uncontainable wave of soul into raw, lo-fi tracks—a curious and captivating creation. One of its songs, “The Seed,” was also re-recorded in collaboration with The Roots, which became a buzz-worthy version and put Cody [ChesnuTT] on the map. Ten years later came this release, his second album, recorded in legendary spots like Royal Studios (home to many classic Hi Records projects). It’s a rich live band album with strings, horns, and a host of musicians. Starting with “That’s Still Mama”—which instantly brings to mind ’70s Curtis Mayfield—he shows a clearer homage to old-school soul than on the previous album. Some tracks lean Marvin Gaye–ish, others evoke an Al Green vibe, yet it all remains a beautiful, resolutely retro record. — B.O.

Rating: ★★★★½ (4.5/5)
The jump from a lo-fi home-recorded gem to a lush, retro-soul production is applauded. The review emphasizes its authenticity, live instrumentation, and strong Curtis/Marvin/Al references, making it a standout in modern soul.

Lathun: Fortunate

Lathun participated as a vocalist on So So Def’s Atlanta-based compilations and worked behind the scenes for Raphael Saadiq, who produced the female trio Willie Max and others. Signed to Motown under Kedar Massenburg, his photo holding an acoustic guitar suggested a “male version of India.Arie”—especially considering his duet with her on the upbeat “When Love Came In” (produced by Mark Batson). The title track has a similar vibe and feels a bit like Bill Withers, but the pre-release collaboration “Sweetest Thing” leans more toward Bobby Womack, featuring a vocal style that combines Bill’s simplicity with Bobby’s depth. The mellow “BBQ” follows in the same neo-soul lineage as D’Angelo’s “Brown Sugar.” It’s a fitting song to introduce someone emerging from Kedar’s camp. — P

Rating: ★★★½☆ (3.5/5)
The review notes a pleasant, acoustic-leaning soul record that sits somewhere between Bill Withers and Bobby Womack, with a nod to neo-soul. Solid, if not groundbreaking.

Anthony David: 3 Chords & The Truth

In the late ’90s, before India.Arie’s debut, Anthony David toured with her and contributed material to her album. His own first album includes a self-cover of that composition. Anthony [David], perhaps, has that unpolished vocal quality that often draws comparisons to Bill Withers. As the jacket and title suggest, his sound and arrangements are basically organic and simple. There’s a folky “Cold Turkey,” nearly just guitar and voice; a jazzy mid-tempo track called “Yes” with a restrained drum pattern; “50/50 Love” in a roots-reggae style featuring Julie Dexter; and “GA Preach,” which inevitably reminds one of Bill Withers’s “Use Me.” It’s diverse yet remains organic, never becoming dull. Starting with his second album in 2006—which introduced some classic neo-Philly elements—his subsequent releases have also been consistently high-quality. — B.O.

Rating: ★★★½☆ (3.5/5)
The album is lauded for its organic, Bill Withers–like vibe and stylistic variety. It’s strong, though it suggests it’s a modest, intimate debut rather than a blockbuster. A commendable effort.

Keite Young: The Rise and Fall of Keite Young

A singer-songwriter from Texas—first introduced via a producer’s compilation by “Steve Scotsman” Harvey, where he collaborated with Endanpi on the track “If We Were Alone.” At first, one might think it’s heading toward Delta blues, but the debut album from Keite Young reveals a gospel-rooted yet gritty, bluesy brand of neo-soul/funk. Before even invoking Bill Withers, you might call it a “Hidden Beach–style D’Angelo.” Referencing “Untitled (How Does It Feel)” and weaving in tracks like “E.N.S. (Everybody Needs Somebody)” and a funk-rock jam reminiscent of Sly’s “If You Want Me to Stay” (“Thinkuboutmi”), plus a medium-tempo funk piece called “Time,” the backing tracks evoke something between Voodooand Black Messiah. The transitions from a simmering, heated voice into falsetto also draw parallels to D’Angelo—a possible “Deep South answer” to him. — P

Rating: ★★★★☆ (4/5)
This indicates a promising debut that balances gritty gospel-blues flavors with a D’Angelo-like neo-soul approach, suggesting a strong new voice.

Tommy Sims: Peace and Love

A Nashville-based singer-songwriter who became known as the writer of Eric Clapton’s Babyface-produced hit “Change the World.” Tommy Sims was active in the Christian band White Heart and even played bass on Bruce Springsteen’s tour, hinting at musical influences that extend beyond soul. This, his only solo album to date, includes a cover of a Jim Croce song, showcasing a folksy vibe—connecting him to Bill Withers, which is why he’s included here. But as he himself notes, Marvin Gaye’s influence is also strong. On “A New Jam,” featuring Shannon Sanders’s salty vocals, there’s a Bobby Womack–style funkiness. And with Marvin Winans guesting on “Peace And Love,” you get a blend of Marvin (Gaye) + Bill (Withers) + Bobby (Womack). The bass lines hit exactly where you want them to, too. — P

Rating: ★★★½☆ (3.5/5)
Known mostly as a songwriter for others, his single solo album spans folk, soul, funk, and gospel influences.

Michael Kiwanuka: Home Again

At first glance, you might mistake the cover for a 1970s soul reissue. And indeed, once you keep listening… it’s reminiscent of Terry Callier’s folk-soul period at Cadet Records, where he collaborated with Charles Stepney. Hailing from North London, Michael Kiwanuka was touted as a promising newcomer in 2012, and this is his major-label debut. Simple yet elegant guitar-and-strings arrangements form the backing for warm vocals delivered in an intimate, personal style. Although it feels old-school, it sounds fresh in today’s context, giving the album a contemporary edge. Influenced by Otis Redding, Bill Withers’s Live at Carnegie Hall, and D’Angelo’s Voodoo, this 1988-born artist’s tastes shine through on every track. He even opened for Adele on tour, which makes perfect sense given this album’s vintage charm. — B.O.

Rating: ★★★★☆ (4/5)
Nicely captures the album’s folk-soul aesthetic, name-checks major influences, and clarifies the modern yet vintage vibe. It’s cohesive and paints a clear picture of what to expect. Solid piece of writing.

Oran “Juice” Jones feat. Stu Large: Player’s Call

Recorded at Memphis’s Royal Studios, produced directly by Willie Mitchell—so you might wonder why it isn’t purely an Al Green–style album. Indeed, they even play “Let’s Stay Together,” but the singer doesn’t belt it out in that way. Instead, it’s a callback to Smokey Robinson, who heavily influenced Oran’s vocals. On his debut, he even covered The Miracles’ “Here I Go Again” in a Smokey-esque style. With the comedic interplay between him and the “low-voice guy” Stu and the magic of the Tommy Boy label, the result is a slick album that fuses hip-hop sampling techniques with live 1970s-style instrumentation. The title track uses Eddie Kendricks’s “Intimate Friends,” and it’s a parade of sweet, sugary cuts fronted by Oran’s smooth voice. “Gigolos Get Lonely Too” is practically guaranteed to close the show in style. — P

Rating: ★★★½☆ (3.5/5)
A bit chaotic in structure, but the content is interesting—Willie Mitchell, Smokey influences, a mention of hip-hop sampling. It shows a unique bridging of old-school soul and new production. Decent but could be clearer.

Mayer Hawthorne: A Strange Arrangement

Let us put you on game if you aren’t hip. Here’s Mayer Hawthorne. This singer-songwriter spread sweetness in his disco unit Tuxedo (formed with Jake One) and in his other venture with 14KT, the duo named Jaded Incorporated. As a solo artist, he’s released three albums, but it’s this debut on Stones Throw—rather than his two major-label albums—that most purely captures his soulful mindset. Spanning breezy ’60s Motown-like tracks to ’70s sweet-soul ballads, his somewhat fragile vocals, reminiscent of Smokey Robinson, carry these tunes. The sweetness of “Shiny & New” is an instant knockout. He wears his classic-soul devotion on his sleeve while also showing a digger’s sensibility from his background as a DJ named Haircut. “Maybe So, Maybe No” is a cover of The New Holidays’ 1969 Detroit-soul track—he’s from near Detroit, after all, so that local pride is strong. — B.O.

Rating: ★★★★½ (4.5/5)
Excellent for fans of retro-soul, referencing Tuxedo, Stones Throw, and Motown influences. It ties everything together, from the artist’s DJ background to his love of Detroit soul.

Al B. Sure!: Honey I’m Home

Al B. Sure! soared to popularity around 1988 with “Nite and Day,” which later became beloved by many rappers. His signature style is a delicate falsetto with a tight vibrato reminiscent of Smokey Robinson. At the same time, given his cover of “The Lady In My Life,” it’s clear that Michael Jackson is another blueprint. In other words, he inherited Smokey’s style via Michael. Teaming up again with longtime collaborator Kyle West, “I Love It (Papi Aye, Aye, Aye)” is achingly beautiful. “I’m Glad” rides a poppy synth bass while his falsetto glides, “Only You!” is a melodic ballad, and there’s even a Sting cover, “Fragile.” Everywhere you turn, Al B. Sure!’s sugary, gorgeous singing overflows. — P

Rating: ★★★½☆ (3.5/5)
Solidly explains Al B. Sure!’s influences (Smokey → Michael → Al B.), highlights key songs, and points out his hallmark falsetto.

The Delfonics: Adrian Younge Presents — The Delfonics

The Delfonics were a legendary Philadelphia soul vocal group featuring William Hart’s sweet, plaintive falsetto—on par with Smokey Robinson’s—and the lush production of Thom Bell, beloved by rappers like Ghostface Killah. Now, LA’s eccentric Adrian Younge, known for his love of movie soundtracks, sets out to resurrect the group. In reality, the only original member singing here is William Hart, so it’s effectively his solo album. However, the use of flugelhorn, harpsichord, vibraphone, and glockenspiel by the group Venice Dawn (and collaborators such as Onmast Keith from Sàláh Creative Partners on the pre-released track “Stop And Look (And You Have Found Love)”) perfectly recreates that vintage Delfonics style. The lo-fi quality of these arrangements also reflects a hip-hop/indie-rock sensibility—showing that Adrian’s conceptual framework matches D’Angelo’s approach exactly. — B.O.

Rating: ★★★★½ (4.5/5)
A stellar overview detailing the Delfonics’ revival, Adrian Younge’s cinematic influences, and how the project fuses vintage Philly soul with modern lo-fi aesthetics. It’s concise yet fascinating, with enough references to hook fans of both soul and indie. It is almost perfect for capturing why this project matters.