The Lineage of Marvin Gaye

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 Marvin Gaye.

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.

Marvin Gaye (born in 1939 in Washington, D.C.) was a marquee singer for Motown who later struck Grammy gold during his time with CBS/Columbia. In the 1960s, he showcased a youthful voice over a vibrant, edgy beat. Then, moving into the 1970s, he added socially conscious messages to his repertoire while also singing more sensual tracks, solidifying his sense of artistic self. Even today, countless R&B singers admire Marvin—especially for the mellow groove, beguiling falsetto, and multi-layered vocals heard on albums like What’s Going On (1971) and I Want You (1976). These elements have essentially become go-to methods for expressing a certain noble, soulful spirit.

D’Angelo, whose father was also a preacher—just like Marvin’s—was heavily influenced by him. When Marvin was tragically shot and killed by his own father on April 1, 1984, D’Angelo was only ten years old and was reportedly so shocked that he had nightmares for a while. Ultimately, though, this deep connection to Marvin ended up having a positive impact on D’Angelo’s music (and his life)—even if his personal troubles later mirrored Marvin’s own. Whether intentional or not, people often say that the wide-collared leather jacket D’Angelo wears on the Brown Sugar album cover is a nod to What’s Going On. There was even a rumor during his debut that EMI hoped to bring in Leon Ware—who masterminded I Want You—as D’Angelo’s producer. As far as actual tracks go, D’Angelo teamed up with Erykah Badu to sing “Your Precious Love” (1967), which Marvin originally performed with Tammi Terrell. Their version appeared on the High School High soundtrack in 1996, and when Kedar Massenburg—who orchestrated that duet—took over as president at Motown, it was re-included on the 1999 tribute album celebrating Marvin’s 60th birthday, Marvin Is 60. The “Marvin’s children” who participated in that project shared a love for him that was every bit as strong as D’Angelo’s.

More recently, Robin Thicke’s “Blurred Lines” landed in hot water when Marvin’s family accused it of lifting from “Got to Give It Up” (1977), leading to a protracted legal battle. Whether it counts as plagiarism or not, it does show just how deeply Marvin’s music is woven into the DNA of artists who sing R&B. After all, back when Marvin passed away, countless tracks that followed were direct homages to “Sexual Healing” (1982). And those who idolize Maze Featuring Frankie Beverly—who in turn looked up to Marvin—are, without exception, Marvin lovers as well.

Maxwell: Maxwell’s Urban Hang Suite

What can be about this extraodinary debut by Maxwell in which Stuart Matthewman (a member of Sade) and engineer Mike Pela were heavily involved? The project gave rise to him being called the “male version of Sade,” thanks to the quiet yet moving ballad “Whenever Wherever Whatever,” which is gorgeous, and the vibrant groove of “Sumthin Sumthin,” co-written with Leon Ware and featuring prominent slap bass. Yet the most captivating track is the slow groove rooted in Black music, “…‘Til the Cops Come Knockin’.” Its mellow yet dramatic production and sensuous falsetto meld together in a style reminiscent of Marvin Gaye paired with Leon Ware. His exceptionally high artistic standards, hinted at by the album’s cover art, reach every corner of this project. Its carefully plotted sequencing and refined arrangements leave not a single wasted moment. — P

Rating: ★★★★★ (5/5)
A landmark debut with immaculate production, soulful slow grooves, and a cohesive vision that channels Marvin Gaye and Sade. Widely regarded as a neo-soul classic.

Raheem DeVaughn: Love Behind the Melody

Hailing from Marvin Gaye’s birthplace of Washington, D.C., Raheem DeVaughn calls himself the “R&B Hippie Neo-Soul Rock Star.” During D’Angelo’s hiatus, he got extremely close to taking that mantle. Building on the hip-hop R&B mindset reminiscent of Jodeci, he directly inherits Marvin’s falsetto, multi-layered vocals, and sensual themes. This second album in particular brims with potential classics, including the woman-praising anthem “Woman” (produced by Chucky Thompson) and the mellow tune “Love Drug” (produced by Scott Storch). He pours full soul into mainstream-style ballads like “Customer,” blatantly quotes The Temptations’ “My Girl,” and even gets playful on “Friday (Shut the Club Down).” Chicago poet Malik Yusef and the (now-split) Floetry also make guest appearances. The heavily message-oriented third album and the fifth, where he fully becomes Marvin’s heir, also stirred plenty of buzz. — B.O.

Rating: ★★★★½ (4.5/5)
A strong sophomore release with standout songwriting, production, and a clear Marvin influence. Nearly flawless, occasionally let down by a couple of less-memorable cuts, but still top-tier neo-soul.

Olu: Soul Catcher

Olu began creating his own demos in his mid-teens. By chance, he met Stuart Matthewman (of Sade) at a kung fu school he attended, which led to his record deal. This album, co-produced with Stuart and others, became his debut. The arrangements, either live or programmed to feel live, feature plenty of open space and define the sound. Tracks like “Sista Why,” which Stuart was involved in, bring Sade strongly to mind. Olu’s voice, smooth yet carefully delivered, is somewhat reminiscent of Marvin on songs like “Distant Lover.” Amp Fiddler contributes organ and Clavinet on “Sweet Melody,” using them to great effect. Though understated, the songs here are of high quality, highlighting Olu’s old-soul leaning vocals. The follow-up album wouldn’t appear until 2005’s Beautiful Place. — B.O.

Rating: ★★★★☆ (4/5)
A subtle, high-quality debut with echoes of Sade and Marvin Gaye; sophisticated songwriting and arrangement. Some may find it too understated, but it’s a quietly satisfying gem.

Leon Ware: Moon Ride

Leon Ware is the original creator behind Marvin Gaye’s I Want You. Much of the mellow and sensuous musical world that neo-soul acts look to in Marvin’s work can be traced back to this man. From his 1990s collaborations with Maxwell and Omar to the present, he’s constantly in demand by younger artists. On this album—released by the revitalized Stax label under the Concord umbrella—he offers yet another classic glimpse into his distinctive world of love and sensuality.

The guest roster is quietly impressive: James Ingram provides backing vocals on tracks like “Smoovin’,” which truly lives up to its smooth title. Guitarist David T. Walker—who supported Leon’s work in the ’70s—offers gentle accompaniment on the laid-back West Coast soul vibe of “Just Take Your Time,” while Amp Fiddler, a fellow Detroit native, co-writes and plays keys on “From Inside.” Taylor and Cameron Graves—brothers affiliated with Flying Lotus—also help enrich the music in this master’s mellow world. — P

Rating: ★★★★½ (4.5/5)
A lovingly crafted late-career release, rich with collaborations and classic Leon Ware sensuality. The production and writing keep the spark of his earlier work alive, making it an essential for fans of mellow R&B.

Robin Thicke: Something Else

Ironically, Robin Thicke’s ties to Marvin Gaye—his mentor figure—were cast into the spotlight when the Gaye family sued “Blurred Lines” for copyright infringement. This album, which has a strong ’70s vibe spanning disco and soul, arrived after “Lost Without U” (featuring that gentle bossa-style acoustic guitar and delicate falsetto) became a hit. Now, on his third effort, he continues to emphasize falsetto. The opening track, “You’re My Baby,” seems to follow the same acoustic route as “Lost Without U,” pairing it with a Marvin-esque falsetto reminiscent of “Since I Had You.” “Ms. Harmony” unravels a dreamlike landscape, and the sensual “Loverman” is also classic “Marvin.” In addition, you get glimpses of a Stevie Wonder–like approach to chest voice on “The Sweetest Love,” while “Hard On My Love” channels a funky Curtis Mayfield vibe. It’s a can’t-miss release for any fan of silky falsettos. — B.O.

Rating: ★★★★☆ (4/5)
A cohesive throwback to ’70s soul with well-executed falsetto tributes to Marvin and Stevie. At times, it leans heavily on its influences, but overall remains a strong, enjoyable album.

Eric Roberson: The Vault, Vol. 1.5

After enrolling at Howard University, Eric Roberson released a track called “The Moon” on Warner in 1994 but lost his contract. Later, he worked behind the scenes, writing songs for acts such as Fugees, 112, Musiq Soulchild, and Will Downing before resurfacing in the underground R&B scene. He should have had a solid fan base, but for over ten years, he’s been steadily putting out indie releases at his own pace, becoming a charismatic figure in indie circles. This album is from around the time “serious music heads” really started to catch on to him.

His vocals, which transition smoothly from a velvety chest voice into a falsetto, occasionally evoke a Marvin-like moment in the upper register. Tracks such as the collaboration with DJ Jazzy Jeff, “Rock With You,” and the Osunlade-produced “Change for Me” show he’s quite at home in more house-oriented styles. The lightly sung “Obstacles” comes across like a subdued Stevie Wonder track. While the dreamy side of his music is delightful, the delicate melancholy of “Please Don’t Leave Me” stands out. — P

Rating: ★★★½☆ (3.5/5)
An indie sleeper with flashes of brilliance in vocal style and eclectic production. Not all tracks hit the same high mark, but it shows real depth and potential.

El DeBarge: Second Chance

El DeBarge might not have a voice that’s particularly similar to Marvin’s, but through examples like his cover of “After the Dance” and “Heart, Mind & Soul,” which borrows the ending from “What’s Going On,” El has also shown himself to be a Marvin devotee. After a gap of over fifteen years, he finally returned with this album. On the sentimental “How Can You Love Me”—which rivals his DeBarge-era hits—he slips in a phrase reminiscent of Marvin’s “Soon I’ll Be Loving You Again.” (It also echoes the DeBarge classic “All This Love,” though that track itself had borrowed from “Soon….”)

Even nearing fifty, his falsetto remains as beautifully pure as it was when he was a teenager. “When I See You,” co-written with Babyface and featuring Ron Fair’s acoustic guitar and a pristine string arrangement, balances gentle reflection and emotion perfectly. The track, arrangement, and falsetto are all first-rate, ranking among the best in El’s entire career. — B.O.

Rating: ★★★★½ (4.5/5)
A triumphant return that fuses classic DeBarge sentimentality with nuanced Marvin homages. His voice is still in wonderful shape and highlights like “When I See You” are exceptional.

Chico DeBarge: Long Time No See

It’s been quite a while. The intro vividly recreates Chico DeBarge’s prison release scene, reminding listeners that this seventh son of the DeBarge family spent years locked up on drug-related charges. His third solo album, released about ten years after his last, came out under Kedar Massenburg—who had just begun championing “neo-classic soul.” There’s a definite attempt to fill the post-D’Angelo space. “Iggin’ Me,” co-written with his brother El DeBarge, features heavily improvised singing and a gritty organ sound that wouldn’t have been out of place on Brown Sugar. Plus, the album covers “Trouble Man,” clearly channeling Marvin Gaye’s moody 1970s spirit across the entire record, including ghostly backing vocals. His bittersweet tenor, soaked with themes of love and struggle, also feels Marvin-esque. On his next album—released upon returning to Motown—he covered “‘Til Tomorrow” and famously dated Marvin’s daughter Nona Gaye. — B.O.

Rating: ★★★★☆ (4/5)
A bold, personal statement that aims for D’Angelo-style neo-soul while drawing heavily on Marvin’s influence. Gritty, emotional, and engaging, though some might find it uneven in spots.

Avant: Private Room

Avant debuted with “Separated” in 2000 after it became a local Chicago hit and was then picked up by Magic Johnson’s label. The producer, Steve Huff, had played bass on the Pissy Piper’s second album, and engineer Peter Mokran also mixed several of his projects. Unsurprisingly, Avant’s music bears similarities to that man. On this third album, in the track “Heaven,” he doesn’t sample Marvin’s “Sexual Healing” in a cheap way; instead, he references it via whispered vocals and a breezy approach in the chorus, showing respect for the legend. One of Avant’s strengths is that his voice is so precise—each note is polished like a synthesizer, yet he can pour on the emotion when needed. On “Don’t Take Your Love Away,” featuring Tom-Tom Washington’s string arrangement, his soulful style would satisfy even old-school R&B fans. He’s a prolific songwriter, too, with consistently high standards. — P

Rating: ★★★★☆ (4/5)
Solid mainstream R&B with respectful nods to Marvin Gaye. Strong vocals, polished production, and no major weak points—though it’s perhaps a bit derivative of the Pissy Piper at times.

Carl Thomas: Let’s Talk About It

Carl Thomas drew attention as a classic soul singer coming out of Puff Daddy’s Bad Boy label (he was previously part of a mid-’90s group called Formula). He really made a splash with “I Wish” (produced by Mike City) around 1999–2000. This second album, riding the wave of the “Chicago Renaissance,” highlights his love of Marvin Gaye even more than his debut. Recall that Carl famously sang “If I Should Die Tonight” on Puff Daddy’s ’97 release. The track “Anything,” seemingly guided by Tyshane, pays homage to Marvin, while “She Is,” featuring LL Cool J and sampling Surface’s “Happy,” and the authentic soul of “A Promise,” produced by Stevie J, show that Bad Boy can still deliver “soul with integrity.” The steamy love song “The Baby Maker,” which sounds like Marvin Gaye meeting late ’70s/early ’80s Chicago soul, is definitely the album’s highlight. — P

Rating: ★★★★☆ (4/5)
A wonderful follow-up that solidifies Carl Thomas’s soulful credentials. Rich arrangements, strong vocals, and a few true standouts.

Brian McKnight: Gemini

Brian McKnight is often seen as a Stevie Wonder disciple, not only for the way he twists vocal lines but also for his clever, sometimes forceful songwriting choices. On this album, you can really hear it on singles like “What We Do Here” or the jazzy “Your Song.” But in addition to Stevie, his music has a healthy dose of Marvin Gaye. Whenever he’s pleading for his lover’s affection—a heartbreaking romantic sentiment—he channels Marvin’s falsetto. “Come Back” feels like he’s taken Marvin’s “I Want You” vibe and made it his own, a mid-tempo track brimming with heartache. Once you hear that, you notice Marvin’s ghost in the background falsetto of “Here With You” as well. Another standout, “Everything I Do,” leans more Prince-like in its falsetto and is equally great. For a pure combination of Stevie and Marvin influences, check out “Find Myself In You” from his 2006 album Ten. — B.O.

Rating: ★★★★☆ (4/5)
A solid demonstration of Brian’s gift for weaving Stevie and Marvin influences into his own style. Expertly sung, with several top-tier slow jams.

Joe: Signature

I started seeing Marvin Gaye in Joe’s music around Better Days. The track “Let’s Stay Home Tonight” from that album perfectly captured a Marvin-like style, making me certain he was aiming in that direction. This release, his second on Kedar Massenburg’s label after leaving a major, is largely self-written and self-produced, revealing his “true self.” It also fits this book’s theme thanks to the high ratio of live instrumentation that suits Kedar’s preferences. Above all, there’s “Come Get to This”—the famous shuffle track from Let’s Get It On—which Joe covers from the intro shouts all the way to the ending falsetto, fully honoring Marvin’s legacy. Notably, he masters Marvin’s chest voice here, which is rare. Even on his own compositions, you can feel Marvin smiling in the background of Joe’s warm vocals. — B.O.

Rating: ★★★★☆ (4/5)
Joe’s soulful depth and willingness to cover Marvin so meticulously make this a must-hear. It’s authentic, well-produced, and personal.

Will Downing: All the Man You Need

Will Downing has been a powerhouse balladeer since the late ’80s, bridging R&B and smooth jazz with his resonant baritone. Early on, people pegged him as a “post–Luther Vandross.” Since Luther’s passing, he’s seemingly embraced that role more consciously. Yet he doesn’t hide his love of Marvin Gaye either. He covered “You Sure Love to Ball” on Marvin Is 60, and as a follow-up, he released this album under Kedar Massenburg’s Motown. Three of its tracks are produced by James Poyser and backed by Soultronics (Questlove, Pino Palladino, etc.). Unsurprisingly, their cover of Bill Withers’s “Grandma’s Hands” is a perfect fit, and “Tired Melody,” featuring Nicholas Payton, drives home a D’Angelo-like organic groove. Overall, it’s a project that blends tradition and modern soul with Will’s trademark vocal warmth. — P

Rating: ★★★★☆ (4/5)
Polished, heartfelt, and full of respect for classic soul traditions. Will Downing’s baritone plus the Soulquarians band is a winning combination.

Kem: Intimacy — Album III

After scoring a hit in 2005 with “I Can’t Stop Loving You,” Kem became the marquee act on today’s Motown. He champions the power of simplicity, singing an urban-soul style akin to Maze or Anita Baker’s quiet storm approach. Though born in Nashville, he’s rooted in Detroit, speaking for the inner city with a compassionate perspective drawn from his own experiences of homelessness and alcoholism. On this third album, the pre-release single “Why Would You Stay” features the late David Van DePitte, who did orchestral arrangements on Marvin Gaye’s What’s Going On, thus declaring Kem’s Motown/Detroit pride. Along with acoustic ballads like “Share My Life” and “You’re On My Mind,” the album is packed with excellent songs, including a guest appearance by Jill Scott. His voice may be slightly reedy like Al Jarreau, but when he really digs in, it’s eerily intense. — P

Rating: ★★★★½ (4.5/5)
A mature, deeply felt album that weaves Kem’s personal story into classic Motown arrangements. Soulful, stirring, and consistent.

Remy Shand: The Way I Feel

Known as championing a neo-classic style of self-produced blue-eyed soul, Remy Shand emerged from Motown under Kedar Massenburg. He started playing bass out of admiration for Jaco Pastorius, then picked up keys, guitar, sax, and more. Before signing with Motown, he’d nearly finished this album on his own in his bedroom. He plays over 15 instruments here, spotlighting the Rhodes and Wurlitzer electric pianos to evoke a ‘70s soul mood. His naïve but sturdy falsetto weaves into multi-layered vocals; listen to “The Second One” as a prime example of his Marvin Gaye inspirations (particularly the Here, My Dear era). On “Rocksteady,” he emulates a Hi Records vibe, channeling Al Green. Remarkably, he was only in his early twenties at the time and drew comparisons to Maxwell and D’Angelo. He resumed activity in 2013 and has since released new material. — B.O.

Rating: ★★★★½ (4.5/5)
A hidden gem of early-2000s neo-soul that impresses with its DIY virtuosity and clear homage to Marvin’s legacy. Still sounds fresh.

Geoffrey Williams: The Drop

A London-born singer-songwriter who once even contributed to Michael Jackson’s songwriting, Geoffrey Williams started early. He debuted in 1988, releasing albums in both the US and the UK. He also appeared on the Beverly Hills, 90210 soundtrack, so he’s hardly an unknown figure. His deep love for classic soul, characteristic of many UK artists, shone through on that soundtrack tune. But this fourth album, seemingly spurred by the success of Eric Benét and Lynden David Hall, is outstanding. The opener, “Sex Life,” is terrific—an homage to Marvin Gaye’s “Let’s Get It On” in theme, groove, and even phrasing, while creating an organic sound via airy electric piano and laid-back drums. Jeffrey does use falsetto, but his chest voice is equally impressive. He also writes strong pop-ish melodies. His 2008 project on Oyster and a 2012 Bandcamp release are also worth exploring. — B.O.

Rating: ★★★★☆ (4/5)
A superb slice of UK soul that blends pop sensibilities with a clear Marvin influence. Under-the-radar but highly enjoyable.

Marlon Saunders: Enter My Mind

A Berklee College of Music graduate singer-songwriter isn’t rare, but Marlon Saunders also served as the lead vocalist of the New York acid-jazz band The Jazzhole, performed in the four-member group Sepia (who released the album Absence of Painin ’96), and even sang with Bobby McFerrin’s Voicestra—a very impressive résumé. Though he’s supported mainly in the neo-soul scene, this indie-released solo debut reflects his extensive background, presenting a romantic sound akin to Marvin Gaye while focusing on the warmth of real instruments like Rhodes piano. “For Love” epitomizes his style, and “The Beginning or Never” attracted notice after being included in a compilation. His vocals, able to freely jump up to five notes in falsetto, are on full display. In “Afro Blue My Mind,” he reveals his credentials as a child of the ‘70s soul era. — P

Rating: ★★★½☆ (3.5/5)
Impressive credentials and real musicianship shine through, though it’s a bit niche. Still, for neo-soul devotees, it’s a rewarding listen.

Chris Turner: Lovelife Is a Challenge

Chris Turner attended The New School in New York alongside Jesse Boykins III, joining Jesse’s “Romantic Movement.” Born in 1984, this “new generation of neo-soul” artist was deeply influenced by D’Angelo and Bilal, bridging into jazz through EPs like The Monk Tape and collaborations with Jamire Williams’s ERIMAJ. His first full-length album (based on a mixtape he offered for free in December 2012) includes covers such as Stevie Wonder’s “Seems So Long” and Sade’s “Kiss of Life,” wrapping up many of his musical experiences so far. His vocals glide between a seductive falsetto and a mellow, psychedelic sound reminiscent of Prince, while his vulnerable, love-seeking vibe recalls Marvin Gaye. With production help from Philly’s Steve McKie (thanks to the Bilal connection), the blissful breakout track “Liquid LOVE” drew comparisons to D’Angelo in his absence. — B.O.

Rating: ★★★★☆ (4/5)
A confident, genre-blending debut showcasing strong falsetto, Prince-like psychedelia, and Marvin-esque emotional depth. Occasionally rough around the edges, but brimming with potential.

Darien Brockington: Somebody to Love

Thanks to a strong bond with his college friend Phonte Coleman, Darien Brockington has contributed vocals to Little Brother (LB) and The Foreign Exchange (FE). After developing through LB’s Justus League and Hall of Justus, he put out his debut album. “Think It Over,” produced by 9th Wonder, leads the set—hip-hop-based tracks over which he lays a soulful vocal reminiscent of John Legend, bridging mainstream R&B and neo-soul. The melancholic mood running throughout the record recalls Marvin Gaye in the ’70s, while he’s comparable to Raheem DeVaughn in the modern landscape. From a neo-soul perspective, “He Will Break Your Heart,” produced by Symbolyc One (S1), and “Can We Fall in Love Again,” produced by Vitamin D, are outstanding. Fellow FE vocalist YahZarah also appears. — P

Rating: ★★★★☆ (4/5)
A strong introduction mixing hip-hop beats and classic soul feeling. The Marvin-like melancholy resonates, and the cameo by YahZarah adds extra sparkle.

Jaheim: Still Ghetto

This is essentially a follow-up to his debut, which wore his New Jersey ghetto roots proudly in the title. Jaheim rose to fame as a Luther Vandross disciple, having once said he studied Luther’s style nonstop. He even won an amateur contest at the Apollo with Luther’s “A House Is Not a Home.” While his belted-out chest voice sometimes channels Teddy Pendergrass, he’s self-described as influenced by Marvin Gaye and Sam Cooke, so we’ll place him in this Marvin-adjacent group. His silky, unassuming vocals also carry a certain toughness that befits someone who can speak about gritty realities. This album’s production draws heavily on ’70s soul classics for its samples—like Harold Melvin & The Blue Notes’ “Wake Up Everybody”—yet it never falls into a lazy “groove-only” approach. Instead, it pushes real soul front and center. His duet with Mary J. Blige is stunning. — P

Rating: ★★★★☆ (4/5)
A warm, heartfelt R&B album that balances gritty authenticity with classic soul stylings. Jaheim’s vocals shine, even if the retro production can feel a tad familiar.

Montell Jordan: Let’s Ride

Montell Jordan’s third album follows his breakout hip-hop-soul hit “This Is How We Do It,” which sampled Slick Rick’s “Children’s Story.” A devoted fan of Marvin Gaye, Montell contributed a cover of “I Want You” to the tribute album Marvin Is 60. Here, he samples the same track again for “When You Get Home,” a textbook example of ’90s-style hip-hop soul. While it continues the mellow vibes of Leon Ware & Marvin, the hard-hitting beats give it a sharp ’90s edge, making it more satisfying than his direct cover version. Montell co-wrote the track with Sisqó’s frequent collaborator, Jonnie “Most” Davis (later involved in Deborah Cox’s “Nobody’s Supposed to Be Here”). The album is surprisingly diverse, spanning disco touches referencing Denroy Morgan’s “I’ll Do Anything For You” to gospel influences. The Master P–featured title track with its pounding beat remains striking even today. — P

Rating: ★★★½☆ (3.5/5)
A fun, era-specific blend of hip-hop soul and ’70s references. Not as cohesive as his debut, but it boasts several standout moments.

Avila Brothers: The Mood — Soundsational

Bobby Ross Avila and IZ Avila are brothers who’ve long been protégés under Jimmy Jam & Terry Lewis at Flyte Tyme. They’ve produced for Usher, Janet Jackson, Anthony Hamilton, Booker T. Jones, Charlie Wilson, and more. With their Hispanic roots, they infuse a sincere appreciation for Black music’s tradition into a modern approach—striking a great balance between old-school soul manners and fresh innovation. On this leader album, created with help from mentors like Big Jim Wright, they display remarkable talent and a unique sensibility. Bobby—who released a solo album under Perspective in ’93—steps up with sweet, mellow vocals. The dreamy soul track “I Want You,” inspired by Marvin Gaye’s song title, and “Smile,” featuring Little Brother, highlight their buoyant mid-tempo beats, hallmark of their style. “Love’s Mystery,” a duet with Sherree (reminiscent of Stevie Wonder’s “I Love Every Little Thing About You”), is also a killer tune. — B.O.

Rating: ★★★★☆ (4/5)
Expertly crafted modern soul from seasoned producers. It’s a bit under-the-radar, but the synergy of classic influences and fresh perspective truly shines.

Christión: Ghetto Cyrano

This Oakland-based male duo was the first R&B act signed to JAY-Z’s Roc-A-Fella label, presumably hoping to ride the wave of “new classic soul.” But they pushed a gritty street edge that might have backfired commercially, as they never achieved big success. That said, in retrospect, they’re a rare and interesting group. On “Full Of Smoke,” they overlay a track based on Marvin Gaye’s “Trouble Man” with a Marvin-inspired falsetto that narrates a hustler’s life. “Aftermath” borrows the strings from “I Want You” to lament war and corruption. Aside from a cover of Rose Royce’s “I Wanna Get Next to You,” they wrote all their own tracks, most of which reflect Marvin’s influence and frequent falsetto use. The romantic “Come to Me” hints at a direction they might have capitalized on further. They did release one more album with a different style. Member Allen Anthony continues solo work. — P

Rating: ★★★★☆ (4/5)
A fascinating, underappreciated gem with heavy Marvin Gaye vibes. The raw street aspect plus falsetto-driven soul might feel uneven, but it’s a unique slice of 1990s R&B.