The Lineage of Prince
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 Prince.
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.
Often unleashing avant-garde sounds—shredding distorted guitars and shouting—Prince has been seen as something of an outlier in the R&B world. Because his influences aren’t strictly limited to Black music, his eclecticism sometimes earns him praise from what might be called a more “rock-oriented” perspective. Nevertheless, his funk and stage presence undeniably carries the spirit of James Brown, and many points suggest that his music is also built upon the foundation laid by JB’s successors, such as Sly & the Family Stone and P-Funk.
In other words, one could say he serves as a bridge, passing on the achievements of these legendary funk masters to many R&B acts—starting with self-professed Prince fanatic D’Angelo. Born in 1958 in Minneapolis, Minnesota, Prince topped the U.S. charts with Purple Rain and, throughout the 1980s, continued to produce a series of forward-thinking albums like Parade and Sign O’ the Times. It’s only natural that the generation hitting adolescence during that period, witnessing his success, would grow to revere him. The influence most visibly taken up by those singers is his use of falsetto—both in his lead vocals and in the way he layers his harmonies. For instance, the intricately overdubbed harmonies first heard on “I Feel for You” were carried on by D’Angelo and a wide array of other vocalists.
Additionally, the wild, unrestrained falsetto and falsetto shouts on “Do Me, Baby”—a song that later drew attention via Melissa Morgan’s cover—expanded the concept of falsetto in soul, which had traditionally emphasized smoothness. This had a major impact on D’Angelo’s vocal style, to the point that “Untitled (How Does It Feel)” partly took its cue from that approach.
Meanwhile, thanks in part to the work of Jam & Lewis of The Time, the Minneapolis sound forged by Prince and his camp influenced the R&B scene for many years. Then, around the mid-2000s, a more micro-level trend emerged: Prince’s 1980s rhythm production—bursting with his innovative ideas and the impact of treating the Linn drum machine not merely as a substitute for live drums but as a new instrument—once again found itself in the spotlight, and new music referencing that style began to crop up. What was once considered iconoclastic about Prince’s vocals and sound is now cherished as classic, and yet it still remains vivid even today.
Prince: The Rainbow Children
Although Prince, known for how his 1980s works influenced a new generation of artists, remained a major force, D’Angelo arrived on the scene! By the mid-‘90s, Prince—still radiating his trademark individuality and charisma—found himself increasingly taking cues from the music and movements of younger artists. His first release of the 21st century made that especially clear. It opens with a long track reminiscent of 1970s avant-garde jazz, unfolding in a manner that evokes live improvisation. Packed with spiritual, message-driven songs, the overall sound feels inspired by the neo-soul wave that followed D’Angelo’s rise. Indicative of that, the mellow tune “Mellow” name-checks Macy Gray and Common in its lyrics, while the funky “Family Name” closes with a sample of Martin Luther King Jr.’s speech. Drummer John Blackwell (who played with Cameo and later in NPG) would go on to tour with D’Angelo’s band, The Vanguard. — P
Rating: ★★★★½ (4.5/5)
A bold step forward that channels jazz-inflected improvisation into Prince’s evolving neo-soul leanings. While it might not have the immediate pop catchiness of his classic ’80s records, it’s richly layered and forward-thinking. The spiritual depth and inventive arrangements show Prince adapting and thriving in a post-D’Angelo landscape.
Lynden David Hall: Medicine 4 My Pain
Lynden David Hall was a London native born to Caribbean immigrants who immersed himself in the soul and funk of Prince, Sly Stone, Al Green, and the Ohio Players, later diving into hip-hop in the late ‘80s and exploring jazz greats like Miles Davis—essentially mirroring D’Angelo’s musical journey. Thus, it’s hardly surprising that Lynden’s work echoes D’Angelo’s sound. Beyond having a similar vocal quality to Prince, he also employs Prince-influenced falsetto voicings and even uses Bob Power (associated with Brown Sugar) for parts of his production. But Lynden remains distinctive through straightforward, pop-oriented songs like “Jennifer Smiles,” which uses a Curtis Mayfield–style falsetto to convey unfiltered romantic sincerity. Personally, I have a high regard for his songwriting. He released two more albums, both solid efforts; his third album came out in 2005, created during his battle with illness. Sadly, he passed away the following year. — B.O.
Rating: ★★★★½ (4.5/5)
A soulful blend of classic funk foundations and contemporary R&B styling, with thoughtful songwriting at its core. Lynden’s Prince-like falsettos and melodic choices add a layer of familiarity, yet he carves out a unique warmth. Though he never fully broke into the mainstream, his catalog remains a must-listen for fans of neo-soul’s golden era.
Bilal: A Love Surreal
With moaning, almost agonized vocals and a distorted, psychedelic sound, Bilal turned heads from the moment he debuted with 1st Born Second (2001). Many saw him as a self-absorbed mad genius akin to Prince. Working with the Soulquarians but refusing to be boxed in, he became something of a “brother” to D’Angelo—a fellow musical maverick. This album, inspired by Salvador Dalí’s surrealism and employing a punk-rock approach, follows the experimental path of his previous release on Plug Research. Collaborators include fellow Philadelphians like Steve McKie and Shafiq Husayn of Sa-Ra. A highlight is a reworked version of “Never Be the Same” (originally provided to Joy Denalane). Across the album, Bilal conjures a decadent, edgy world reminiscent of Sly Stone, P-Funk, and Miles Davis. Robert Glasper, Bilal’s friend from The New School, contributes quietly compelling piano that ups the avant-garde vibe. Newcomer trio KING also appears. — B.O.
Rating: ★★★★½ (4.5/5)
An ambitious fusion of surreal funk, soul, and punk-edged production. Bilal’s willingness to push sonic boundaries is exhilarating, though it occasionally drifts into disarray. That experimental streak is also its charm—this is soul music designed to jolt listeners out of complacency.
The Original 7ven: Condensate
They’d already reunited a couple of times, but no one really expected a brand-new release. Yet, 21 years after Pandemonium, the band formerly known as The Time did it again. All original members are on board, with the only difference being Prince’s lack of involvement. Even so, their musical style has barely changed. In other words, the wacky, playful brand of Prince-derived funk that defined The Time is back. There’s a strong sense of continuity from the previous album: “Sick,” featuring Jesse Johnson’s fiery guitar, feels like a sequel to “Skillet”; the upbeat Minneapolis synths of “Strawberry Lake” echo “My Summertime Thang”; and “If I Was Yo Man” borrows its drum pattern from “Jerk Out.” Although there’s hardly anything “new” here, it’s still remarkably enticing—proof of how solid their original formula was. Rarely do rock and funk come together so joyously. — P
Rating: ★★★★½ (4.5/5)
A triumphant comeback that captures The Time’s classic party-funk essence. The slight nostalgia factor is overshadowed by how genuinely fun and tight this album sounds, reaffirming why their brand of Minneapolis funk remains irresistible.
Jesse Boykins III: The Beauty Created
Seeing him live was like watching a “wildly dancing Maxwell.” Jesse Boykins III met Robert Glasper and Bilal while studying at The New School in NYC and was part of the art collective The Romantic Movement with Chris Turner. Collaborating with mentors like Steve McKie—who also worked with Bilal—he completed his first full-length album, which oozes Prince-tinged romanticism and the sensual fervor you’d expect from Marvin Gaye. Tracks like “Pantyhose,” which throbs with a heady, borderline-obsessive vibe, and “Connected,” featuring Theophilus London, showcase how comfortably his style blends into a dreamy, funky groove. He would go on to release material through Ninja Tune, collaborate with Meshell Ndegeocello, and drop a second album with Machinedrum. However, from a mainstream R&B perspective, he might have veered too far into experimental territory. — B.O.
Rating: ★★★★☆ (4/5)
A strikingly adventurous take on neo-soul, marrying sweaty dance-floor passion with artsy production choices. While the offbeat aesthetic may not be for everyone, it displays a bold creative spirit worth celebrating—and positions him as a compelling outlier in contemporary R&B.
Van Hunt: Van Hunt
Among the works featured here, this one may be the closest in feel to D’Angelo’s Black Messiah. The track “Hello, Goodbye” could almost be mistaken for one of D’Angelo’s own new tunes. Before his debut, Van Hunt injected funk into Glenn Lewis’s second album, co-wrote “Hopeless” for Dionne Farris—a folky, gorgeous track—and more. A multi-instrumentalist who handles drums, bass, guitar, and keys, Van Hunt packs this record with extended rock-funk flavors and especially forceful, driving bass lines that bring Black Messiah to mind. Add to that Prince’s influence, obvious from featuring Wendy (of Wendy & Lisa), plus roots in Sly Stone, Curtis Mayfield, and the Isley Brothers. His second album is equally impressive. — P
Rating: ★★★★★ (5/5)
A powerhouse debut that fuses rock, funk, and soul with fearless precision. Van Hunt’s deep, gritty bass lines and eclectic influences create something classic and groundbreaking. Anyone craving Voodoo- or Black Messiah-era D’Angelo vibes will find an essential listen here.
Rahbi: Raw Live
Rahbi cites not only Prince and Michael Jackson but also David Bowie as inspirations—a self-proclaimed “glam-soul” oddball from Atlanta. At age 14, he signed with LaFace as part of a group called 4th Avenue, later touring as a backup singer for Donny Hathaway. He’s been praised by Erykah Badu and Janelle Monáe, and released singles produced by PJ Morton, earning him acclaim in the industry despite remaining indie. This live-recorded album, his first full release, is brimming with a Prince-like flair, while his adolescent-sounding voice at times recalls Rahsaan Patterson. He covers the Eurythmics-inspired “Bitter Sweet Dreams,” then slides into an ’80s-style medley that includes Rick James’s “Give It to Me Baby.” He even channels Donny Hathaway on “Giving Up,” presumably referencing Hathaway’s version. It’s a dazzling performance all around. — B.O.
Rating: ★★★★☆ (4/5)
An energetic, wide-ranging live album that blends 1980s funk nostalgia, glam-rock theatrics, and raw R&B. Although derivative at moments, his passion and vocal talent shine through, making it an enjoyable, theatrical ride that’s admirably unafraid to show its influences.
Jack Knight: Gypsy Blues
There’s a falsetto on “Do What U Wanna Do” that’s not too far off from Curtis Mayfield, and “The Cross” features a guitar reminiscent of Ernie Isley—clearly Jack Knight draws on many legends. Prince remains the most obvious reference; in fact, there’s a straight-up cover of The Time’s “Gigolos Get Lonely Too.” Though initially celebrated as having a style similar to D’Angelo’s, his music doesn’t lean heavily into neo-soul. Instead, it feels more like a mainstream R&B approach playing around with off-kilter beats (like “Who Do You Love,” produced by Ral Camma). Sadly, it failed to connect widely with audiences, so he returned to working behind the scenes. — P
Rating: ★★★½☆ (3.5/5)
A pleasant, if somewhat uneven. The artist’s falsetto and nods to funk heroes spark moments of genuine intrigue, yet the project never fully gels into its own identity. Worth a listen for enthusiasts of early-2000s R&B, but it may leave you wanting something more distinctive.
Miguel: Kaleidoscope Dream
A Californian singer-songwriter of Mexican descent, Miguel has worked on tracks with Blu & Exile, but in R&B circles, he’s better known for penning tunes for Musiq Soulchild, Mary J. Blige, and others—and for his mid-2000s indie debut shepherded by No I.D. Though his major-label debut made waves, it was his sophomore effort—featuring the smash “Adorn,” often called a modern “Sexual Healing”—that ignited massive popularity during the ambient R&B boom. Influenced by Prince and Donny Hathaway, he melds a rock edge with the sweetness of soul, exploring themes of lust and longing through ballads and funk alike. The Salaam Remi–produced “How Many Drinks?” unabashedly channels Prince’s style, falsetto included. Alicia Keys also appears on the album. — P
Rating: ★★★★★ (5/5)
A pivotal album that helped usher in a new wave of smooth, sensual R&B. The core track, “Adorn,” is a certified classic, but the rest of the album maintains that heady mix of rock-tinged production and sultry neo-soul. This project balances commercial appeal with real depth.
Frank Ocean: channel ORANGE
Frank Ocean rose to fame with the mixtape nostalgia, ULTRA, and this debut album promptly won a Grammy for Best Urban Contemporary Album, propelling him into the upper echelons of modern music. Coming out as gay in a hip-hop culture often hostile to the LGBTQ community, he symbolizes a new era. The album famously opens with sounds from a well-known PlayStation fighting game, setting a nostalgic-yet-fresh tone. He offers thoughtful, personal lyrics over diverse tracks that refuse to be bound by tradition. Vocally, he merges Prince-esque spoken elements with falsetto flourishes for a distinctly 21st-century approach. You’ll find a neo-soul feel on “Sweet Life,” along with a funkier cut in “Monks,” though nothing ever goes into full-blown vocal heroics; a certain cool detachment underscores a sense of loneliness, which might be part of his allure. — P
Rating: ★★★★★ (5/5)
An understated masterpiece that changed the face of contemporary R&B. His confessional lyrics and mellow approach create a quietly revolutionary mood, showing how emotional depth and subtle experimentation can resonate strongly. A defining record of the 2010s.
Janelle Monáe: The Electric Lady
Inspired by the classic sci-fi film Metropolis, this is the third installment of a grand experimental suite depicting the future through the eyes of an android. Vocally, Janelle Monáe’s more or less in the lineage of Ella Fitzgerald–style jazz singing and gospel, which sounds traditional enough—until they feature their mentor, Prince, delivering a trademark shriek that shows they’re anything but ordinary. “Primetime,” their duet with Miguel layered in deep reverb, clearly draws from Prince. The album’s sound appears retro yet futuristic, making it obvious this “android” has a thoroughly human soul. There’s a go-go-driven collab with Solange and a cover reminiscent of Stevie Wonder’s writing for Michael Jackson’s “I Can’t Help It,” plus Esperanza Spalding appears as well. Chock-full of references to the past, it’s a richly musical triumph—perfect for the album’s high-concept premise. — B.O.
Rating: ★★★★★ (5/5)
A bold, theatrical, and thematically cohesive body of work that fuses funk, soul, and sci-fi concept rock. Their nods to Prince and other legends never feel derivative—they amplify their own futuristic vision. A modern classic in the realm of “concept albums.”
Daley: Days + Nights
Daley’s youthful voice sometimes recalls El DeBarge, and you’ll occasionally think of Maxwell. The Pharrell-produced “Look Up” hints at Marvin Gaye in its songwriting, though the artist insists Prince is his greatest influence. Whether or not this debut—half of it co-written by others—fully conveys that Prince-like freedom is debatable. Still, he seems to have extracted a pure soul essence from Prince’s vast musical palette. Growing up in the UK in the ’90s, he took in the likes of Mica Paris and George Michael and, by extension, absorbed the same soul roots they did. The grand ballad “Love + Affection” reveals a distinctly British pop sensibility. Overall, it feels like a retro-futuristic soul affair with an ambient sheen. The duet with Marsha Ambrosius, “Alone Together,” flows seamlessly into the crisp midtempo “Pass It On,” which is a superb sequence. — B.O.
Rating: ★★★★☆ (4/5)
An impressive debut that merges laid-back British pop-soul with hints of Prince-inspired falsetto. Its occasional moments of outside songwriting keep it from reaching full artistic uniqueness, but it’s a warm, inviting listen that bodes well for the artist’s continued growth.
Rachid: Prototype
After D’Angelo appeared, music critics sometimes labeled boundary-defying R&B singers as “alternative R&B,” Rachid perfectly fits that mold. While he is the son of Ronald Bell from Kool & the Gang, he never relied on family fame. Instead, with help from Carl Sturken and Evan Rogers (who would later help make Rihanna a star), he forged a path that includes drum ’n’ bass–style tracks (the intro to “Charade” recalls “Summer Madness”) and noisy rock elements, all delivered with a slightly Prince-like swagger—thanks in part to his sinuous vocals. On the R&B side, “Ghostcalling,” produced by Hakeem (from Boyz II Men?), channels that post-D’Angelo groove, and the slow jam “The One to Destroy Me,” co-produced by Jamie Jazz, intriguingly sounds like a merge with Rahsaan Patterson. His gospel-honed voice can soar with power and intensity. — P
Rating: ★★★★☆ (4/5)
A free-spirited, genre-blending project that balances Prince-style funk-rock riffs with a gospel-soul foundation. It sometimes feels a bit scattered, but the creativity is refreshing. He’s at his best letting that powerful vocal shine through the offbeat arrangements.
G’Beau: The Tears
“Ghetto Paparazzi,” the opener, has a distinct D’Angelo feel that’ll make you smile. This track kicks off an organic R&B album that sounds like it’s been transported from the early “new classic soul” era right after Brown Sugar. Based in Minneapolis, G’Beau fronts what is effectively a band project, with contributions from Sonny Thompson (bass/guitar) and Michael Bland (drums) of Prince’s NPG, plus local horn players. He sings while handling keys, organ, and guitar. Is he responding to D’Angelo—himself influenced by Prince—by enlisting Prince’s ex–band members? Songs like the sweet, falsetto-driven “Taboo” bring to mind Mint Condition’s Stokley. Even covers of The Beatles and Billy Joel get a neo-soul twist. — B.O.
Rating: ★★★★½ (4.5/5)
A delight for fans of live-sounding neo-soul with a Prince-inspired Minneapolis touch. Backed by seasoned players, the album’s warm production and fluid musicianship offer a cohesive, groove-rich experience. A hidden gem for those who love organically crafted R&B.
Ginuwine: Ginuwine… The Bachelor
Lately, Ginuwine’s been in the spotlight as part of TGT alongside Tyrese and Tank with R&B Forever Tour. But his debut album was a major game-changer—along with Aaliyah’s One in a Million—for producer Timbaland’s trademark style. Back then, Timbaland’s off-kilter beats were seen as the polar opposite of the new-classic soul popularized by D’Angelo, epitomized by the groundbreaking single “Pony.” Yet, listening nearly two decades later, “Pony” registers as more of a straightforward R&B song than one might remember—maybe our ears evolved. As a singer, he remains a proud devotee of classic R&B while exuding a subtle aura of strangeness. He even covered Prince’s “When Doves Cry.” At his core, he shares D’Angelo’s roots. — P
Rating: ★★★★☆ (4/5)
A pioneering R&B album that changed the game with Timbaland’s futuristic production. Despite the initially jarring beats, the vocals stay grounded in a classic, heartfelt style. “Pony” remains iconic, and the entire project still feels innovative even after all these years.
The-Dream: Love King
The-Dream gained fame by co-writing “Umbrella,” the song that cemented Rihanna’s stardom and debuted as a solo artist in 2007. His style melds pop melodies driven by persistent hooks, a speak-singing vocal approach, and the 1980s Prince influence he grew up with. On this third album, he models himself on Prince’s drum-machine mastery from 1999 and Purple Rain, conjuring “Yamaha,” a track whole of lo-fi, aggressively novel drum patterns. Immediately after, he launches into “Nikki Part 2,” presumably a letter to his wife Nivea but also a playful nod to Prince’s “Darling Nikki.” Different as he may be from D’Angelo, he’s undeniably another Prince disciple. — B.O.
Rating: ★★★★½ (4.5/5)
A punchy, modern R&B project that showcases his knack for tight, hooky songwriting combined with bold, Prince-inspired production. It doesn’t always hit the transcendent heights of the Purple One, but the rhythmic creativity and fearless nods to ’80s funk make it a standout in his discography.
Yahzarah: The Ballad of St. James
Yahzarah’s the vocalist for The Foreign Exchange, hailing from Washington, D.C.—and also performed with Erykah Badu (you can spot her in yellow in the “Bag Lady” video). Her 2001 debut, Hear Me, was raw neo-soul steeped in jazzy and funky darkness. In this second full-length—supported by Foreign Exchange’s Phonte and Nicolay—she mixes it up: “Why Dontcha Call Me No More” barrels forward in an ’80s synth-pop style, while her cover of Stevie Wonder’s “Come Back as a Flower” highlights her gentle vocal tone. On the Steve McKie–produced “Starship,” she conjures the same Prince-like vibe found in Bilal’s work. The album title references her alternate persona, Purple St. James, and in live shows she’d often cover Prince’s “Purple Rain.” Appropriately, the vinyl pressing of this record is on purple wax. — B.O.
Rating: ★★★★☆ (4/5)
A versatile neo-soul excursion that balances throwback synth-pop, jazzy covers, and Prince-inspired flourishes. The stylistic leaps sometimes feel abrupt, but her rich vocals tie it together. Fans of The Foreign Exchange and modern soul will find plenty to love here.
Tonéx: Unspoken
Tonéx’s beyond merely “influenced by” Prince—he’s every bit as eccentric. A gospel artist by background, he leaps outside that framework with remarkable ease, embracing R&B, hip-hop, funk, rock, and more, all under his own artistic control. From writing and arrangement to production, it’s all him. The track “Bring,” with its clattering, old-school funk–style breakbeats, sees him firing off rap-like vocals in quick succession; “Joy” uses layered vocal samples (all himself) to form a riveting track reminiscent of the jolt you’d get from Prince’s Parade. He’s a standout vocalist, capable of Prince-like falsettos and breathtaking screams when carried away. The multi-tracked harmonies might surpass even Prince in sheer density. After this album, he changed his stage name to B. Slade and has been churning out secular music online at a staggering pace. — B.O.
Rating: ★★★★★ (5/5)
A jaw-dropping display of unfiltered creativity that fearlessly melds gospel roots with boundary-breaking funk, rock, and R&B. His vocal wizardry and audacious production recall Prince’s wildest experiments. A truly essential listen for anyone craving innovative soul that transcends genre lines.
Liv Warfield: The Unexpected
A singer from Portland, Oregon, Liv Warfield released her debut, Embrace Me, in 2006. Featuring the renowned drummer Bernard Purdie, that album became a cult neo-soul favorite among discerning fans. Prince discovered her via YouTube, recruited her into the NPG, and then cut her long black hair for a platinum pixie look. Under Prince’s guidance, she produced and released this second album, centering on a fiercer brand of rock-soul and funk—quite a leap from her softer debut—reflecting her athletic physique and powerhouse vocals. Still, she includes passionate soul ballads, such as “Your Show” (co-written with Prince), “Stay,” and “Soul Lifted,” revealing both strength and tenderness. She’s reportedly related to the late comedian Richard Pryor. — P
Rating: ★★★★½ (4.5/5)
A commanding showcase of raw funk-rock energy and heartfelt balladry. While Prince’s influence is apparent, Warfield’s dynamic performance shines through on its own terms—an inspired evolution for a once-under-the-radar artist. The record’s mix of grit and grace is hard to resist.
DâM-FunK: Toeachizown
One might categorize him with Sly Stone and the like, but those acts mainly thrived as bands in the ’70s. By contrast, he zeroes in on the early-to-mid ’80s, staying devoted to vintage drum machines—a trait that defines his sound. Deeply enamored with the ’80s era of funk icons (including Prince up to Sign ‘O’ the Times), DâM-FunK has even made Prince-focused mixtapes and put out an EP featuring a cover of “17 Days.” On this album, he leads off with a funk track that strips the pop sheen away from “Delirious.” Hard-hitting drum programming and biting synths evoke Prince alongside the Fatback Band—his other big favorite. You might also hear echoes of The Controllers’ “Stay” or Zapp in the 808 and bass lines. The project is raw yet mellow, with instrumentals, and made with vintage gear for a no-frills vibe. A disciplined funk epic. — B.O.
Rating: ★★★★½ (4.5/5)
A deep dive into the essence of ’80s electro-funk, where minimalism, drum-machine grooves, and analog synth leads take center stage. Though it nods heavily to Prince, it’s also undeniably DâM-FunK’s own lane—hypnotic, sparse, and funky in the most authentic way.
This one was especially great. I read the introductions to each of the highlighted artists, and then the album reviews as I listen to the albums, so I don't overwhelm myself. Is the series as a whole complete? I keep scouring for more of these to read.
I love this series so much. I would’ve never connected Frank Ocean to Prince! Thanks for the new perspective!