The Lineage of Stevie Wonder
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 Stevie Wonder.
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.
When you compare vocals and melodies, it might seem they’re not that close to D’Angelo. However, D’Angelo once performed a medley-style cover together with Tony Rich (at the 1996 Grammy Awards), which suggests that Aaron Hall—recognized as Stevie’s successor as a singer—also occupies a heroic place for D’Angelo. In fact, it might be more peculiar to argue there was no influence at all.
Stevie Wonder (born in Michigan in 1950) debuted early. By the early ’60s, he was releasing records under Motown’s Tamla label as Little Stevie. Since then, for over six decades, he has continued as the face of Motown on the frontline, as is widely known. As a songwriter, he produced countless hits. In particular, during the ’70s, he released three highly praised albums in quick succession—Talking Book (1972), Innervisions (1973), and Fulfillingness’ First Finale (1974)—often referred to collectively as a trilogy.
The core of the vocal style inherited by those who follow Stevie is found in a fully stretched voice adorned with vibrant flourishes, twisting the melodies around. While the lower range occasionally recalls Donny Hathaway, once he races upward into higher notes, a bright and colorful tone rains down. That approach is exceptionally effective not only for ballads but also for funk, a fact supported by Charlie Wilson of the Gap Band alongside Stevie.
Stevie’s high regard comes not just from his vocals but also from his songwriting, which some call “divine.” Whether it’s the swirling synthesizer bass in “Too High,” or a ballad like “Overjoyed” that sounds enchanting at first listen, an unpredictable progression can only be described as distinctly Stevie. Rather than causing a breakdown, it holds together like magic and delivers striking pop appeal, gripping people’s hearts. He has produced a vast number of famous tracks, which artists of many genres sometimes pick up on their own. As a more coordinated release, Conception: Musical Tribute To Stevie Wonder (2003) came out on Motown—his longtime home label—and featured, among others, Angie Stone’s take on “You Will Know” and Glenn Lewis’s rendition of “Superstition.”
Stevie Wonder: A Time 2 Love
Stevie has often been called the prince of Motown, staying active especially after the 1990s. This album marked his first new material in five years. Although it features many guest musicians, it is also his first major project in about a decade, and the outstanding arrangements merge the traditions of 1960s R&B with collaborations involving more modern names like India.Arie. Standout tracks include “From the Bottom of My Heart,” a ballad, and “So What the Fuss,” featuring Prince, both of which feel like a renewed take on his revered ’70s output. Additionally, the duet “How Will I Know” with Jody and updated lyrics for “Sweetest Somebody I Know” adds fresh elements. Every recording is filled with Stevie’s signature glow and heartfelt approach, making this release a strong return after a lengthy gap since his previous work. — P
Rating: ★★★★☆ (4/5)
A lively blend of classic R&B influences and today’s collaboration style. It may not rival Stevie’s 1970s gems, but the energy and first-rate musicianship make it a worthwhile addition to his catalog.
Rahsaan Patterson: Rahsaan Patterson
Some may recall his talents from childhood performances, though he initially gained recognition as a background vocalist. Yet this self-titled release shows off the smooth and passionate side of Rahsaan Patterson’s singing, balancing a gently grooving funk element with free-flowing vocals that glide between mid-range richness and bright falsetto. The repertoire goes from mellow slow jams to more energetic cuts, reflecting the natural depth in Rahsaan’s voice. A few hip-hop touches and modern R&B accents keep the songs feeling up to date. For anyone who appreciates a memorably warm vocalist matched by refined production, this album confirms Rahsaan as a singer with plenty of expressive power. — B.O.
Rating: ★★★★☆ (4/5)
Its mix of soulful intimacy and understated funk is appealing, even if it doesn’t deliver a standout hit. The polished delivery and vocal command make it a solid listen for those seeking contemporary soul.
Eric Benét: Lost In Time
Eric Benét drew attention as a prominent figure in the new classic soul scene when he made his solo debut with 1996’s True to Myself. For this record, he turns back to the lush atmosphere of ’70s R&B, then adds a modern spin. The focus on organic, live instrumentation generates a warm mood. Tracks that recall the spirit of Al Green are interspersed with uptempo tunes and a collaboration with Faith Evans titled “Paid,” plus smoother cuts such as “Sometimes I Cry.” His extended vocal lines and detailed arrangements accentuate the soulful strengths of this album, offering proof of his range not just as a vocalist but also as a producer. — B.O.
Rating: ★★★★☆ (4/5)
Its retro-meets-modern approach is cohesive, and though a few songs might have been more daring, the inviting production and expressive singing show Eric’s confident musical direction.
Glenn Lewis: World Outside My Window
Hailing from Toronto, Glenn Lewis is the son of a singer with roots in classic soul groups. He made an impression in 1997 with “The Thing to Do,” then followed up with work such as “Groove Essentials.” His style has often been compared to Stevie Wonder’s ‘70s period, and that influence surfaces in both his phrasing and tone—his cover of “Living for the City” recalls the essence of that well-known classic. Meanwhile, “Don’t You Forget It” brings a melodic R&B flair updated for a more current audience. The production offers a blend of Stevie-inspired touches and a budding neo-soul foundation, with tracks like “Something to See” hinting at Glenn’s own unique vocal core. — P
Rating: ★★★½☆ (3.5/5)
Glenn’s resemblance to Stevie Wonder stands out, but he adds his personal stamp to each tune. Some parts feel less distinctive, yet his sincere singing suggests broader promise for the future.
Omar: Sing (If You Want It)
A major figure in connecting the UK soul with American influences, Omar enlists guests like Angie Stone, Common, and more. The album references Stevie Wonder’s “Feeling You” (from 2000) while spotlighting Omar’s distinctive melodic sense. Tracks such as “Be A Man,” “Gimme Sum,” and “Get It Together” reveal funk, jazz, and classic R&B facets. The variety underscores Omar’s wide reach and adaptability. — P
Rating: ★★★★☆ (4/5)
Inventive collaborations and a flexible vocal approach keep the record engaging. Some sections feel a bit scattered, but the creative approach remains strong.
Donell Jones: Where I Wanna Be
Influenced by Stevie Wonder, Donell Jones elevated his profile with this second album, which includes the hit single “U Know What’s Up.” The title track expresses heartbreak through a refined melodic approach, and mid-tempo offerings like “Shorty (Got Her Eyes On Me)” showcase sleek production. His songwriting is on display across the tracklist, delivering an understated yet radiant late-‘90s R&B tone. — P
Rating: ★★★★½ (4.5/5)
A polished and cohesive R&B record that remains influential. Memorable singles and smooth production contribute to its enduring popularity.
Musiq Soulchild: Aijuswanaseing
From Philadelphia’s neo-soul scene arrives Musiq Soulchild, whose debut Aijuswanaseing contains hits like “Just Friends (Sunny)” and “Love.” Merging gospel, R&B, and hip-hop, he delivers a conversational vocal style that quickly caught on. Partnerships with the duo Aaries and other local producers highlight a spare but effective sound. It is often noted for comfortable grooves and heartfelt themes. — B.O.
Rating: ★★★★☆ (4/5)
A hallmark of early-2000s neo-soul with smart songwriting and warm vocals. Nearly every track stands out, making it a genre classic.
PJ Morton: Walk Alone
Son of a minister, PJ Morton blends church-inspired sincerity with a current pop/R&B sensibility. On Walk Alone, his keyboard talents and ear for strong hooks shine, as heard on “Love You More.” Tracks like “Mountains and Molehills” reveal a thoughtful side. Before joining Maroon 5, he showed here that he could excel as both a performer and writer. — P
Rating: ★★★★½ (4.5/5)
A confident mix of gospel roots and contemporary R&B flair. The songs resonate with authenticity, setting the stage for Morton’s future success.
V: The Revelation Is Now Televised
Philadelphia‐based vocalist Bivhalvin Roberts, along with backing singers from Jill Scott’s circle, anchors this ensemble with a Philly soul choral quality. As if echoing Gil Scott‐Heron’s The Revolution Will Not Be Televised (‘74), the title here reflects the group’s strong musicianship, delivering vocal harmonies enriched by a neo‐soul touch from contributors like P. Smoove and Chad Brown (both associated with ATO), layered onto a fundamental gospel feel. The ballads are gentle yet sensitive, creating a tranquil mood. A funky highlight emerges with “This Is the Time,” built on a band sound bolstered by horn arrangements, while “Would U Be Mine?” conveys an easygoing organic quality reminiscent of Tony! Toni! Toné!. Everything concludes in a spiritual manner with the slow ballad “Born Again.” — B.O.
Rating: ★★★★☆ (4/5)
There is a rounded mix of neo‐soul and gospel textures, and the performances feel cohesive. More variation might have lifted certain moments further, but the vocal chemistry and solid songwriting offer plenty of appeal.
Javier: Javier
Although Javier shifted to an independent label, remembering that he was an active presence on the messenger scene suggests he reemerged after appearing on an audition show. Such career patterns pop up from time to time in the industry, but pairing grandiose R&B flourishes with a Derek Trucks Band‐type backdrop doesn’t mesh perfectly. The relatively airy neo‐soul and jazzy tone are kept in check, producing a safer brand of pop. The lead single “Crazy,” as well as the refinement heard in the deeper ballads, points to increased polish, but the tracks themselves come off as somewhat understated. Early ’90s Babyface‐style qualities surface in the keyboard ballads, and the soul approach in the higher registers recalls Stevie’s influence—enough to make one wish it soared further. — P
Rating: ★★★½☆ (3.5/5)
An enjoyable listen that balances pop accessibility with a smooth R&B essence. The understated material could have used a few more bold hooks, though the singer’s abilities and hints of classic influences shine through.
Donnie: The Colored Section
Hailing from the same Atlanta organic‐soul scene that produced India.Arie, Donnie’s work is rooted in jazzy chords and piano grooves. Lending it a political and gospel‐flavored edge reminiscent of Stevie’s later period, his lyrics touch on race, identity, and spiritual themes. There are tracks such as “Wildlife,” which incorporates a Brazilian feel, and the socially conscious “You Got a Friend” with a distinct ‘70s flair. The melodic modulations typical of Stevie appear throughout, and “Masterplan” was included on IG Culture’s The Daily News compilation. Even around 2007, this album retained its significance. — B.O.
Rating: ★★★★½ (4.5/5)
Thought‐provoking content ranges from social themes to heartfelt grooves. The blend of jazz‐inflected gospel and classic soul depth makes this a remarkably strong neo‐soul entry of its era.
Tony Momrelle: Fly
Known as a backing singer for Sade and a member of Incognito, Tony Momrelle forged his reputation before teaming up with Reel People in 2008, showcasing a creative British soul approach. He employs comfortable chord progressions at moderate tempos, highlighting his warm tenor voice. The lead single “Spotlight” unfolds with a mild dance groove, while “Everything’s Alright” reveals a laid‐back sense of refinement. A cover of Stevie Wonder’s “Golden Lady” adds an R&B touch laced with light jazz elements. — B.O.
Rating: ★★★★☆ (4/5)
An elegant production that highlights Momrelle’s expressive vocals and a mellow yet flavorful style. It may not reinvent the genre, but it retains a smooth charm well suited to fans of modern UK soul.
Amar Khalil: Where There’s a Will, There’s a Way
After Raphael Saadiq left Tony! Toni! Toné!, Amar Khalil stepped in as the new lead singer. This solo album captures a Bay Area breeze while upholding a gospel base. Alongside mid‐tempo soul numbers, there are emotive ballads such as “Higher,” reflecting gospel lineage, and the melodic theme of “Sunny Day,” which draws on Glenn Lewis‐like influences, steadily building an assertive vocal performance. The 2010 track “Born Again” adopts a Pissy Piper‐style dance feel. — P
Rating: ★★★½☆ (3.5/5)
He balances vibrant singing with well‐paced instrumentation, though some passages could have been more adventurous. Still, there’s ample warmth, and fans of Tony! Toni! Toné! may appreciate the linkage to that tradition.
Don-e: Changing Seasons
Making waves with “So Cold” on D’Angelo’s scene around 2008’s “Natural,” UK‐born Don‐e provides a distinctive brand of R&B tinged with a retrospective ’80s sensibility, though he also delves into jazz‐based chord work that refines his melodies. “Circles” and “Rhythm of Life” meander through a mellow funk aura, with the ballad “Simple” emphasizing the smooth core of his approach. He folds a breezy soul attitude into pop structures, maintaining a laid‐back sophistication — B.O.
Rating: ★★★☆☆ (3/5)
The interplay of funk, jazz, and soul is appealing, but it sometimes feels as if the material holds back. Still, Don‐e’s potential as a UK R&B contributor stands out in several spots.
Darrius: Can’t Get Enough
This could be seen as Seattle’s response to a neo‐Philly style. After kicking off with the track “Promise Me Love,” “Get On It” offers a mild mid‐tempo funk reminiscent of a smooth early‐2000s mood. The tenor vocals occasionally recall Glenn Lewis, weaving together a warm soul style. This third release features “All the Way Slow,” a ballad with a moody vibe, and “Back To You,” where a falsetto approach aligns with classic R&B traditions. Collectively, the tracks create a coherent sequence. Concluding with “Hold On To You,” it appeals to those fond of easygoing soul. A hidden lounge‐like number, “[What’s Going On],” hints at reverence for past influences. — P
Rating: ★★★½☆ (3.5/5)
The singer’s tenor is clear and assured, and while certain songs follow familiar formulas, there is a steady quality that will please those seeking a fresh yet nostalgic soul flavor.
Darien Dean: If These Walls Could Talk
Not to be confused with Darien Brockington, Darien Dean comes from Mount Vernon, NY (the same area as D‐Train). After putting out the EP Soul’d?, he connected with Reel People on *Sessions*, culminating in the 2007 project *Seven Ways to Wonder*. On this album, he balances mid‐tempo grooves and sweet ballads, at times showing slight traces of Stevie‐inspired phrasing. Vocally, there’s a subtle Glenn Lewis reminder in his timbre, blending classic and modern soul influences in a neat manner. He includes the song “Marya Who?,” an upbeat piece that underscores his R&B capability. There is a measure of confidence in his arrangements and backing vocals, contributing to a smooth atmosphere. — B.O.
Rating: ★★★★☆ (4/5)
A quietly impressive release that mixes a strong soul base with a contemporary flair. Darien’s voice adapts with ease, especially on the ballads, making this a satisfying pick for those who appreciate mellow but carefully crafted R&B.
Bobby V: Peach Moon (EP)
After debuting in 1996 under Organized Noize’s guidance in Atlanta, Bobby V reappeared in 2000 on Ludacris’s DTP label and rose to prominence with the Tim & Bob‐produced “Slow Down.” He followed with his second album *Special Occasion*, featuring Timbaland’s input, then pursued an independent path in 2009. *Peach Moon* emphasizes an acoustic texture, shifting to soul‐jazz territory beyond the typical mainstream R&B template. He presents romantic slow numbers like “Back ro Love” and “Love Abuse,” and further expanded his profile with the Robert Glasper Experiment on “Black Radio.” “Koko Lovely” brings to mind the laid‐back aura of D’Angelo’s Brown Sugar—it takes a brave turn in a more organic direction. — P
Rating: ★★★★☆ (4/5)
Merging understated instrumentation with soulful energy, Bobby V steps away from his earlier pop‐leaning sides. It is a refreshingly cohesive project, though those seeking his upbeat radio hits might find it a modest shift.
Andrew Roachford: Heart of the Matter, Vol. 1
A second‐generation Londoner of West Indian descent, Andrew Roachford emerged in the late ’80s under Columbia, fusing pop and R&B through his distinctive vocal approach. Known for numbers like “Cuddly Toy,” he has maintained a long music career. Elements reminiscent of D’Angelo’s style, Stevie’s melodic sense, and Jill Scott’s chordal structures occasionally color his work, though he avoids being overly flashy. This release tests a refined R&B direction interlaced with a bit of rock edge, supported by raw drumming. “Heaven Is Here” strays from the usual ballad formula, and “All In Love Is Fair” references Stevie’s influence in a straightforward way. — B.O.
Rating: ★★★½☆ (3.5/5)
By blending rock textures and R&B leanings, Roachford takes on multiple genres with reasonable finesse. Some tracks might have used a sharper hook or two, but his warm vocal tone keeps the music engaging.
Charlie Wilson: Love, Charlie
A central figure from The Gap Band—whose influence touches acts like Guy’s Aaron Hall and, arguably, D’Angelo—Charlie Wilson remains an icon in modern R&B. *Love, Charlie*, his sixth solo effort since his 1992 breakout, shows a new perspective through laid‐back ballads and mid‐tempo pieces that highlight his trademark vocals. Having returned to the spotlight in 2005 after confronting personal hurdles, Wilson steadily built momentum and delivered tracks like “My Love Is All I Have.” He also revisits earlier material in nuanced ways, as with “I Still Have You.” The up‐tempo cut “Oooh Wee” is another instance of his confident style at work. — B.O.
Rating: ★★★★☆ (4/5)
Wilson delivers a collection of soulful songs that underscore his enduring vocal ability. The mixture of heartfelt ballads and easy grooves captures the warmth that has defined his stature in R&B for decades.
Aaron Hall: Inside of You
Teddy Riley developed a powerful dance‐beat style for Guy, known for vibrant instrumentation. As the group’s frontman, Aaron Hall branched out and contributed to the Boomerang soundtrack with “It’s Gonna Be Alright,” which already hinted at a more measured tempo. Inside of You, from 1998, continues that direction with his characteristic voice, mixing new jack swing stylings with adult‐oriented R&B. At the same time, he integrates touches of gospel‐influenced passion. “Curiosity” reveals a sleek feel, while “Satisfaction” aims for a pop‐oriented structure. Some may recall the gritty early ’90s vibe from his Guy days, yet he adds an appealing dimension to his craft. — P
Rating: ★★★½☆ (3.5/5)
Though it doesn’t fully recreate the energy of his earlier Guy material, Hall’s formidable vocals and blend of modern R&B with soft gospel accents keep the album memorable. It lands as a credible effort from a well‐regarded voice of that era.