Micheal "D'angelo" Archer, the troubled R&B singer who hasn't released an album since the end of the Clinton administration, appears to have scheduled some concert dates. The native Virginia is set to perform at the Paradiso in Amsterdam on Jan. 30 and Jan. 31., according to the venue's web site.
As any fan of the man and his music knows, dates don't mean much to D'angelo, unless he's going to court. The release date for his third album has been pushed back so many times you can't see it without a telescope. But maybe this time it'll be different. We can only hope. But how long before we turn into this guy, waiting for that wonderful, magical mythical thing that never comes?
UPDATE: When asked if the alleged dates are valid, an official representative for D'Angelo said, "Nope."
D'angelo, according to a source close to the singer, will not be performing at an after party for the Video Music Awards. A post on ticketalternative.com claims that the reclusive singer along with "Tony S. Soulfinger Sam, Herbert Holler & Marc Smooth" will perform at New York night spot called the Country Club. The site also says the show is sold out.
I've never been to Country Club or met Soulfinger Sam, but I would wager that there a better places and company in which to stage a return to the music game after nearly a decade between album releases.
Expect an official denial and refund demands shortly.
UPDATE: D'angelo's manager denies that the singer is performing in New York this summer.
Back when indie rap lable Rawkus was flush with street cred and Fox, Inc. cash, I talked them into flying me to New York for the Soundbombing 2 release party/concert. They booked us on a small plane that left me and my partner DJ Reese shook ones. Our ride back would also be ... problematic.
DJ Reese was on the radio back then and had better connects than I did. While I could only swing airfare from the record company, he had a hotel room and some other perks. But when he said there would be a man with a card with his name on it waiting for us at the airport, I didn't believe him. Sure enough, when we got off the plane, we didn't see the man or the card. Resse made a call (I remember it was from a pay phone. Damn, this is an old story.) and within a few minutes a man with a card appeared and took us to a ... limousine.
Reese and I were like Arnold and Willis Jackson in that ride, rolling the windows up and down, taking pictures and (watch out 'deah now) talking on the car phone. Could it get any better than this?
More about this trip later. Above is some of the footage from the concert, featuring Sadat X and Common doing "1-9-9-9."[
As the release of "Notorious," nears I've been reflecting upon that era. I had a chance to interview Biggie when he visited our home base, the Phono Booth, in 1994. Unfortunately, I was sick and couldn't will myself to come to the record store. My partner, Dre, shot some footage of the rapper as he signed some autographs. I attempted to sell that tape to Nick Broomfield for his "Biggie and Tupac," documentary, but he passed.
When Biggie came to Richmond again, (Dec. 26, 1994) I missed out on another chance to to record him. The rapper was performing at a local nightclub (The Flood Zone) and there was a guy from Bad Boy running through the audience putting his hand over video cameras and making threats. I knew I couldn't get way with filming the show as my camera was about three times the size of what most people were using. Somebody else was able to shoot the whole show, however and I've been trying to get that tape for minute.
I do have clear memories of that night. Keith Murray opened with an energetic performance which climaxed with an unfortunate decision to stage dive. The crowd of Richmonders parted and Murray landed hard and came up swinging. He didn't miss a line of "The Most Beautifullest Thing," but he was relieved of his pager, which was an expensive communications device back then.
Biggie came out with Puff Daddy and members of the Junior Mafia. The rotund rapper's performance was understated, which complimented Puff's dancing and continuous ad-libs. Busta Rhymes came out for the "Flava In Ya Ear" remix, which nearly tore the packed club in half.
Later on during the show, someone from the crowd climbed onstage and made a few steps in Big Poppa's direction, and was thrown off the side of the stage by a member of Big's crew. He might be the only one has bad memories from that show.
