The Lineage of Donny Hathaway
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 Donny Hathaway.
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 winter of 1979, at just 33 years old, the legendary singer Donny Hathaway (born in 1945 in Illinois) left this world under the New York sky. Immersed in gospel throughout his childhood, he was so accomplished as a young performer that he astonished his classical piano teachers. After turning pro, he demonstrated first-class talent in every role—singer, songwriter, keyboardist, and arranger—and in many ways, he has much in common with D’Angelo. In particular, during D’Angelo’s Brown Sugar era, when his keyboard was his constant companion, he strongly evoked the image of a “new-generation Donny.” Listening to Live at the Jazz Cafe, where D’Angelo leads a band and grooves on the electric piano while singing, immediately brings to mind Donny’s classic album Live.
Donny’s studio recordings are few in number—three solo albums and two duet albums with Roberta Flack, all from the 1970s. His prime was even shorter, really just the three years or so up until 1973. The fact that many neo-soul artists’ sounds closely resemble the music of that era can be seen as strong evidence of his deep influence.
Having connections with Quincy Jones, Donny was also eager to push beyond the boundaries of soul, sometimes showing his taste for jazz fusion in a direct way. For example, he left behind instrumental pieces driven by his electric piano, like “Valdez in the Country” (a Donny composition, first appearing on The Soulful Strings), which he also performed on Live. Another facet of his artistry as a top-tier player is evident in his participation as a keyboardist on Aretha Franklin’s 1974 album Let Me In Your Life. It is precisely that solid musicianship that continues to draw passionate admiration from modern keyboardists who love soul.
As a singer, Donny has produced an astonishing number of successors. Grounded in gospel, his powerful voice also possesses both warmth and depth, representing one of the ideal forms of soul singing. Listening to his cover of Leon Russell’s “A Song for You”—a song not originally conceived in a soul context—makes it clear that his vocals are absolutely brimming with soul, yet they remain tastefully restrained, never veering into crudeness. Soulful while still conveying intelligence, his style has continued to serve as a model for a broad range of vocalists—whether rooted in gospel, involved in neo-soul, or even in the house scene—regardless of musical style or era.
John Legend: Get Lifted
It goes without saying, but John Legend’s voice itself is not that similar to Donny Hathaway’s. If anything, his tone is closer to Luther Ingram. Yet even though Quincy Jones once brought Donny on tour because he was so taken with him, he was quoted as saying John Legend “reminds me of a young Donny”—and I don’t intend to deny that. They share not just a gospel foundation and classical training, but both are considered “geniuses” by Quincy and are singers who continue to create socially conscious music. Drawing on the sensibilities he absorbed from his collaborator Kanye West, John boldly incorporates classical piano and uses subtle vibrato to lend his soulful voice more realism than mere nostalgia. When this album first came out, critics compared him to D’Angelo. For the record, John’s Donny Hathaway covers can be found on his collaborative release with The Roots, and he’s even performed “Where Is the Love” live in Philly as a tribute to Donny. — P
Rating: ★★★★½ (4.5/5)
John Legend’s debut showed that he could merge old-school gospel and classical influences with a modern, Kanye-influenced aesthetic. He may not sound exactly like Donny, but he carries on the socially conscious spirit and virtuosity. The only reason it’s not a perfect five is that some listeners found his polished approach a bit too smooth compared to Donny’s raw passion—but it’s still a near-classic that cemented his place in the neo-soul lineage.
John Legend & The Roots: Wake Up!
Inspired by Barack Obama’s presidential campaign, John Legend teamed up with The Roots—whose drummer/producer Questlove aimed for a “dirty sound” reminiscent of D’Angelo’s Voodoo—to create this collaboration. The album is a serious collection of protest songs mainly from the early ’70s, including Harold Melvin & The Blue Notes’ “Wake Up Everybody.” They also cover hits by Baby Huey, Marvin Gaye, and Nina Simone, spotlighting anthems from the so-called “New Soul” era. Another highlight is Donny Hathaway’s “Little Ghetto Boy,” reworked here with additional lyrics from Malik Yusef. Mike James Kirkland’s “Hang on in There” and Bill Withers’ “I Can’t Write Left-Handed”—both tracks originally featuring the legendary James Gadson on drums—are given new life, with Captain Kirk (Kirk Douglas) unleashing Jimi Hendrix-like guitar on the Withers cut. Conceptually, this album paved the way for what would later become D’Angelo’s Black Messiah, with its conscious message front and center. — P
Rating: ★★★★☆ (4/5)
A powerful statement album that successfully reimagines classic protest-soul tracks for a modern audience. The interplay between Legend’s vocals and The Roots’ organic, earthy grooves is spot-on. Add in the nod to Donny Hathaway’s socially charged spirit, and Wake Up! becomes essential listening.
Frank McComb: The Truth Volume One
When asked who most closely resembles Donny Hathaway, many people immediately think of Frank McComb. Besides sharing a rich vocal depth, Frank plays keys while singing and especially loves both the Rhodes and the Wurlitzer. His prowess on instrumental jazz cuts parallels Donny’s own approach.
Frank’s love for Donny is best captured on his Live at the Bitter End—recorded at one of the same venues where Donny’s Live album took shape—where he focused on Donny’s tunes and a tribute track, performing mostly on acoustic piano. But let’s spotlight this album, where Frank, originally from the jazz world, embraces neo-soul and solidifies his popularity. From the heavenly Rhodes-and-flute intro on the first track, you’re transported straight to the 1970s. Featuring top-notch players like Steve “Scotsman” Harvey and Rufus’ Bobby Watson, the musicianship recalls Donny’s style in both feel and execution. — P
Rating: ★★★★½ (4.5/5)
Frank McComb channels Donny Hathaway’s spirit almost uncannily, blending jazz chops with soulful vocals and vintage keys. This particular album feels like a faithful tribute to 1970s soul without being stuck in the past. The only minor knock is that, in places, it can veer so close to Donny’s vibe that some might crave more personal distinctiveness—but it’s still a brilliant homage.
Dwele: Subject
Playing Fender Rhodes with a dreamy, romantic soul style, this Detroit talent, Dwele is known for frequent collaborations with Slum Village and J Dilla, garnered praise from fellow Detroiters. A female MC who worked with him described his sound as “like if D’Angelo made jazz.” In the late ’90s, his self-produced cassette Rize caused local buzz. After teaming up with producers like Recloose, he made his major-label debut. That album—dripping with love for Donny Hathaway and Stevie Wonder—lays mellow keys over crisp beats, topped by his silky vocals. Tracks like the mid-tempo dancer “Find a Way” and “Hold On” (with notable vocal production from Eric Roberson) anchor the record; it’s a polished neo-soul set. The album’s no-nonsense approach to soul, with a blend of sincerity and subtle hip-hop influence, sets him apart. He stuck to this style on subsequent releases. — B.O.
Rating: ★★★★½ (4.5/5)
Dwele’s breakout melds jazz-inflected keys, smooth vocals, and a neo-soul framework to create a timeless listen. While some might wish for a bit more risk-taking, the impeccable songwriting and refined production make this album a standout that firmly places him in Donny Hathaway’s lineage of heartfelt, keyboard-driven soul.
Kenny Lattimore: From the Soul of Man
Kenny started out as lead vocalist for a funk group called Mannequin, produced in part by Charlie Wilson, before moving into his solo career. But what truly sets Kenny apart isn’t his funk credentials—it’s a vocal style that hews closely to Donny Hathaway, a fellow Howard University alum. For instance, his cover of Blood, Sweat & Tears’ “I Love You More Than You’ll Ever Know,” which Donny himself famously covered, sees Kenny belting powerful low notes and then soaring high, as if channeling Donny’s spirit. This album features contributions from Frank McComb and members of A Touch of Jazz, lending it a strong neo-soul feel. On “Trial Separation,” co-written by Kipper Jones and Vidal Davis, Kenny echoes D’Angelo’s “Lady” while delivering an honest, Donny-esque performance. — B.O.
Rating: ★★★★☆ (4/5)
Kenny Lattimore shines brightest in soulful ballads that showcase his Donny Hathaway-inspired emotional range. While the album flirts with contemporary R&B and hip-hop elements, its core strength is the timeless, gospel-steeped singing. It’s not quite as groundbreaking as some peers, but it’s a rock-solid entry in the neo-soul canon.
Geno Young: The Ghetto Symphony
Hailing straight from the Dallas ghetto, here’s a pure slice of neo-soul. This artist, who once worked on Erykah Badu’s Mama’s Gun as a musician and producer, assembled a local Dallas collective (including RC Williams) for his debut album. Think of it as Dallas’s answer to the Soulquarians. He can play guitar but focuses on Rhodes, piano, and organ, showing his mellow soul-singer side—clearly influenced by Donny Hathaway, who also attended Howard University. Co-writing “Man With Nothing To Lose” and “I Get So Wrapped Up in You” with Kipper Jones, the result nods to the post-D’Angelo movement. His cover of Jermaine Jackson’s “Do What You Do” is nearly unrecognizable in its gospel/blues rework, hinting at his broad influences. He also collaborates with fellow Dallas talents like Carmen Rodgers, showcasing an earthy brand of neo-soul. — P
Rating: ★★★★½ (4.5/5)
A stunning debut that convincingly merges Dallas’s own flavor with the atmospheric neo-soul blueprint. The Donny Hathaway reverence runs deep, and the organic instrumentation stands out in a modern landscape. It might not be as widely known as some bigger releases, but it’s a gem that richly rewards anyone who digs in.
Lalah Hathaway: Self Portrait
Donny Hathaway’s daughter, Lalah, has been releasing records since the ’90s—her first two on Virgin struck a balance between her jazzy inclinations and the sound of that era. Her 2004 album on Pyramid built on evolving trends, letting her sing more freely. But constantly chasing an ever-changing scene doesn’t really suit her, so distancing herself from the mainstream and signing with Stax felt like the perfect move. Her first Stax release—again produced by Rex Rideout, with contributions from Rahsaan Patterson and Sandra St. Victor—leans into a settled neo-soul groove. The slow jams especially highlight her commanding voice, which has won respect in the jazz world. On her next album, she leaned more toward the contemporary scene. Incidentally, Lalah is also known for astonishing vocal technique, like singing two notes at once on Snarky Puppy’s live version of “Something.” — B.O.
Rating: ★★★★½ (4.5/5)
A gorgeous mix of timeless soul and modern flourishes, this album captures Lalah’s rich, emotive voice in top form. She balances a jazzy sensibility with classic R&B roots, carrying on Donny’s legacy without getting stuck in it. The artistry, especially on the slow numbers, is simply sublime—making this a must-hear neo-soul statement.
Coultrain: The Adventures of Seymour Liberty
The name “Coultrain” sounds like a fusion of “Coltrane” and “Soul Train.” If that really is the origin, then this St. Louis native—whose core styles are ’70s-influenced new soul and forward-thinking jazz—more than lives up to it. His warm, understated vocals strongly recall Donny Hathaway. Discovered by Waajeed (Platinum Pied Pipers), Coultrain crafted this album around a fictional character. “Green,” which directly samples the intro of Jermaine Jackson’s “Where Are You Now,” is a groovy soul piece (perhaps also tipping a hat to Al Green). “The Sabbatical” quotes the harp and strings from Curtis Mayfield’s “P.S. I Love You,” and “Lost In Translation” feels like a modern take on Marvin Gaye meets the Mizell Brothers. Every track oozes soul-love. Later, he released a record with Black Spade as the Hawthorne Headhunters and followed it up with a second solo album featuring Afro-futurist vibes. — B.O.
Rating: ★★★★½ (4.5/5)
A brilliantly creative project that merges a love for vintage soul with a contemporary twist. Coultrain’s Donny-esque vocals lend warmth and authenticity, and the eclectic sampling shows a deep understanding of soul and funk history. A knockout for fans of thoughtful, artful R&B.
Myron & The Works: Myron & The Works
After doing background work for groups like Dru Hill, Myron debuted with Destiny in 1998. That first album was a solid post-D’Angelo R&B release, showcasing a voice reminiscent of Raphael Saadiq. After label drama, he went indie in 2003. For this experimental project, Myron—a multi-instrumentalist who plays everything from strings to percussion—pulled in top-tier musicians like Meshell Ndegeocello, Robert Glasper (keys), and Charles Haynes (drums). Recorded straight to 2-inch tape with only two passes and no edits, it’s a raw, organic session reminiscent of Donny Hathaway’s Live or Extension of a Man days. On “Relax,” they channel human-powered broken beats, proving just how edgy this lineup can get. — P
Rating: ★★★★☆ (4/5)
This album’s daring live-in-the-studio approach yields an electric atmosphere, blending Donny-inspired warmth with modern jam-session spontaneity. It’s occasionally rough around the edges, but that’s part of its charm—an inventive snapshot of top-notch musicians exploring real-time soul.
Shannon Sanders: Outta Nowhere
Based in Nashville, Shannon Sanders is best known as India.Arie’s producer, though he has also worked extensively with Eric Benét and other major R&B artists. A gifted singer-songwriter and multi-instrumentalist, he co-wrote songs with Andrew Ramsey and D. “DeP” Williams—his longtime partners behind the scenes. This album, presumably his first, highlights his impressive songwriting that even Teddy Riley admired. Mixing piano, organ, and acoustic guitar, he switches seamlessly between a husky baritone and a delicate tenor/falsetto. Tracks like “Must Be Love,” “Statistics,” “Long As I Live,” and “I Just Want To…” reveal his ability to craft lush, romantic soul. The warmth of his voice might differ from Donny Hathaway’s, but it has a similarly inviting presence. — B.O.
Rating: ★★★★☆ (4/5)
Strong songwriting, heartfelt vocals, and a balance of classic and modern R&B production make this an impressive debut. Although it might not hit as hard emotionally as Donny’s rawness, it’s polished and deeply soulful, showcasing a major talent behind both the mic and the mixing board.
Dave Hollister: Ghetto Hymns
Dave Hollister hails from a gospel background, whose sister is Genobia Jeter and whose brother is Jesse Campbell (with K-Ci & JoJo as cousins). After stints as lead vocalist for Force One Network and guesting on 2Pac tracks, he joined Blackstreet (post-Guy). Then, he left to launch his solo career. Born in Chicago to a pastor father who was friends with Donny Hathaway, Dave considers Donny his mentor in spirit. You can hear it in his lavish use of vibrato and rich vocal tone, particularly on the 6/8 ballad “Can’t Stay.” At the same time, the album leans heavily into hip-hop, with tracks like “Came in the Door Pimpin’” echoing the vibe of early D’Angelo. — B.O.
Rating: ★★★★☆ (4/5)
This debut brims with gritty urban soul, bridging gospel roots, hip-hop swagger, and Donny Hathaway-inspired vocals. While not every track lands perfectly, the sincerity and vocal strength carry it through. It’s a great snapshot of late-’90s/early-’00s R&B evolution.
Mike Hicks: This Is Life
A Nashville-based keyboardist/singer-songwriter who calls his style “Life Music.” Initially discovered by the blues virtuoso Keb’ Mo’, Mike Hicks later performed in Japan with Nao Yoshioka and Brian Owens. That led to a Japanese CD release for an album that was previously only available digitally. He plays Rhodes, organ, and other keys, backed by a tight, full-band approach—yielding an organic soul record. The horn-driven “Feels Good” is a highlight. Think PJ Morton, but with a deeper, Donny Hathaway-like vocal warmth. There’s even a rap on “I Want You Back,” featuring bass from Tommy Sims. “New Love,” with a cameo by Chantae Cann, is supremely lovely neo-soul. — P
Rating: ★★★★½ (4.5/5)
A refreshingly earnest approach to modern soul that’s earthy, well-produced, and full of heart. The Donny influence is unmistakable in the warm baritone and gospel undertones. If you’re into PJ Morton-style R&B with a hint of Southern church vibe, this album is a keeper.
Gordon Chambers: Introducing… Gordon Chambers
A rare case of a big-name songwriter turning solo singer: Gordon Chambers co-wrote hits like Brownstone’s “If You Love Me” alongside Dave Hall. So by the time he debuted, R&B fans were already buzzing about him. This first album—which he wrote or co-wrote in its entirety—includes two self-covers of songs he previously gave other artists. He jazzes up “Apologize,” originally recorded by a cappella group All-4-One, and duets with Carl Thomas on “My Valentine,” with Roy Hargrove adding trumpet. Vocally, he lands somewhere between Stevie Wonder and Donny Hathaway, leaning toward Donny when showcasing his gospel roots, especially on “Always Be Proud.” He even tackled “A Song For You” on his third album—following in Donny’s footsteps. — P
Rating: ★★★★☆ (4/5)
As a songwriter-turned-singer, Chambers delivers a polished, emotive performance. While he doesn’t quite match Donny Hathaway’s spiritual depth, the compositions and jazz-soul arrangements shine. It’s a rewarding listen for fans who crave literate, heartfelt R&B.
Ruben Studdard: Unconditional Love
The “Velvet Teddy Bear,” Ruben Studdard rose to fame via American Idol—and if you’re letting that cloud your judgment, you’re missing out. He possesses a smooth, rich baritone reminiscent of Donny Hathaway. In fact, the 2009 Love Is Target edition included his cover of “Someday We’ll All Be Free,” and for this album on Verve, produced by David Foster, he performs “Love, Love, Love.” He also covers Marvin Gaye & Tammi Terrell’s “If This World Were Mine,” duetting with Lalah Hathaway. Other highlights include a Teddy Pendergrass “Close The Door” remake and reworking Wings’ “My Love” into a Luther Vandross-style dance tune. Original slow jam “Meant To Be” showcases his velvety soul, delivering strong vocals and tasteful arrangements throughout. — B.O.
Rating: ★★★★☆ (4/5)
Ruben’s voice is undeniably gorgeous, and his choices of covers and collaborations (especially with Lalah Hathaway) give the album a classic soul pedigree. Some might find it a touch safe, but it’s a polished, heartfelt record from a singer who channels Donny’s warmth in a mainstream-friendly package.
Peven Everett: Studio Confessions
A Chicago singer spotlighted in the late ’90s via collaborations with Roy Davis Jr., Peven Everett became a force in the house-music scene. A full scholarship to Berklee at 17 hints at his multi-instrumental talent—he can handle piano, guitar, horns, drums, you name it. He even toured with jazz greats like Betty Carter and the Marsalis brothers. This particular album softens the dance elements, making it more accessible to R&B listeners. He wrote, arranged, and produced all the tracks, blending everything from Dwele-like beats to rich live instrumentation into an organic palette. Delayed vocals on “Say It Back” and the synth-led instrumental “Sankofa” prompt you to imagine Donny Hathaway venturing into adventurous new territory if he were still alive. In 2013, Peven released another gem in that Donny-inspired vibe—“I Just Wanna Make You Happy.” — P
Rating: ★★★★½ (4.5/5)
A boundary-pushing fusion of house, soul, and jazz that still feels deeply organic. While it might fly under the radar for more traditional R&B fans, the artistry and musical skill are top-notch, and the Donny Hathaway influence is unmistakable. A near-classic in underground neo-soul.
Luther Vandross: Dance With My Father
Ordinarily, this man should be recognized as an influence on younger R&B singers—but Luther Vandross himself possessed a velvety, resonant voice that often evoked Donny Hathaway. As a background vocalist around the time of his solo debut, Luther sang on Roberta Flack’s albums (including those with Donny). He later duetted “I (Who Have Nothing)” with Martha Wash. On what turned out to be his final original album, he recorded “The Closer I Get To You” with Beyoncé—originally a Roberta & Donny classic. There’s also a brilliant cover of Bill Withers’ “Lovely Day” featuring a Busta Rhymes cameo. And “Right In the Middle,” with backing from longtime friends like Cissy Houston, is a raw slice of urban gospel-soul. The title track is a timeless dedication to his parents. — B.O.
Rating: ★★★★☆ (4/5)
A poignant swan song from one of R&B’s all-time greats, weaving gospel warmth and pop sophistication. Luther’s voice here is heartbreakingly beautiful, and the Donny Hathaway homages feel especially moving.
Bashiri Asad: Living the Dream (L.T.D.)
Performing live with his band Zenobia Green, Bashiri Asad’s known to cover Donny Hathaway’s “Flying Easy,” so it’s little surprise that many see a natural connection. Hailing from Indianapolis, Bashiri Asad cites Donny, Stevie Wonder, Sam Cooke, and Otis Redding among his influences. His voice leans toward the gentle side of Donny’s later years—also reminiscent of Luther Vandross’s silky approach. Musically, think full-band 1970s soul. On “Looking Back,” he unleashes a powerful, church-rooted Donny style, while on “Dance With You,” he pairs with a singer whose tone recalls Phyllis Hyman, delivering a measured yet stirring duet. He also released a digital-only tribute to Gil Scott-Heron & Brian Jackson called The Gil Suite, which is another strong outing. — B.O.
Rating: ★★★★☆ (4/5)
A warm, retro-tinged soul record that lovingly preserves ’70s authenticity. Bashiri’s vocals may not be as widely known as some peers, but his genuine reverence for Donny Hathaway and classic soul traditions shines through. An under-the-radar treat for fans of vintage R&B stylings.
Antoine Dunn: Truth of the Matter
Antoine Dunn is a singer-songwriter from Cleveland, influenced by Donny Hathaway, Roberta Flack, and Stevie Wonder. His mid-tempo track “Can’t Forget” already grabbed plenty of R&B enthusiasts. Growing up with a gospel-singer aunt, he got a solid foundation in church music, later doing behind-the-scenes work for American Idol contestant LaKisha Jones, then launching his own solo career. Recorded with a Cleveland-based band under producer Edwin Nicholas (who also worked with Gerald Levert), the album tilts toward a neo-soul sound. Some songs channel that classic Levert vibe, while the straightforward sincerity of “I Just Want To…” suits his bright, open vocal style perfectly. He wrote nearly everything himself, indicating a promising future as both artist and writer. — P
Rating: ★★★★☆ (4/5)
Soulful, melodic, and heartfelt—this Cleveland upstart blends contemporary R&B polish with a reverent nod to Donny’s emotive style. Though still refining his signature sound, Antoine Dunn shows clear potential here, making this an enjoyable, respectable debut that sets the stage for more to come.
The Engineer Supporting D’Angelo: Russell “The Dragon” Elevado
(By Jamila W.)
Though often overshadowed by singers, musicians, and producers, the recording/mixing engineer is indispensable in creating recorded works. Just as each performer has a unique character, engineers have their own distinct styles. Naturally, artists choose engineers who can create the sort of sound they envision. For example, Russell “The Dragon” Elevado—who recorded and mixed D’Angelo & The Vanguard’s Black Messiah—is known for his organic sound. He worked on the so-called “Soulquarians Trilogy”: D’Angelo’s Voodoo, Erykah Badu’s Mama’s Gun, and Common’s Like Water for Chocolate. It’s no coincidence that José James’s No Beginning No End is said to resemble Voodoo, given that Elevado served as its engineer.
In the early stages of his career, Elevado handled many fairly standard programmed recordings. You can, for instance, find his name on Today’s The New Formula (1990), as well as on the sampler-like album by The Untouchables, Let’s Get It On: The Album (1994). After that, his work gradually took on more of D’Angelo’s aesthetic: the cover of Todd Rundgren’s “Hello It’s Me” (featuring live instruments) on Groove Theory’s 1995 album and the opening track of Myron’s Destiny(1998). Then, in the 2000s, he moved steadily toward an even more organic approach, as seen in Alicia Keys’s Songs In A Minor (2001), The Roots’ Phrenology (2002), Victor Duplaix’s International Affair V1.0 (2002), The RH Factor’s Distractions (2006), Al Green’s Lay It Down, and ultimately Black Messiah. In an age when virtually anything—cut-and-paste editing, vintage-style processing—can be done digitally, he goes against the grain, insisting on real analog tape and old-school analog gear whenever possible. He is a man of discerning standards.