D’Angelo is a ghost. Well, not literally, but in the way he haunts the periphery of modern R&B, he might as well be. If you’ve spent any time digging through the crates of Neo-soul history, you’ve hit that wall where the official discography ends and the bootlegs begin. That’s where When We Get By lives. It is a song that doesn’t technically exist on a mastered studio album, yet it defines an entire era of analog warmth.
Most people found it on the Voodoo outtakes or the legendary James River leaks. It’s a track that feels like it was recorded in a room thick with incense and expensive weed, probably at Electric Lady Studios during those marathon sessions in the late 90s. Honestly, it’s frustrating. How does a song this good just sit on a shelf for decades?
The track is a masterclass in restraint. It isn't flashy. There are no soaring high notes or aggressive synth pads. Instead, you get this rolling, rhythmic groove that feels like a heartbeat. It’s D’Angelo at his most vulnerable and most confident.
The Mystery of the Voodoo Outtakes
To understand When We Get By, you have to understand the Soulquarians. This wasn’t just a band; it was a movement. We’re talking about Questlove, J Dilla, Pino Palladino, James Poyser, and Erykah Badu all hanging out in Greenwich Village. They were obsessed with the "drag." That slightly-behind-the-beat feel that makes your head nod involuntarily.
During the Voodoo sessions, D’Angelo reportedly recorded hours upon hours of music that never saw the light of day. Some of it was just jams. Some were covers of Prince or Ohio Players. But When We Get By felt different. It felt like a finished thought that just didn't fit the dark, muddy, spiritual vibe of the final Voodoo tracklist.
It’s actually quite simple. The song is a mid-tempo shuffle. It’s got that signature Pino Palladino bassline—thick, thumping, and melodic. It’s the kind of music that makes you realize how much we’ve lost in the era of digital quantization. Nothing about this song is "perfect," which is exactly why it’s flawless.
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Why the Leak Culture Defined D'Angelo's Hiatus
Between 2000 and 2014, D’Angelo fans were starving. We were basically living on crumbs. When songs like When We Get By started circulating on file-sharing sites and Soulquarian message boards, they became the stuff of legend.
It wasn't just a song. It was proof of life.
It showed that even when he was struggling with the pressures of being a "sex symbol" after the "Untitled (How Does It Feel)" video, he was still making the most incredible music on the planet. The lyrics are conversational. They’re about the struggle of just making it through the day with someone you love. "When we get by," he sings, sounding like he’s whispering it directly into a microphone that’s seen better days. It's intimate.
The Musical DNA of a Soul Classic
Let's talk about the technical side for a second, though it feels a bit weird to be clinical about something so soulful. The harmonic structure of When We Get By leans heavily into the 1970s. You can hear the ghosts of Al Green and Marvin Gaye.
- The Drum Pocket: Questlove’s drumming on these sessions redefined how people think about time. It’s "wonky." It feels like it’s about to fall over, but it never does.
- The Vocal Layering: D’Angelo stacks his own harmonies like a gospel choir. He uses his voice as an instrument, often burying the lyrics under the melody so the feeling hits you before the words do.
- Analog Texture: You can practically hear the tape hiss. In 2026, where everything is polished to a blinding sheen, this grit is a relief.
There is a specific moment in the bridge where the chords shift unexpectedly. It’s a jazz-inflected move that most pop-R&B artists wouldn't touch. It’s sophisticated, but it doesn't try too hard to prove it. That’s the D’Angelo secret sauce. He’s the smartest guy in the room, but he’s acting like he’s just there to hang out.
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The Problem with Official Releases
Why wasn't it on Black Messiah?
By the time 2014 rolled around, D’Angelo’s sound had evolved. Black Messiah was urgent, political, and experimental. When We Get By is, by comparison, very "safe." It’s a beautiful soul song, but it doesn't have the jagged edges of "1000 Deaths" or the complex polyrhythms of "Sugah Daddy."
Music critics like Nelson George have often pointed out that D’Angelo is his own worst critic. He will sit on a masterpiece for fifteen years because a snare hit doesn't sound "brown" enough. That’s a real term they used, by the way. "Brown" meant it had that earthy, James Brown-esque stank on it.
How to Actually Listen to it Today
Since it isn't on Spotify as a standalone single from an album, you have to be a bit of a sleuth. It often pops up on YouTube under various titles or is tucked away in unofficial Soundcloud playlists labeled "The Voodoo Outtakes."
Tracking down the high-quality FLAC or WAV files is worth it. If you’re listening to a 128kbps rip from 2004, you’re missing half the song. The low end in D’Angelo’s music requires a good set of speakers or headphones. You need to feel that bass in your chest.
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- Look for the "James River" sessions or "Voodoo" rarities.
- Check for the version that includes the studio chatter at the beginning; it adds to the atmosphere.
- Pay attention to the Rhodes piano—it’s the backbone of the entire track.
The Lasting Legacy of the Unreleased
There’s something romantic about unreleased music. In a world where every artist drops a "Deluxe Edition" with 30 mediocre tracks just to boost streaming numbers, D’Angelo’s restraint is legendary. He doesn't give us everything. He makes us work for it.
When We Get By remains a cornerstone of the Neo-soul movement because it captures a specific moment in time. It captures the transition from the polished New Jack Swing of the early 90s to the gritty, psychedelic soul of the 2000s. It’s the bridge between the two.
It also reminds us that D’Angelo’s "scraps" are better than most artists' career highlights. If this is what he leaves on the cutting room floor, imagine what else is hidden in the vaults at Electric Lady. We might never know. And honestly? That might be for the best. The mystery is part of the appeal.
To truly appreciate the track, you have to stop looking for a hook. It’s not a radio hit. It’s a mood. It’s the sound of a musician who finally found his voice and realized he didn't have to shout to be heard.
Next Steps for the Soul Searcher:
- Listen to the full Soulquarians discography: If you love this track, dive into Common’s Like Water for Chocolate and Bilal’s 1st Born Second. They were recorded during the same window and share the same sonic DNA.
- Investigate the "Voodoo" Gear: For the musicians out there, research the use of the Neve console and the specific vintage microphones used during these sessions to understand how they achieved that "warm" sound.
- Keep an eye on official archival releases: While D’Angelo is notoriously private, the estate-driven market for vinyl often leads to "lost" tracks getting official pressings. Check independent record store listings for "Voodoo" anniversary editions that might sneak these tracks into the bonus material.