Cannonball with Wesley Morris D’Angelo and the Power of Last Albums
Dec 4, 2025
In this conversation, Alex Pappademas, a senior culture editor at GQ, joins to unpack the emotional weight of final albums, particularly D'Angelo's haunting "Black Messiah." They delve into the complexities of defining last albums, discussing intentional records made in the shadow of mortality versus those that became final by chance. Warren Zevon's "The Wind" and Aaliyah's posthumous works are explored, highlighting the poignant intersection of art and loss. Ultimately, they reflect on how these albums resonate and mark an artist's legacy.
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Black Messiah As A Perfect Final Statement
- Black Messiah reads like a perfect final album because it confronts existential and political questions rather than merely courting sexiness.
- Wesley Morris says the record sounds contemplative, charged, and like a work that could stand as a last testament.
Set A Clear Cutoff For 'Last Album'
- Define a 'last album' as one the artist completed and released while alive and as the primary creative force.
- Alex Pappademas and Wesley Morris set this rule to avoid calling posthumous compilations a true last album.
Two Patterns Of Final Records
- Two main kinds of last albums emerge: ones made knowing death is near and ones made unexpectedly before a sudden death.
- Each type alters how listeners interpret finality and legacy.
