Number of critics: 4

Critics under the influence: 3

Critics who had heard of D’Angelo: 1

Shakes of this author’s head induced by previous statistic: 12

Length of album, in minutes: 79

Length of discussion, in minutes: 79

Time spent discussing music, generally, in minutes: 45

Time spent discussing Voodoo in minutes: 18

Time spent discussing a critic’s Big-Little Pairing form for her sorority, in minutes: 18, disparately

Years ago that Voodoo came out: 13

Tracks that featured ‘vocal percussion’ (beatboxing) by Roots drummer ?uestlove: 1

Percentage of critics who had heard of ?uestlove: 50

Tears shed at previous statistic: 3, internally

Interests piqued with lusty guitar, bass kicks and Redman verse at beginning of ‘Left and Right’: 4

Number of rap verses, out of four total, that result in laughs or furious head nodding: 4

Critics who were aware that Redman and Method Man were on D’Angelo songs: 0

Critics who were aware of Method Man and Redman, period: 1

Time into ‘The Line’ for discussion to begin over where D’Angelo would have thrived in past musical genres, in seconds: 12

Critics who agree that his low, soulful tones would have benefited him in 60’s blues and soul: 4

Time spent arguing about whether biological or social processes characterize “good music”, in minutes: 10

Critics who felt that “good music” is a purely subjective matter once you pass a certain threshold from noise in to music: 2

Critics who think there may be a fundamental ‘pleasure pattern’ in art that connects musical, visual and tactile stimulation: 1

Critics who pondered that hypothesis deeply and while listening to ‘The Root’: 4

Number of inane questions on the Big/Little application it took to break the critics from their contemplative musical trance: 2

Times this author thought, “We’re just on different levels right now” during this conversation: 3