After 15 years, Erykah Badu will return to recording new music, teasing the release of a new album following New Amerykah Part Two (Return of the Ankh) in 2010.
Known for being the High Priestess of Neo-Soul, the 54-year-old star has crafted a discography that is both timeless and informative.
Her music perfectly blends jazz, R&B, hip-hop, and funk with deep introspection, social commentary, and spirituality.
While Badu has released five studio albums so far, Mama’s Gun (2000) and the New Amerykah series (Part One: 4th World War in 2008 and Part Two: Return of the Ankh) stand as two of her most defining albums that showcase her evolution as an artist.
From opening for D’Angelo in 1994 to becoming one of today’s most influential musicians, revisit the successes of Mama’s Gun and New Amerykah.
Mama’s Gun Proves Erykah Badu is a Force to be Reckoned With
After the success of her groundbreaking debut album Baduizm in 1997, Badu released Mama’s Gun in 2000.
Incorporating elements of funk, soul, and jazz styles, Mama’s Gun proves she is a force in neo-soul.
Compared to Baduizm, which features cryptic lyricism, her second studio album is much more direct in its approach and puts Badu in a subjective position more than the first.
It also leans into live instrumentation, with contributions from the Soulquarians collective, including Questlove, J Dilla, and Pino Palladino.
The album contains the hit single “Bag Lady,” which is about letting go of emotional baggage and has become one of Badu’s most commercially successful singles. It was also nominated for the Grammy Award for Best Female R&B Vocal Performance and Best R&B Song.
In addition, “Didn’t Cha Know?” features themes of self-discovery and struggles of finding the path in life. Produced by J Dilla, it was also nominated for Best R&B Song.
The Political and Social Awakening of New Amerykah Part One: 4th World War
After eight years, Badu dropped New Amerykah Part One: 4th World War. The bold and politically charged album marked a sonic departure from the organic feel of Mama’s Gun.
New Amerykah Part One is far different from its predecessor, embracing electronic beats and experimental production.
The esoteric concept album features social commentary and themes related to the plight of the African-American community, including poverty, urban violence, complacency, and cultural identity.
Its key tracks include “The Healer,” a hypnotic tribute to hip-hop as a transformative and healing force; “Soldier,” a track addressing issues of injustice and perseverance in marginalized communities; and “Master Teacher,” which introduced the phrase “Stay woke” to popular culture, encouraging awareness and social consciousness.
It also features “Telephone,” a hauntingly beautiful tribute to J Dilla after his passing.
With these traits, it is no surprise that New Amerykah Part One is considered one of 2008's best records.
New Amerykah Part Two: Return of the Ankh: A Direct Contrast of Its Predecessor
New Amerykah Part Two: Return of the Ankh is a direct contrast of its predecessor with its more introspective and emotionally driven themes.
From the first part that is socially themed and complex, this one is about love, relationships, and spiritual connection. It incorporates lush instrumentation and a more organic sound reminiscent of Badu’s earlier work.
With his singles “Windows Seat,” “Gone Baby, Don’t Be Long,” “Fall in Love (Your Funeral), and “Out My Mind, Just in Time,” this album just reminds fans that Badu has the great talent to blend the personal with the universal, making music that can touch both emotional and spiritual levels.
Unsurprisingly, New Amerykah Part Two received widespread critical acclaim from critics and was deemed more accessible than that of its predecessor. It was ranked as one of the best albums of 2010 and the decade by several publications.
Through these albums, Badu cemented her status not just as a great musician but also as a cultural and artistic visionary.
No wonder her work continues to inspire new generations of artists, proving her voice and message are as relevant today as they were when these albums first debuted.