Category Archives: Erykah Badu

Anatomy of THE Groove: “Gone Baby,Don’t Be Long” by Erykah Badu

Erykah Abi Wright,better known as Erykah Badu is going to be 45 years old today. One of the major events of the late 1990’s was when her debut album  Baduism debuted. Her songs from this album were all over college radio-bringing her mixture of Afrocentric jazzy funk oriented neo soul into a community where such a thing hadn’t been heard for quite sometime. It would be some years later before I started digging deeper into her albums as a whole. Each of them is like a well made motion picture. Every time ones listens,it’s possible to receive something totally new from the audio experience. That quality has made her one of the more modern artists I’ve enjoyed.

In 2008 Badu launched her first in a series of albums entitled New Amerykah. As of this date,I am unsure if she will be continuing this loose series. But in 2010 she released her second album in the series,which was subtitled Return Of The Ankh.  At the time,I remember far preferring the musical sound of this second album in the series. As a person who spent much of their 20’s listening to jazz/funk/fusion,the fact that Madlib and bassist Thundercat were present on this album probably has a lot to do with that appeal. Still there was one song on the album that leaped out at me from the moment I heard it. It’s called “Gone Baby,Don’t Be Long”.

The song begins with a slow drum rhythm using a heavy percussive trap,after which a two note rhythm guitar inaugurates the song. The entire song is based on this rhythm groove repeating over and over with a soulful,male vocal choir harmony sound. Badu’s chocked,slowly phrased vocal delivery offers a complete melodic counterpoint to the rhythmic body of the song itself. As the song progresses, a sea of different Erykah Badu’s mixing in multiple tracks of her own backup vocals chimes in. And the song grows more and more built around different variations of it’s own chorus-all before it finally all fades out.

It was only this past week did I realize that Madlib,one of my very favorite sample based producers was responsible for this track. He is always seeking out bass/guitar oriented rhythmic lines that are fluid and melodic at the same time.In this case,he sampled the relatively obscure late in the game Paul McCartney and Wings hit “Arrow Through Me” from 1979. The original’s disco friendly reggae/funk vibe is explored here by looping the chorus following it’s bridge as a musical theme for Badu to add her more jazz/funk vocal styling’s into. It’s not only a high water mark for Erykah Badu’s creativity,but for Madlib’s inventive understanding of jazz/funk loops and samples as instrumental elements.

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Filed under 1970's, 2010's, Erykah Badu, jazz funk, Madlib, Neo Soul, Paul McCartney, Sampling, Uncategorized

Andre’s Amazon Archive for 2/28/2015: ‘Worldwide Underground” by Erykah Badu

Erykah Badu

Eryka Badu is always a human being whom I admire and respect,even more so after reading her recent interview for Wax Poetics magazine. She’s insightful,has a good socio-musical understanding and manages to deal with her unique variation on Afrocentrism very well. One of the things I will say about her though is that musically she often has some level of difficulty bringing her ideas into a clear musical focus. Her “neo-funk’ sound always grooves with jazzy rhythmic touches and as much electric piano layering and psychedelic soul musical touches as she can pack into her music. As such the three-four minute pop is not exactly her friend. On this album there’s a concerted effort to remedy that. This album,originally intended as an EP is a ten track album running about ten minutes short of an hour primarily featuring songs of either very short or very long in length.

The overall effect is not so much that of a jam band mentality but more over that of stretching out her broadly chorded and scoped melodies and harmonic effects to their maximum limit. That is exactly what happens on “Bump”,”Back In The Day (Puff)”, and “I Want You”. The overall songs stick within her basic musical framework:spare funk with an MG’s like quality of every instrumental lick counting although it’s loose rather than precise and far far cleaner produced,with puncuated bass synthesizers added for an important measure. The songs also totally split apart by the end,either with a few minutes of free form vocalese or simply slowing the tape down gradually on the songs conclusion. On “The Grind” and “Danger” she brings more hip-hop up front as she brings out that the modern inner city problems of money and the stress that comes with it are as if not more vital today than they were during the period when the music that inspired her was originally being made and the rapping in the songs,by her and others further look to that concept.

Her lyrical focus on general,sometimes non sexual romance (either internally or externally focused) are similarly open ended. The album comes to a very strong conclusion with “Think Twice”, a song in her signature style with fully acknowledges the strong influence of Donald Byrd in her music as well as “Love Of My Life Worldwide”,a more mid length and very well crafted funk song (emphasize song) with a rap provided by Queen Latifah and a very dynamic and inventive bridge. As with just about everything Erykah Badu does musically one does have to expect the unexpected from this album. That is after all part of the essence of who she is as a person and an artist and the lines aren’t as far apart as one might think. Because of the extended runs here she is about to find a little more focus than usual by stretching out the songs so her broad approach doesn’t seem too confined and held back and for the listener and music lover it’s an excellent way to present her artistry.

Originally posted on October 11th,2010

Link to original review here*

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Filed under Donald Byrd, Erykah Badu, Hip-Hop, Jazz-Funk, Nu Funk, psychedelic soul, Queen Latifah, Wax Poetics

Albums Matter: Andre’s List Of The Top Funky Full Length Albums Of From The Past Five Years

Prince At the grammys

The 57th annual Grammy Award ceremony’s this past Sunday seemed to have surprised everyone. Many performances had a far more serious, even evangelical tone with references to domestic violence and the revived understanding of racism bought on by the police violence of 2014. Maturity and growth were very heavily emphasized on every level-performance and presentation wise. It was Prince,who just released two albums at the end of the last year,who got everyone’s attention-with the words printed above spoken as he presented the Grammy for the best album of 2014.

Prince’s words are what moved me to pick this particular topic for this weeks blog. One very important musical factor shared with my blogging partner Rique is our appreciation and advocacy for the full length album as an important artistic format in terms of how the music we love and are socially moved by is presented. To have someone with as rich a musical history as Prince bring this up at a major award ceremony confirmed the 2010’s have been all about the revival of the album as a driving force in the funk/soul/jazz/R&B spectrum in particular. So here’s my list,year by year of the music on that particular playing field that’s deeply effected my listening.

2010

Erykah Badu Return Of The Ankh

Erykah Badu is always one to throw the unexpected into her grooves. Here her thick,burbling jams blend into songs that are not only a cohesive statement but when sampling is used? They are of things like Paul McCartney album tracks of AOR oriented fusion artists such as David Sancious or Roy Ayers’ Sylvia Striplin. A wondrously sexy celebration of the funk album.

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Janelle Monae here was a key figure in the focus of both my music related blogs with her multi-genre embrace of the Afro Futurist ethic. This album was and is a true game changer in that regard.

John Legend Wake Up!

With both artists always edging just on the border of funk with their own respective releases? The groove burst out completely and with a total fluidity for John Legend and his backing band The Roots-including drummer/producer ?ueslove, for this (so far) one time musical collaboration.

2011

Beyonce 4

Known more for being innovative in terms of single songs,Beyonce’s fourth solo album gained a complete full length flow with a much more mature sound. Including the very polished Quincy Jones/Westlake style production of “Love On Top”.

Lenny Kravitz

Lenny Kravitz always had loads of funk in him. Here and there. Took him a long time before he fully identified with that funkier instrumental groove. And did so on one of his most thorough musical statements to date.

2012

Chris Brown Fortune

With contemporary electronic pop/hip-hop/dance music usually having enough energy to stretch only across a few songs? Chris Brown,during a less than satisfactory period for him personally no less,managed to take the contemporary musical end of his genre and stretch it out successfully longer than I’ve heard most do such a thing in some time.

Antibalas

This explosively percussion Afro-Funk group recording for Daptone were so connected to the original Afrocentric  pulse that spawned the original funk process groups such as Santana,Mandrill and War that following this album they became the backing band for the Broadway musical Fela! A rebirth of full length poly-rhythm at it’s finest!

Kaleidoscope Dream

Psychedelic,meditative and non traditionally structured sophomore release from new comer Miguel.

Victor Wooten

Bassist Victor Wooten saw such depth in this material that he released it both as a vocal and instrumental piece. Very original musical presentation at this time.

Macy Gray Talking Book

Macy Gray bought out her inner Sly Stone for this literal celebration of the album-re-making every song in original order from Stevie Wonder’s 1972 breakthrough album Talking Book on it’s 40th anniversary.

Talented bassist/singer Esperanza Spalding brings out the sprawling mid 70’s jazz/funk vibe for what is probably her most defining album as of yet.

Radio Music Society

Electronica meets boogie funk from a very interesting source blending a hard grooving as well as an ethereal quality.

2013

Toro Y Moi

Potent mix of electronica and boogie/synth funk.

Jyoti

Very bold sound from Georgia Anne Muldrow that embraces dramatic jazz/funk with a boom rap approach to production.

Trombone Shorty

Crescent City native Trombone Shorty presents the instrumental style of horn funk as a genre of sorts all it’s own,with many different tributaries,on this one album.

Apocalypse

Flying Lotus bassist Thundercat brings a huge,cinematic approach to psychedelic jazz-funk.

20 20 Experience

The first of two Justin Timberlake comeback’s this year. Probably a huge re-awakening for the album length music format,complete with 7-8 minute jams,that bough extended soul/funk to the broader contemporary pop audience.

2014

Pharrell

Long time producer emerges as a fully complete solo artist-full of funkified rhythmic energy and shook the world up in a way no funky music has in over three decades with “Happy”.

Kelis-Food

Kelis returns with an album that takes a very JB like organic instrumental soul/funk turn.

Paula

Robin Thicke’s emotionally charged break up album is a full on raw, muscular funk/soul extravaganza

Plectrumelectrum

Prince and the female instrumental trio 3rdEyeGirl become part of the double edged album sword in his studio comeback. It showcases a multi hued psychedelic funk/rock sound where the whole is definitely more important than the sum of it’s parts.

Goapele-Strong-As-Glass

Oaklands own Goapele lends the funk of Pharrell Williams and flowing,piano based jazzy soul/pop on an album that celebrates the flow of musical depth,dignity and elegance.

Black Messiah

D’Angelo shakes the world up with an extremely funkified statement that is still,at the time of this writing,showing people that black lives (and black music) matter a great deal.

2015 (So Far)

Uptown Special

With the month of January often being a driftwood month for new music? Mark Ronson brings Bruno Mars,Mystikal and Stevie Wonder together for some serious,churning “uptown funk? of many colors!


There were honestly more albums than I could’ve seriously listed in this blog that also fit right into it. But these ones made the most important statements on their own terms perhaps. A single song will always say a great deal. But if one impulse or a series of musical/lyrical impulse can be expanded out in a way that expands the mind naturally through a powerfully grooving auditory experience? Than I saw so much the better. So let’s all have it for the musical impact of the album! It’s a key organ in the anatomy of the groove!

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Filed under Beyonce', D'Angelo, Erykah Badu, Esperanza Spalding, Goapele, Janelle Monae, John Legend, Justin Timerlake, Kelis, Lenny Kravitz, Macy Gray, Mark Ronson, Miguel, Pharrell Willaims, Prince, Robin Thicke, The Roots, Trombone Shorty