Erykah Badu - New Amerykah Part One: 4th World War
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Artist: Erykah BaduBrand: Baker & Taylor
Edition: Music CD
Audio: English (Unknown); English (Original Language)
Published: 2008-02-29
CD Release Date: 2008-02-26
Model: 00602517621879
Music Label: Motown
Product features:
- BADU ERIKAH NEW AMERYKAH (4TH WORLD WAR)
- AMERYKAHN PROMISE
- THE HEALER / HIP HOP
- ME
- MY PEOPLE
- SOLDIER
- THE CELL
- TWINKLE
- MASTER TEACHER
- THAT HUMP
- TELEPHONE
- (Bonus) HONEY
Music reviews of New Amerykah Part One: 4th World War
Music Review: We're not well... don't you want to see everyone rise to the next degree?
Rating: 5 Stars
If you expected New Amerykah to be like anything else out there right now--or even like any of her own past works--then you must not know Ms. Badu well enough. About a decade ago, she brought the neo-soul genre to the mainstream with her classic triple platinum debut album, Baduizm. The sound was fresh: conscious, intellectual lyrics over jazzy, laid-back soul grooves with some hip hop beats to add that extra hump and appeal. Still, unique vocal delivery was the center piece, quickly gaining comparisons to divas like Billie Holiday. She won numerous awards--most notably two Grammys--released a live album, had a son named Seven, and three years later came the release of Mama's Gun, which remains the hands-down favorite among the majority of her fans. The opening track alone, "Penitentiary Philosophy," gave a slap in the face to anyone who expected her to stay in one place as an artist. The polar opposite of any track off Baduizm, it was loud, funky, and booming; it was closer to Chaka Khan than Holiday . And on this sophomore effort, instead of talking about the world, Erykah decided to focus on self. The introspective work explored emotional baggage, jealousy, denial, self-image, among many other personal topics. In 2003, she admittedly didn't have much to say, suffering from a discouraging writer's block while on tour. As a result, her focus shifted even more towards the sonic elements of her work: playing and experimenting with faders, meters, shakers, and tweeters. It was so different that many of her fans felt a bit alienated and confused. However, as can be seen by the odd surplus of negative reviews here, New Amerykah, Pt. I seems to be her most divisive album to date.
Well... it certainly is different. This album is a unique fusion of jazz, funk, hip hop, and soul. As the title suggests, it's packed with political and philosophical lyrics. (Quite frankly, I cannot come close to putting my finger on the meaning of quite a few lyrics). It is also a concept album. Apparently, New Amerykah, Part I is some sort of brainwashing radio forecast that plays during a train ride. (Note the flight attendant-like voice speaking of closing doors in the opening track and the random occurences of static spliced in between tracks). The theme of the album, you may ask? It is Erykah desparately crying out for the advancement of her people, and America in general. It is about the social ills that hold the nation's people back from bettering themselves: the "fourth world war" within themselves, if you will. The subject matter is most certainly heavy. But if that's not for you, it is definitely possible to tune out the lyrics and just get lost in the bangin' grooves. However, if you are a listener who likes to dig deep into the songs and their meanings, the lyrics will give you plenty to chew on. (The booklet includes the lyrics and striking artwork by EMEK Studios to accompany each song).
The album begins with "Amerykahn Promise," which bring memories of old blaxploitation movies. Laced with blasting horns, a fierce guitar riff, and soulful, strong backup vocals, this track is incredibly funky. "The Healer," which leaked onto the internet quite awhile before the album's release, is a catchy ode to hip hop, proudly ploclaiming it is even "bigger than the government." In interviews, Badu nots how the genre crosses all barriers, leaving an incredible imapact among different nations and people. The track, with its echoing chimes, bells, and whispery vocals, is a bit haunting to me... in a good way, though. "Me," an autobiographical track, is a very laid-back and subdued jazz groove. Erykah takes a good look in the mirror, examining herself after going through thirty-six years of life, having two kids, and ending relationships with their fathers. She also makes sure to dismiss all the speculations that her image--ankhs, headwraps, afro--is all her, never contrived or formulated. It ends with a improv-like trumpet and voice interlude, which is apparently a dedication to her charismatic mother. "My People" is quite a short track compared to the others. It is most definitely the most hip-hop song on here, with it's bouncy beeps, rough drums, and grungy, hard beats. She repeats "hold on my people" while layering wonderful ad-libs over it. There is some great harmonizing here, too, that I like a lot. "Soldier" is by far my favorite track here. It is very dynamic, with Erykah strongly asking "do you want to see everyone rise to the next degree?" The bass is heavy, there is a flurry of the flutes, and the background vocals gradually build up to the end like the waves of a sea. (Plus, it's the only time I've heard the phrase "yes siree" not sound cheesy. Only e.badu!) "The Cell" is upbeat track that is also quite funky, laced with plenty of hi-hat and synths. The way I see it, the track is about being trapped in a cell due to materialism, drugs, and also deadbeat dads and moms ("same DNA strand.") "Twinkle," a fast-paced social commentary with a continuously twinkle effect, is another one of my favorites on this album. "Master Teacher" has production with a soulful swirl of strings. I also love the interlude/chant that comes in between. It may be very controversial to some, due to its repeated line "what if there was no n---as, only master teachers?" However, I think it has a very good point. In any race, there are a select few people who are a bit despicable and unintelligent. Often, such as in today's hip hop culture and Hollywood, many of them are being put on a pedestal as examples to the young. I genuinely do not believe the song was meant to target any specific group, especially considering the line "everybody knows that, black or white, there are people every shape and size." I think the lyrics are just so in-your-face to grab attention. "That Hump" has slow, lagging drums and truly expressive vocals. The heart-wrenching track comes from the perspective of a heroin addict that wants to escape the troubles of her daily check-to-check life in the ghetto, yet she only feels a short period of satisfaction. Afterwards, she falls even deeper into depression, hopelessness, and addiction. This track also has a beautiful interlude with great brass, including stuttering horns. "Telephone" is the last listed track. It is about the death of her friend and producer, J. Dilla. Apparently, before he died, he saw the rapper ODB, speaking to him. Erykah does a great job setting the story to a track. It is a very moving and emotional song. The radio-friendly first single "Honey" is included here as a hidden track. It does not fit in with the rest of the album, and it was actually supposed to be saved for Part II of New Ameryakh until the record execs intervened, but I still think it's a nice, groovy track. Plus, it's nice to hear it in glorious, stereo-quality sound after months of listening to it on YouTube.
The bottom line: New Amerykah, Pt. I: 4th World War is a funky, jazzy, and soulful album full of political lyrics, emotionally-charged vocals, and superb production. It is most definitely my favorite album of the year thus far. While it is a little bit heavy, listeners who do not care for such material can easily ignore the lyrics and just get into the hip hop beats and grooves. Also, the first single "Honey" adds a lighter, sweet ending note to the album. It is much different from Erykah Badu's past work. It's possibly even more outlanish than 2003's Worlwide Underground, at times. But it's just as great as Baduizm and Mama's Gun, in my eyes.
Description of New Amerykah Part One: 4th World War
Universal Motown's multi-platinum-selling, Grammy awardwinning singer/songwriter/actress Erykah Badu returns to the music scene with her new album "New Amerykah" featuring the debut single "Honey". Laced with Erykah's bluesy grit and MC style vocals, the song is bolstered by producer's 9th Wonder's razor sharp hip hop beats. Badu describes the song as "an old school track with some funk on it." The release of "Honey" on November 20th also marks Badu's 10th year in the music industry. To celebrate, the gifted trendsetter prepares the release of her much anticipated new album on her birthday, February 26th. Badu has enlisted some of the most talented, groundbreaking underground producers and engineers in the hip-hop game to support her breakthrough return, including Grammy Award winning producer 9th Wonder (Jay-Z, Nas, Mary J. Blige), Madlib, Mike "Chav" Chavarria and R&B singer Bilal. A special, 12-inch pink wax edition will be available only to DJ's next month and will feature underground tracks, "The Healer" and "Real Thang." "The music is the star," says Erykah, "I just laid down my vocals and let the music breathe while the melodies tell the stories." This album is part one of the series New Amerykah Part 1&2.Subtitled 4th World War (when was the third, eh?), New Amerykah Part One is the first release in five years from the woman born Erica Wright. The wait was worthwhile though, as this smart, eclectic set, her fourth, adds to the grand tradition of socially conscious soul music. Literally so in the case of opener "Amerykahn Promise", spun by Badu straight over an obscure seventies funk track by Roy Ayers's protégés Ramp. "The Healer" is effectively a tribute to the power of hip hop to ground otherwise lost lives, while the deeply felt "Telephone" commemorates her friend, the late producer J Dilla (and was in fact written the day after his funeral). "The Healer" and "That Hump" deal with the damage caused by drug dependency and "Soldier" is a hard-hitting analysis of the state of Black America. None of which would count for much if the music didn't connect. Though Badu's quirks remain intact--the vocal/saxophone duet at the conclusion of the otherwise ice-cool "Me" (what else) is easily resisted--a terrific team of collaborators including idiosyncratic producers Madlib, 9th Wonder and the three man unit Sa-Ra keep New Amerykah Part One endlessly imaginative, tough, twisted beats sitting alongside softer jazz-funk grooves. The US public certainly assented, sending New Amerykah towards the top of the album charts. Only the eighties-style slow jam "Honey", charming in itself, seems at odds with the serious mood and is thus tagged on the end. The now eagerly anticipated Part Two is due later this year. --Steve Jelbert
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