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New Amerykah, Pt. 1: 4th World War Specifications
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
New Amerykah, Pt. 1: 4th World War Overviews
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.
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[if Having at this point only released three studio albums in a career that at this point had been a decade long Erykah Badu decided to focus her energies on a series of conceptual albums that would keep her consistantly making music for a good while to come. This is the first volume of the series. Ever mindful not only of her love and genuine respect for not only the music but the spirit of jazz-funk Erykah follows her muse here in every possible way she can. With the exception of the intro "Amerykahn Promise" and "The Cell" the music here generally shys away from uptempo funk and in doing so does prove a point. Not only is funk by it's nature a somewhat slower music but often enough it's been felt that such a slower burning variety of groove will bring more attention to the lyrics. Of course it should also be noted that the two uptempo songs here have the most driving messages of the albums overall concept. This was released in an era where there was a lot of uncertainty in the country and world at large and the very poor economics of the period were having intense effects on the music industry Erykah was a part of,however awkward that may have been for her. The general message in this music has to do with the facts as she saw them: that a whole society of people wanting to improve the conditions of their lives in the 60's and 70's had,for one reason or another found that the generation after them had neglected that promise and/or been neglected themselves and,more importantly that no one seemed to be paying attention. Here we find tales of people still trapped in the same ghetto syndromes of poverty and lack of knowledge that had stirred so much awareness in the past so it's only fitting that this album actually has more a 70's flavor than you'd believe. The album has this charred There's a Riot Goin' On-era Sly feel to it,only difference being there are a lot of hip-hop effects added into the mix. "Honey",the bonus cut here is the only song I'd have to actually stands out more as an individual piece of music on what otherwise winds up being a very album oriented project. The album certainly packs more individual punches verbally,in terms of lyrics than it does musically but it does have a nice slow burning acid funk-jazz flow to it all anyway. Honestly......the album looks a lot more exciting than it sounds in the end due to the fact everything from the vocals,the arrangements and even the powerful lyrics seem to hint at some mild personal resignations on Badu's part. But lucky for us this is not by far the end of the chapter in this period of Erykah Badu's musical career. ]
Customer Review
Having at this point only released three studio albums in a career that at this point had been a decade long Erykah Badu decided to focus her energies on a series of conceptual albums that would keep her consistantly making music for a good while to come. This is the first volume of the series. Ever mindful not only of her love and genuine respect for not only the music but the spirit of jazz-funk Erykah follows her muse here in every possible way she can. With the exception of the intro "Amerykahn Promise" and "The Cell" the music here generally shys away from uptempo funk and in doing so does prove a point. Not only is funk by it's nature a somewhat slower music but often enough it's been felt that such a slower burning variety of groove will bring more attention to the lyrics. Of course it should also be noted that the two uptempo songs here have the most driving messages of the albums overall concept. This was released in an era where there was a lot of uncertainty in the country and world at large and the very poor economics of the period were having intense effects on the music industry Erykah was a part of,however awkward that may have been for her. The general message in this music has to do with the facts as she saw them: that a whole society of people wanting to improve the conditions of their lives in the 60's and 70's had,for one reason or another found that the generation after them had neglected that promise and/or been neglected themselves and,more importantly that no one seemed to be paying attention. Here we find tales of people still trapped in the same ghetto syndromes of poverty and lack of knowledge that had stirred so much awareness in the past so it's only fitting that this album actually has more a 70's flavor than you'd believe. The album has this charred There's a Riot Goin' On-era Sly feel to it,only difference being there are a lot of hip-hop effects added into the mix. "Honey",the bonus cut here is the only song I'd have to actually stands out more as an individual piece of music on what otherwise winds up being a very album oriented project. The album certainly packs more individual punches verbally,in terms of lyrics than it does musically but it does have a nice slow burning acid funk-jazz flow to it all anyway. Honestly......the album looks a lot more exciting than it sounds in the end due to the fact everything from the vocals,the arrangements and even the powerful lyrics seem to hint at some mild personal resignations on Badu's part. But lucky for us this is not by far the end of the chapter in this period of Erykah Badu's musical career.
Would have been "B-" effort, but cheesy effects take it to "C" - Franklin - Los Angeles, CA United States
I am a moderate (but not fanatical) fan of Erykah Badu, in that I own and frequently listen to Baduzym and Mama's Gun and love those albums. I was disapointed by this one, it is a clear notch below in terms of musicality and inventiveness, and lacks some of the "freshness" of the other two. To be sure there are a couple of outstanding tracks, like "That Hump", that has some of her trademark musicality and unique combination of vocal harmony and mood, but this is balanced with an unfortunate introduction of cheesy "gag" interludes and other bizarre interruptions that remind me of rap albums from the 1990s. Unfortunate direction, I hope she moves away from that and goes back to pure music, those "interludes" are embarassing.
Don't just listen to it once...you'll be missing out. - Estrela - Los Angeles
This album is truly one that grows on you. You might love it the first time (or not), but you will be in-love by the third. So listen, listen and listen again. Pay attention to the lyrics, they are the truth. Do not sleep through it just listening to the beat. Anyway, a beautiful album Ms. Badu. Thank you.
3-1/2 stars -- Not 100% out of the trenches, but... - Anthony Rupert - Milwaukee, WI
First off, I hope everyone realizes that Erykah Badu is probably not going to be able to make another Baduizm. I've always been a fan of hers, but I couldn't really get into Worldwide Underground. But after all the buzz I heard about New Amerykah Part One (4th World War), I finally decided to check it out.
I have to say that this album is a little overrated. For starters, many of the six and seven-minute songs are that long only because after the actual songs are over, they're followed by some out-of-place political speeches by some unknown male. Also, there are a number of times where Erykah provides bizarre lyrics and thus makes you wonder exactly what she's talking about (see "The Cell" or "Amerykahn Promise"). "My People" sounds like a loop, and to call the production on "Twinkle" disorganized would be an understatement.
It's a relief when Erykah's more standard fare shows up, like on "Honey", "Master Teacher" (featuring vocals from a Stones Throw artist named Georgia Anne Muldrow), "Me" and possibly "That Hump". New Amerykah Part One isn't a bad album but it isn't a classic like everyone says it is -- in fact, it's her least accessible album, so B.I.F.
Anthony Rupert
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