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Violin – Charles Kwas, Charlie Parker Jr., Emma Kummrow, Gregory Teperman, Igor Szwec, Olgo Konopelskyīacking Vocals – Geno "June Bugg" Young (tracks: 6, 10, 12), N'Dambi (tracks: 6, 10, 12), YahZarah (tracks: 1, 2, 6, 10 to 12)īass – Braylon Lacy (tracks: 6, 10, 12, 13), Pino Palladino (tracks: 1, 5, 9, 14)ĭrums – Ahmir '?uestlove' Thompson (tracks: 1, 4, 5, 7 to 9, 14), Gino "Lock Johnson" Iglehart (tracks: 6, 10, 12, 13)įlute – D'Wayne Kerr (tracks: 6, 8, 10, 12, 14) Vocals, Vibraphone – Roy Ayersīass, Acoustic Guitar – Dready Featuring – Stephen MarleyĬello, Arranged By – Larry Gold Violin – Charlie Parker Jr., Emma Kummrow, Gregory Teperman, Igor Szwec, Olgo Konopelsky The results areĬonsistently tasteful, which only helps to prove once again that Badu is ?uestlove she sought after producer Jay Dee as well. Of her sound, employing artists such as legendary jazz vibraphonist RoyĪyers, jazz trumpeter Roy Hargrove, Stephen Marley, and Roots drummer Number to the closing ten-minute song suite, she develops fresh aspects Sonically, Badu wades out intoĪdventurous territories as well. Gone are the cryptic "Baduizms" that glossed all over herįirst release, replaced with a more honestly raw Badu singing directlyįrom her heart rather than her head. Son, Badu returned with Mama's Gun, which is a turning point for her in After taking some time off for introspection and to raise her Onslaught of similar artists reaching comparable peaks of mainstream With Baduizm, commercial music stood up and took notice with an Since the arrival of Erykah Badu onto the neo-soul scene back in 1997 Producer – James PoyserVocals – Roy AyersĬo-producer – Jay DeeVocals – Betty WrightĬo-producer – Ahmir '?uestlove' Thompson, James Poyser, Pino PalladinoVocals – Betty WrightĬo-producer – Braylon Lacy, Geno "June Bugg" Young, Gino "Lockjohnson" Igleheart*, Shaun MartinĬo-producer – Bruce Carbone, Shante Paige Featuring – D'Angelo Producer – Kedar MassenburgĢ-05 Bag Lady (Basement Boys- Afrocentric Remix) 8:22
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Keyboards, Recorded By, Mixed By, Producer – Norman "Keys" HurtĬo-producer – Ahmir '?uestlove' Thompson, Pino PalladinoProducer – James PoyserĬo-producer – Jay DeeProducer – James Poyser Strong, Karen Bernod, Chonita "N'Dambi" Gilbert Live solidifies that reputation, delivering soulful, gritty versions of cuts from Baduizm, a few covers, and the spectacular new single, "Tyrone." Not only does it illustrate the depths of Badu's talents, but Live is as strong and captivating as Baduizm. While her debut, Baduizm, earned strong reviews and healthy sales, her concerts became equally popular and she became known as a powerhouse live performer. However, Erykah Badu is not a conventional artist and Live is not a conventional live album. by John BushĮrykah Badu / Richard Nichols / James Poyser / The Roots / Ahmir ThompsonĮrykah Badu / Leonard Hubbard / Mel Lewis / Richard Nichols / James Poyser / The Roots / Kenyatta Saunders / Ahmir ThompsonĮrykah Badu / Richard Nichols / James Poyser / The RootsĬonventional wisdom dictates that an artist should not release a live album as her second record, especially if it follows the debut by a matter of months. Though many fans would dislike (and probably misinterpret) the comparison, she's closer to Diana Ross playing Billie Holiday - as she did in the 1972 film Lady Sings the Blues - than Holiday herself. For every intriguing track like "Next Lifetime," there's at least one rote R&B jam like "4 Leaf Clover." Jazz fans certainly weren't confusing her with Cassandra Wilson - Badu had a bewitching voice, and she treasured her notes like the best jazz vocalists, but she often made the same choices, the hallmark of a singer rooted in soul, not jazz. Erykah Badu's revolution in sound - heavier hip-hop beats over organic, conscientious soul music - was responsible for her breakout, but many of the songs on Baduizm don't hold up to increased examination. Like many in the contemporary rap world, though, she also had considerable talents at taking on different personas "Otherside of the Game" is a poetic lament from a soon-to-be single mother who just can't forget the father of her child. With a nimble, melodic voice owing little to R&B from the past 30 years, she phrased at odds with the beat and often took chances with her notes. "On & On" and "Appletree," the first two songs on Baduizm, illustrated her talent at singing soul with the qualities of jazz. While D'Angelo looked back to the peak of smooth '70s soul, though, Badu sang with a grit and bluesiness reminiscent of her heroes, Nina Simone and Billie Holiday. Two years after D'Angelo brought the organic sound and emotional passion of R&B to the hip-hop world with 1995's Brown Sugar, Erykah Badu's debut performed a similar feat.