#268: Erykah Badu - Mama's Gun (2000)

Zack: Most of my prior exposure to Erykah Badu consisted of listening to Things Fall Apart by The Roots over and over and over again. As much as I love her in that song, I really wasn’t in the mood to listen to a neo-soul album at the time, especially a 71 minute one. But I sucked it up and now I sort of wish I hadn’t. I liked Mama’s Gun, but it just felt so long. Like they could have cut out a whole chunk in the middle and it would have been so much better. It was just too hard to stay focused for the entire time, especially when I didn’t recognize any of the songs to begin with like I did for other artists, like Lauryn Hill. I plan on going back and listening to some songs over again to see if my apathy was earned or sentenced, but I’m definitely not promising to do so with the entire album. I’ve got a life to live.

Favorite Tracks: Penitentiary Philosophy; Bag Lady; Green Eyes

Emily: I don't really know much about Erykah Badu besides her penchant for wearing brightly colored African hair wraps, and that she has a son with Andre 3000 named Seven (yes, like the number). With a quick scan of Wikipedia, I learned that she also has a daughter named Puma (yes, like the animal and/or sneaker) and another daughter named Mars (and yes, like the planet). All celebrity fun facts aside, I also spent the last hour listening to Mama's Gun, one of Badu's most critically acclaimed albums. I agree with Zack that it was overlong, and that a few songs in the middle could have been taken out with no impact on the quality of the music. However, despite it being a lengthy undertaking, Mama's Gun is a beautifully modern soul album. Badu's voice has a classic quality to it, less Aretha and more Billie Holiday. Mixed with modern subject matter and smooth rhythms, the album is both unique and timeless.

Favorite Tracks: Penitentiary Philosophy; ... & On; Bag Lady

#120: Lauryn Hill - The Miseducation of Lauryn Hill (1998)

Emily: After I finished listening to The Miseducation of Lauryn Hill, I couldn’t write my review right away like I usually do. There was so much to take in over the course of those 14 tracks that I needed some time to think about how it all works together. And work together it does, beautifully. I think this is because every element is personal and uniquely Lauryn Hill. By fusing different musical styles together, she creates a mosaic of the different influences that inspired and shaped her career. There’s Fugees-style hip hop, reflecting her time alongside Wyclef Jean and Pras Michel. There’s reggae, a nod to her relationship with Rohan Marley (Bob’s son). Gospel ties into spirituality and her view of God. And what ties it all together is R&B and soul, two styles of the past that Hill brings into the present. The way she does that is with her poetic lyrics. She’s personal, confessional, and emotional. Songs like To Zion, an ode to her unborn son, deal with intimate and difficult issues in Hill’s life, but she puts them on display with grace, soul, and beauty. As a listener, I was simply drawn in by the power of her words. Lauryn Hill is truly one of the greatest musicians and artists of recent times, maybe even all time. While it is a shame that she has barely released any music in the 13 years since this album, Ms. Hill’s Miseducation is certainly her masterpiece.

Favorite Tracks: To Zion; I Used to Love Him; Every Ghetto, Every City

Zack: A friend of mine and I play a game where we have to draw parallels between famous literary figures and hip-hop artists. We came up with Emily Dickinson-Lauryn Hill a while back. The similarities range from the coincidental (from the North, older brothers, and reasonably well-educated) to the glaring (recluses and deep-seated love of the piano). But while Dickinson surely has Hill beat in the prolific department, I doubt that she was as versatile an artist. Lauryn Hill fluctuates between hip-hop, R&B, soul, reggae, and even gospel with incredible ease and ability. I listened to Lost Ones and found myself hoping that the rest of the album would be more rap oriented. Then, immediately afterwards, I listened to Ex-Factor and really hoped that there would be more R&B hits. This process repeated until I finally realized that having more of everything wasn’t a real possibility and had to contend that I simply wanted the album to keep maintaining the same level of awesome. Lauryn Hill truly is an incredible talent. She can sing. She can rap. She can pull off a huge afro. She can really just do it all. And she does it all while being a mother to six. Why can’t my mom be so cool? What really makes this album special is the familiarity that the listener develops with Lauryn Hill. Everything about this album is personal and vulnerable. The listener is really invited into her life and gets a full view of everything she is. That openness combined with the versatility brought to the table makes The Miseducation an instant classic, no matter how you look at it.

Favorite Tracks: Ex-Factor; Everything Is Everything; Doo Wop (That Thing)

#114: Isaac Hayes - Shaft (1971)

Zack: I can’t mention this album without at least pointing out that this is the voice of Chef. But since there’s another Isaac Hayes album on the list and there’s more than enough to say about this album anyway, I’ll have to pause the Chef ramblings until another day. First off, while perusing Wikipedia, I saw that this album hit #1 on several charts, including one “Black Albums.” Curious if there was actually a separate chart for black people past Brown v. Board of Education, I clicked on the link. It took me to the page for “Top R&B/Hip-Hop Albums.” Wow. Awesome random racism, Wikipedia. Besides for that, I also learned that Isaac Hayes originally became involved in this project because he was hoping to score the title role. Seriously? The character’s name is Shaft. Did Marvin Gaye already have dibs on “Just Thatip?” But I digress. This is a soundtrack, so most of the songs are instrumentals meant to be heard while watching something. Usually, this is what dooms soundtracks from the very beginning. But Mr. Hayes manages to infuse enough funk and soul into the music to still keep it interesting. But let’s be honest. With a powerful, sextastic voice like Isaac Hayes, you need some vocals. Of the fifteen tracks on the double album, only three feature singing, but they are easily the three best songs. His voice is just so deep and seducing. He could be singing about anything and all I would hear is “I’m gonna make love to you womaaaaaaaan. I’m gonna lay you down by the fiiiiiiraaaaaaah.” I know I said the South Park references would wait, but I just couldn’t help myself.

Favorite Tracks: Do Your Thing; Theme from Shaft; Soulsville 

Emily: I’ve never seen Shaft, but I’m pretty sure it doesn’t show up on any 1001 top movies list. The soundtrack, however, is a different story. It is one of the rare movie soundtracks that became ridiculously more successful than the movie itself, and it’s easy to hear why. Many soundtracks just serve as filler to the movie, but Isaac Hayes made the music to Shaft able to stand on its own. He composed and performed the entire album, which is a collection of instrumental scene-setting tracks interspersed with a few vocal performances. To me, the sound was kind of soul-meets-space. The songs have a futuristic quality about them, but are also full of classic soul sounds and grooves. This creative combination elevates Shaft above lowly soundtrack status to become a 70s soul classic.

Favorite Tracks: Theme from Shaft; Soulsville; Do Your Thing

#71: Marvin Gaye - What's Going On (1971)

Zack: Well, loyal readers, it's going to be Valentine's Day in less than 30 minutes and so we decided to celebrate by reviewing a romantic album. Despite my protests that Snoop Doggy Dogg's Doggystyle was the perfect candidate, we decided to take the Marvin Gaye route. Initially, we would have liked to have done Let's Get It On, but I don't have it yet, so we settled on a different on-based Gaye album. Admittedly, I haven't listened to much Marvin Gaye prior to this album. My experience is pretty much limited to the line in Jay-Z's Dirt Off Your Shoulder when he says "I'm like a young Marvin in his hay." As you can probably guess, I was very surprised when I didn't hear some phat beats and a sick flow. But luckily, this album manages to overcome it's unfortunate lack of Jigga and still be awesome. It's just so smooth, soulful, and sexy. Anytime you can nail those three S's, you're going to have a hit on your hands. Marvin Gaye does that and more. It's a great album to groove to. Any of you love birds out there looking for something to get down to, whether it be dancing or some other activity, should pick this album up because it will definitely fulfill that requirement.
Favorite Tracks: Mercy Mercy Me (The Ecology); Flying High (In the Friendly Sky); What's Going On

Emily: Marvin Gaye is the ultimate sensual singer. When you listen to a Marvin Gaye song, it just unleashes your inner sensual seductor/seductress. I don't care how prudish you are - Gaye's silky, soulful voice always tends to have that effect. Even though What's Going On is decidedly less sexual than many of his other hits, the soul and sensuality always comes through. I especially liked that the album flowed right from one track to the next. Each song stands out, but they all are part of one cohesive, beautiful sounding unit.
Favorite Tracks: What's Going On; Mercy Mercy Me (The Ecology); What's Happening Brother

#68: Stevie Wonder - Talking Book (1972)

Emily: Stevie Wonder is one of the greatest living music artists, and this album shows exactly why. Talking Book is classic Stevie - soulful, romantic, and just a bit funky. My favorite songs are the funkiest songs, like Superstition. The upbeat horns and bass combined with Stevie's voice create a totally different sound than any other song on the album. It certainly has soul and funk, but there's definitely a bit of rock in there too. I think that's what makes Stevie Wonder so widely revered. He doesn't just stick to one genre, but adds elements from all over the musical spectrum to create something that is both unique and universal. Anyone can relate to his love songs, and everyone will dance to his funky tracks.
Favorite Tracks: Superstition; You Are the Sunshine of My Life; I Believe (When I Fall in Love It Will Be Forever)

Zack: Before I begin my review, I think it's important that I give a warning to all the readers out there. This album will make you feel randy. I'm not saying this to be funny or weird, but rather to give you all a fair warning. Don't listen to this album with family around lest things get awkward. Trust me on that. Anyway, Stevie Wonder is a musical icon. An award show doesn't go by where he doesn't do a duet with Alicia Keys. I'm told he also did one with the Jonas Brothers, but I'm going to choose to assume that that was just a bunch of people all having the same terrible nightmare. Either that or it was robo-Stevie Wonder. We'll have to add that to the list of unsolved mysteries, which is getting pretty long at this point. This album is a fantastic blending of all the classic Stevie Wonder sounds. There's R&B, soul, funk, and badass (the genre that I put Superstition is because it's too cool for all the others). Overall it's just a cool album by the coolest of musicians.
Favorite Tracks: Superstition; Blame it on the Sun; You Are the Sunshine of My Life

#47: James Brown - Live at the Apollo (1963)

Zack: The Godfather of Soul sure comes with it on this live album. Even without the visual effect of Brown’s dancing, it is pretty clear why he earned the title of “The Hardest Working Man in Show Business.” The combination of his caterwaul-esque vocals, the big band feel to the backing instrumentation, and the way Brown conducts the audience in various chants is so powerful that it borders on overwhelming. The music that James Brown creates here contains so much raw energy that it seems to blast out of speakers. It is this energy that has made Brown such an influential figure in the American music scene.

Favorite Tracks: Night Train; Try Me; I Don’t Mind

Emily: James Brown performing at the Apollo is one of the most iconic images in all of music history. He put everything he could into his performances, dancing and singing like a madman well into his golden years. This live album encapsulates that frenetic style. Most of the songs are short and fast, with a soulful sound that complements Brown's signature voice. Hearing the fans screaming as Brown wails and dances across the Apollo stage makes it clear why he's the Godfather of Soul.

Favorite Tracks: Night Train; Try Me; Lost Someone

#39: Prince and the Revolution - Purple Rain (1984)

Zack: If you are going to listen to any music by Prince, there are two things you should know. One, he is a musical legend whose genius extends into a variety of genres including R&B, pop, dance, rock, funk, and even a little new wave. Two, he is a horny little man. His musical erection may not be as pronounced on this particular album, but the song Darling Nikki is still rumored to have been one of the songs that sent Tipper Gore into a tizzy and got those little parental advisory stickers slapped on the front of everything cool. Not bad for one of his tamer works. This Grammy-winning album is deep and complex both lyrically and instrumentally. The lush layers create more of a sensation of exploration rather than simple listening. In short, it is an awesome album by an awesome artist that will have you doing the uncommon combination of both dancing around the room and air guitaring.

Favorite Tracks: Darling Nikki; Purple Rain; Let’s Go Crazy

Emily: Prince is one funky, bizarre little man. He throws together so many disparate elements in his music, and they all interconnect wonderfully. He's one of the only musicians ever who can make badass guitar solos, R&B crooning, funk beats, and lyrics about a girl masturbating with a magazine sound amazing together. Although there's no distinct plot, there is a sense of a story throughout (perhaps because it is the soundtrack to Prince's movie of the same name). All in all, Purple Rain showcases Prince's genius talents as a songwriter, singer, guitarist, and creative mind.

Favorite Tracks: When Doves Cry; Darling Nikki; Let's Go Crazy

#16: Amy Winehouse - Back to Black (2006)

Emily: This album is simply amazing. Winehouse combines a retro soul sound with intimate lyrics and a voice rife with raw emotion. It is clear that she puts her entire heart and soul into her music. Every lyric is personal, every arrangement unique. Unfortunately, all of the troubles she sings about have played out in her personal life and the public has lost sight of her music. She's capable of a comeback, though - the music is just too good.
Favorite Tracks: You Know I'm No Good, Rehab, Back to Black

Zack: I would be willing to forgive the drug addiction, overall craziness, and even Britishness for anyone with a voice like that. Go ahead ladies, open another tab and try to find a voice coach in your area. I'll wait. What I love most is how she takes the most classy and refined forms of music and adds dirty lyrics about drugs and infidelity. The contradiction that lies between the gospel-like feel to her voice and the content of her words, or the reversal of starting with rehab and ending in addiction, is simply magnificent. Everything about this album is well-crafted and hearkens back to another era of music that I, for one, am quite fond of.
Favorite Tracks: Back to Black, Addicted, Rehab

#13: Destiny's Child - Survivor (2001)

Emily: Destiny's Child can do no wrong. Every single they release is a hit for good reason. All three ladies have great voices and are stars in their own right. They shift from upbeat dance tracks to soulful ballads with ease, and their girl-power-with-sex-appeal vibe is always fun. As great as Beyonce is solo, I still hold out hope for a Destiny's Child comeback.
Favorite Tracks: Independent Women Pt. 1, Survivor, Emotion

Zack: It doesn’t get much better than three super-sexy ladies singing in a beautiful harmony about their booties. They have such soulful voices that can fluctuate between powerful and soft effortlessly. And what makes it better is that they sang about things they know. Whether that was persevering through a tough break-up, being a strong woman, or men who are so sexy that they make you think of delicious baked goods, they made sure every word was a genuine representation of their experiences. Finally, just for the record, your bodies wouldn’t have been too bootylicious for me, ladies.

Favorite Tracks: Bootylicious, Survivor, Emotion