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If unpredictability doesn’t explain NEW AMERYKAH PART TWO’s cohesiveness, then compatibility certainly does. “She can create that connection between genders, even without the help of the producer.” “Erykah is fantastic at speaking on a woman’s point a view on things,” says 9th Wonder. Take, for instance, NEW AMERYKAH PART TWO’s intro track “20 Feet Tall,” which finds Badu’s astral “I Can” theme matched with a sparse and uncharacteristic 9th Wonder production interpolated by James Poyser on keys. Williams, Ta’Raach, Karriem Riggins, and the spectral J Dilla-are not so easily identifiable, outdoing themselves with arrangements that step out of their signature realms of production. This time around, the cast of usual suspects-9th Wonder, Madlib, James Poyser, Sa-Ra’s Shafiq Husayn, Ahmir “?uestlove” Thompson, Georgia Anne Muldrow, Jah Born, R.C.
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On NEW AMERYKAH PART TWO, structured ballads and airy jam sessions coexist peacefully in the same soulful arena.īesides the album’s posh synapses and poetic out-of-the-boxness, Badu put her executive producer title to good use, enlisting many of the same producers that made New Amerykah Part One such a rich audio feast. The new album, a warm recital of personal philosophies on love and heartbreak, marries the understated wit of the old Erykah to the sonically venturesome new Erykah.
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If Erykah Badu’s “cipher keeps moving like a rolling stone,” as she so coquettishly proclaims in the legendary single “On & On” from her dazzling 1997 debut, Baduizm, her latest opus, NEW AMERYKAH PART TWO: RETURN OF THE ANKH, the follow-up to 2008’s critically acclaimed New Amerykah Part One: 4th World War, represents the point in Erykah’s career where she has traveled that cipher’s full 360 degrees and been revitalized.
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Erykah BaduIn ancient Egypt, the hieroglyphic character of the ankh at the fingertips of a goddess symbolized eternal life.