Soulquarians works④【Album Review: Mama's Gun / Erykah Badu (2000)】

This is the masterpiece by the charismatic queen of neo-soul, Erykah Badu.
While touching on the background of how this masterpiece was born, I would like to explore what makes it so incredible and uncover its charm.

Overview

This is the second album by American singer-songwriter Erykah Badu.
It was released on November 18, 2000, by Motown Records.

Following her debut album "Baduizm" (1997), this work further deepens and develops neo-soul (a fusion of soul with elements of hip-hop, jazz, and funk).
Compared to her previous work, this album has a slightly more varied style.

After the release of "Baduizm," Erykah Badu gave birth to her son with her then-partner, Andre 3000 of Outkast.
In interviews, she has stated, "The title 'Mama's Gun' is a metaphor for protecting my son, inspired by my grandmother keeping a handgun on her nightstand."
Indeed, the cover art makes her look like a warrior protecting her son with a gun.

This album was produced by Erykah Badu.
Production is said to have begun around April 1999, and in May 1999, she moved her base to Electric Lady Studios to begin collaborations with the Soulquarians.
She composed while jamming with Soulquarians members like Questlove, Pino Palladino, and James Poyser, and then thought of lyrics that fit each song.
Eventually, Erykah Badu also came to be called a Soulquarian.

The Soulquarians created albums simultaneously at Electric Lady Studios.
From this activity, legendary masterpieces were born, such as D'Angelo's "Voodoo" (2000), Common's "Like Water for Chocolate" (2000), and Erykah Badu's "Mama's Gun" (2000).
These three are sometimes referred to as a trilogy.
Please see here for an overview of the Soulquarians.

Her previous work was also a masterpiece, but this album is in a league of its own. It is overflowing with raw sound and groove, and Erykah's sense of rhythm and expressive power have leveled up.
It is a masterpiece packed with the chemistry of the Soulquarians.

She seemed to be very particular about the track order, and the order was changed even after the CD liner notes were printed.
It is said that the first edition had a different track order than what was listed in the liner notes.
This album is structured so that the whole thing flows together, with the outro phrase of the previous song often becoming the intro of the next.
It is an album that feels like watching a live performance at a jazz club.

Song Commentary

1. Penitentiary Philosophy

This song was born from a session with Erykah Badu, Questlove, Pino Palladino, and James Poyser.
It is a song with a strong rock feel, full of live energy.
Questlove's tight drums and Pino Palladino's soft bass are incredibly good.
The push and pull, which drives the song while also leaving space for the sound, is exquisite.
It's so cool!
Erykah says she sang the lyrics freestyle and understood their meaning later.

The title translates literally to "Penitentiary Philosophy."
The themes of the lyrics are liberation from the prison of the soul, self-discovery, and anger.

She was in a slump at the time.
"Livin' in a penitentiary" likely refers to the pressure (evil) from the label and the market (the world).
The whispering in the intro represents the confusion in her mind caused by that pressure.
In this song, Erykah is angry, seeking the freedom of her soul.

Perhaps because it was composed freestyle, Verse 1 and Verse 3 share the same melody line, but Verse 2 has a different melody.
I feel a sense of live performance and a thirst for freedom in the song's structure.
Her vocal style is stronger and thicker than ever.
The shout in the latter half is like that of a rock vocalist.
It is the perfect opening shot worthy of a masterpiece.

2. Didn't Cha Know

This song is produced by J Dilla and Erykah Badu.
Erykah Badu was introduced to J Dilla by Common and visited his home.
J Dilla's home had a massive collection of records that Erykah had never heard, and J Dilla told her to pick one she liked.
Erykah chose Tarika Blue's "Tarika Blue" (1977), a jazz-funk album, because she "liked the name."
J Dilla played the record and told her to pick one song from it, and Erykah chose "Dreamflower."
J Dilla chopped that "Dreamflower", added congas, and created the beat.
And this song was nominated for a Grammy Award for "Best R&B Song."
That's an amazing story.

The theme of the lyrics is "moving forward while feeling lost."
She sings, "Tried to move, but I lost my way" and "As long as you don't stop," and amidst that confusion, she asks, "Didn't Cha Know?"—a question about an important realization in life.

As for the music, the soft bassline paired with Erykah's smoky (a sweet, raspy, sexy feel) vocals is truly excellent.
It is jazzy overall, but the tight drum loops give it a hip-hop feel.

3. My Life

This song is produced by J Dilla, James Poyser, and Erykah Badu.
It was originally created as a demo in 1995, but was reconstructed by J Dilla, James Poyser, and Erykah Badu.
J Dilla's dry drum loops and James Poyser's piano create a pleasant groove.

The theme is about "moving forward while carrying weaknesses and contradictions," which is the very essence of the Badu philosophy that "imperfection is perfection."
The lyrics use many weather motifs, such as "So many people out there chase the sun," "You'd better dance a dance to make the rain come down," and "Every now and then I wanna throw my hands up in the sky," singing about living life positively.

Erykah's singing is bright and jazzy.
This way of singing, where languor and lightness coexist, is one of her specialties.

4. ...& On

This song is a sequel to "On & On" from her previous album, "Baduizm" (1997).
Following "On & On," it is produced by Jaborn Jamal and Erykah Badu.
Also, the restrained, jazzy singing style reminiscent of Billie Holiday is common to the previous "On & On."

The theme is a critique of blind materialism.
Lines like "I'm 'bout ta give birth to church, But everybody want to ask this Earth" and "Two fish, one swimmin' up stream, One swimmin' down livin' in a dream" are symbolic.

Since the rhythm is similar to the previous track, I like the stylish composition where the song seems to continue after the "...one, two" break at the beginning.
The overtones of the synth bass are pleasant.
The snare drum uses detailed variations such as snaps, rimshots, and brushes.
The piano is also really good.
The sounds used lean towards hip-hop, but the structure is completely in the style of jazz.
The part where it turns into a walking bass (a phrase characteristic of jazz where the scale moves up and down as if walking) for just four bars in the middle makes me go, "Oh!"
The way it enters the bridge with the shout of "Bridge!" is cool.
I feel an homage to James Brown and Prince.
It's a song that shines in a live performance.

5. Cleva

This song is produced by James Poyser and Erykah Badu.
This song is also made in a standard jazz style.
The ending phrase of the previous song is carried over into the start of this one, making it feel like you are watching a live jazz performance.
And the vibraphone by Roy Ayers, a jazz musician known by the nickname "King of the Vibes," is wonderful!
The part in the second half where he scats while playing the vibraphone is truly tasteful and great.

The lyrics touch on the uncool parts of her appearance while expressing inner confidence with the line, "But I'm clever when I bust a rhyme."
By honestly describing her "imperfect appearance," she invites empathy while demonstrating the Badu philosophy that "imperfection is perfection."

6. Hey Sugah

This is an interlude-like piece produced by Erykah Badu.
The vocals are scat, and the retro atmosphere gives the impression of an intermission in a live show.

7. Booty

This song is produced by James Poyser and Erykah Badu.

It starts suddenly with a Questlove drum break, and it's interesting how this sparse break becomes the rhythm pattern itself.
It's quite difficult to pull off this nuance.
The bass is by J Dilla.
Is it finger bass on an MPC (a type of sampler)?
The off-beat phrasing without a bouncy feel is a nuance that cannot be produced with a regular bass.
Overall, the number of sounds is low, and it is funk that makes use of space.
It is very solid, and you can feel the aesthetics of subtraction.

Erykah tells the woman her partner is having an affair with, "I can easily get my partner back, but I have no interest in a man who cheats."
While despising the man who does not respect her, she also expresses contempt for the woman who does not show respect even though she knows he is taken.
It shows a strong female image that chooses pride over love or revenge.
"Booty" means "spoils of war," but it is also slang for "butt."

8. Kiss Me on My Neck (Hesi)

This song is produced by James Poyser, J Dilla, and Erykah Badu.
J Dilla's supple funk, which makes great use of the congas, feels incredibly good.
The flute creates an urban atmosphere.
Erykah's vocals are structured in two layers: the main melody in the front and the ad-libs in the back.
The front layer features layered vocals that sound urban, while the ad-libs in the back are emotional, incorporating scat shouts.
Man, this is good.
The production is perfectly locked in, and it feels truly wonderful.

The lyrical structure of this song is simple, consisting of repeating refrains and hooks.
In the previous track, she had a firm attitude toward her cheating partner, but in this song, she is craving spiritual affection.
The repetition of simple content creates a supple groove throughout the entire song.

9. A.D. 2000

This song is a tribute to Amadou Diallo, a 22-year-old Guinean immigrant who was shot and killed by four plainclothes NYPD officers in February 1999.
The officers determined that Diallo matched the description of a serial rapist and fired upon him, killing him despite the fact that he was unarmed.
The officers were acquitted, and large-scale protests against police brutality and racial discrimination erupted across the country.
There are many such cases where police officers are acquitted after shooting Black people, and it was not until 2022 that an 'anti-lynching law' was passed by the federal government.

The title 'A.D. 2000' refers to the year Diallo died, and 'A.D.' also stands for Amadou Diallo's initials.
Erykah Badu says, 'Many people were singing songs about Amadou Diallo, so I didn't want to draw attention to his name.'
She also wrote the lyrics from the perspective of, 'If he could sing a song now, what would he say?'
For that reason, the lyrics express, 'No you won't be name'n no buildings after me.'

The songwriting credit for this song is 'The Wright Sisters,' as she co-wrote it with soul singer Betty Wright.
Erykah Badu's real name is Erykah Wright.
Incidentally, Betty Wright also provides backing vocals.

The producers are James Poyser, Questlove, Pino Palladino, and Erykah Badu.
The feeling of starting and ending with an acoustic guitar is in the style of protest folk.
James Poyser's keyboard work is a bit dreamy and nice.
It is a good balance that feels like a tribute without becoming too dark.
Erykah's vocals also have a gentle, reminiscent quality that really sinks in.

By the way, am I the only one who hears the repeated 'surely' as 'shaolin'?
When I first heard it, I thought it was a song about the Shaolin Temple.
Sorry about that.

10. Orange Moon

This is a truly beautiful love ballad.
Using the sun and moon as metaphors for masculinity and femininity, it depicts a calm and highly spiritual love.

What a beautiful poem!
With these few expressions, a rich scene comes to mind.
Personally, I think it is one of the peaks of the poetry Erykah has written.

At this time, Erykah Badu was dating fellow Soulquarian Common, who was making his album in another room at Electric Lady Studios.
Common's 'Like Water for Chocolate' (2000), produced during this time, contains a love letter song to Erykah Badu called 'The Light' (also a masterpiece!), which also uses the sun and moon metaphor.
By the way, Erykah Badu also appears in the music video for 'The Light'.

This song is produced by James Poyser and Erykah Badu.
It is made in a straightforward jazz style.
The piano and flute are mellow and nice.
The drums are by Gino Lock Johnson Iglehart.
It is impressive how he maintains this slow tempo while adding nuance.
This guy is really good at utilizing space in his drumming.
The sound of insects in the distance flows through, and it brings to mind being illuminated by the moon in a meadow at night.

Erykah's mellow and slightly smoky vocals are irresistible.
Those lyrics are convincing precisely because of this singing voice.

It is so beautiful that it always brings me to tears.
It is a masterpiece that serves as a highlight of this album.

11. In Love with You

This song is a collaboration with Stephen Marley, Bob Marley's son, and also features a duet.
It is a poignant love song about loving each other even when family opposes it.

It is produced by James Poyser, Stephen Marley, and Erykah Badu.
The style is close to an acoustic guitar-led performance.
Stephen Marley's raspy voice and scatting are great; they have a real flavor to them.

It is a good song that is both relaxed and melancholic.
In the latter half, I love the part where Erykah laughs, "Heh," while singing.
You can hear birds chirping in the distance in the background, giving it an outdoor feel.
I wonder if this carries over the "outdoor love song" concept from the previous track.

12. Bag Lady

In this song, she sings gently to wounded women, telling them to "lighten their bags and take care of themselves."
"Bag Lady" refers to a homeless woman, but the "bag" also represents emotional baggage and is a symbol of materialism.

It is produced by James Poyser and Erykah Badu.
It is a soul track with a jazz atmosphere, and the gentle, languid vocals are wonderful.
Also, Dr. Dre's "Xxplosive" (1999) is used as a sample.

13. Time's a Wastin'

In this song, she sings to young people, telling them "don't waste your time."

The production and performance for this song are by the following members:
Jino Rock Johnson-Iglehart (drums)
Braylon Lacy (bass)
Shaun Martin (keyboards)
Jeno Young (keyboards)
Erykah Badu (vocals)

It is a jazz-style song.
The soft, urban atmosphere makes it the kind of song you'd want to listen to while having a drink.

14. Green Eyes

Closing the album is a three-part breakup song.
It is said that she wrote this about her breakup with Andre 3000 of Outkast during the album's production.

The producers of this song are James Poyser, Victor Duplaix, and Erykah Badu.

The first part is retro jazz.
With the noise, it sounds like a record playing, reminiscent of Billie Holiday.
The lyrics include, "My eyes are green 'cause I eat a lot of vegetables."
Erykah Badu is a vegetarian.
Since it says, "It don't have nothing to do with your new friend," his new girlfriend must not be a vegetarian.
Could the cause of the breakup be a mismatch in diet?

The second part is modern jazz.
It sings about being unable to control anxiety and feeling hurt.

The third part is modern R&B.
It depicts her struggling with the feeling of "wanting to go back but knowing I can't," while also finding closure.
The use of the phrase "growing pains" is wonderful.
The pain and the attitude of moving forward are expressed exquisitely in just a few words.

While utilizing the legacy of Black music—including retro jazz, soul, contemporary jazz, and contemporary R&B—in its style, one can also feel the influence of hip-hop.
It is a masterpiece that serves as a fitting culmination for the end of this album.

Summary

From old jazz to rock and hip-hop, it is a truly varied work.
In a sense, it is experimental, but Erykah Badu's presence brings it all together, so it never feels scattered.
Rather, it feels unified.

Erykah Badu's singing voice is not only skillful, but also incredibly expressive.
She is adept at conveying subtle and complex emotions through the tone of her voice.
She is undoubtedly one of the top two female vocalists and musicians of our time.

The sound production is extremely solid with a sparse number of sounds.
The use of space is masterful, and the atmosphere created by that space is rich.
Within that, there are performances in a variety of styles.
This is something that can only be achieved with a truly excellent group of musicians.

It is a masterpiece that makes you want to listen to it over and over again.