Erykah Badu
Mama's Gun

THE REVIEW

Mama's Gun, released at the end of 2000, is the second studio effort of the sophisticated Erykah Badu, a progressive (and progressive) representative of the saturated world of black music. Rightly praised for her first creation, Baduizm, the American singer struggled enormously in the production phase of this album, brought to light amid conceptual difficulties and uncertainties about the musical approach. Burdened with expectations due to the immense success of her previous work, the album changed its title several times before hitting the shelves, with continuous shifts in the release date.

With these premises, it is easy to assume that the final result could have been an album that was unfocused, confused, and even disjointed. The truth is that Badu is an eclectic experimenter of the genre, a vintage progressive, capable of making a clean slate of past production and crafting a gem set with grace in the mound of manure that currently covers black music. This Mama's Gun is a sophisticated mix of instrumental experiments, neo-soul melodies, and classic Rhythm & Blues references that, in this case, have roots in the metropolitan environment, with a nod to the soul classics. When it comes to soul, and its weight, the Texan's work contains tons of spirit, heart, and obsessive pursuit of the perfect sound.

The study of Marvin Gaye emerges everywhere: it's evident from the elegant, intimate, and often socially engaged writing. It's surprising how this album is extremely heterogeneous and fulfilling in every form. An example of this ability to renew is the opener "Penitentiary Philosophy": a rhythmic treatise on urban existentialism that unfolds in an unprecedented structure for Badu, between rock riffs and funk arrangements. The same "...& On", a reprise of the single from Baduizm, features a jazzy bridge that exalts her satin and intense voice. Splendid "A.D. 2000" and "Orange Moon" (with enchanting piano): airy and soft. The single "Bag Lady" is a small masterpiece quoting the Motown genre.

The protagonist of strong Afro attitudes is the overflowing funky session of "Kiss Me On My Neck". The collaborations are of great depth and contribute to giving personality to the tracks: the funky-jazz of trumpeter Roy Hargrove in "Booty", the deep bass of Pino Palladino in the previously mentioned "A.D. 2000" and in "Green Eyes", and the unmistakable touch, on the vibraphone, of the monumental Roy Ayers in "Cleva". Furthermore, we find Stephen Marley, son of Bob, in "In Love With You": an acoustic duet, very seductive and sentimental but really not very impactful.

This second work, more mature than the previous and less experimental than the next, is a small masterpiece of the genre, capable of highlighting the artistic mark of Erykah Badu, a champion of neo-soul in a broad sense, a healthy carrier of a crystalline and eclectic class.