1. Janelle Monae
2. Sharon Jones & The Dapkings
3. Erykah Badu
4. Bilal
5. The Budos Band
6. Bonjay
7. Minotaurs
8. Aloe Blacc
9. Gil Scott-Heron
10. Raheem DeVaughn
1. Janelle Monae The ArchAndroid (Bad Boy/Universal)
It's taken a few months to appreciate the magnitude of Janelle Monae's achievement with her debut album The ArchAndroid (Suites II and III). It took a lot of nerve and self-confidence to construct every aspect not only of this album but its entire package: a multi-part, multiyear narrative, as well as extensive costuming and visual design. Few black women in American music history have achieved this kind of creative control over major label-handled music, fewer still for a debut. This is an album ranks with some of the great concept albums of decades past both in terms of sweep and standalone tracks. Musically, it's everywhere ― soul, pop, psychedelia, jazz, classical orchestrations are just some of its ingredients. Lyrics are faithful to its conceptual update of Fritz Lang's Metropolis, but explore parallels with class, race and gender issues in America. "Tightrope" is where it all comes together. No doubt one of the singles of the year, its James Brown energy is instantly engaging which sets up the many layers within the song. "Tightrope"'s message ― whether you're high or low, you're always walking on a tightrope, because that's what "the machine" wants from you ― is some serious real talk, miles away from so much anonymous R&B diva fodder. The song also juxtaposes an Ellingtonian horn arrangement kicks in overtop of a slightly samba-ish rhythm. Each aspect of this album inspires dozens if not hundreds of words of commentary. Dull spots? Sure, but it's revealing that critics and fans disagree on exactly what those dull spots are: maybe they're in the eye of the beholder, proving that there truly is something for everyone on The ArchAndroid.
David Dacks
2. Sharon Jones & The Dapkings I Learned The Hard Way (Daptone)
Brooklyn's finest purveyors of "retro-soul" mellow out a bit on this fourth offering. Gorgeous ballads "The Game Gets Old" and "If You Call" are awash in vintage Philadelphia and Chicago style string arrangements and showcase Jones's most stellar vocals of her career while the casual instrumental "The Reason" attests that the Dap-Kings are still a remarkable unit while riding a more relaxed Philly soul-styled groove. Forget the "retro-soul" tag, this music is timeless.
Matt Bauer
3. Erykah Badu New Amerykah Part 2: Return of the Ankh (Universal Motown)
Despite the kerfuffle that arose around the (literally) naked political message of the "Window Seat" video, the inimitable Ms. Badu's latest is personal rather than polemical and a decidedly downbeat companion to New Amerykah Part 1. Though she tries to defuse matters with her quirky sense of humour, the overall themes underlined by stellar, fulsome production, are loyalty and sincerity as she loves hard. Badu's fiercely introspective stance puts her emotional vulnerabilities on full display in aching ballads and strident b-girl-infused proclamations of devotion on arguably her most intimate record yet.
Del F. Cowie
4. Bilal Airtight's Revenge (Plug Research)
More restrained and less brazen than his previous work, Airtight's Revenge is Bilal's real world opus. An ultra-contemporary R&B album (thematically, sonically and conceptually) Airtight's Revenge doesn't pick up where Bilal left off ― the neo-soul world of the early '00s. Instead, he takes the opportunity to make a definitive statement, about frustration, mistakes and modern day mind control. Complex, dense arrangements pair well with Bilal's to-the-point, honeyed vocals; instead of focusing on lyrical complexity, he lets the production get outré ― what R&B should be in 2010.
Anupa Mistry
5. The Budos Band III (Daptone)
The Budos Band play Staten Island soul: infectious, moody, brass-laden slabs of Afro-funk with a '60s soul vibe. What sets them apart from other Afro-influenced acts is the sheer heaviness of the groove; it's no wonder that the New York ten-piece claim to be inspired by heavy metal as well as soul and Ethio-jazz. The one surprise here is "Reppirt Yad," a cheeky cover of the Beatles' "Day Tripper," albeit in quintessential Budos style. The Budos Band prove yet again that they are a heavyweight champion in the world of Afro-soul.
Vincent Pollard
6. Bonjay Broughtupsy (Mysteries of Trade)
Bonjay's first single "Gimmee Gimmee" hinted at their potential, but Broughtupsy explodes their horizons wide open. Alanna's voice creates a space between massed R&B vocals, Caribbean-flavoured neologisms, and indie rock edge to create a remarkable lead presence. Pho's production is active but never manic, not buzz-saw heavy but an appealing combination of elastic and robotic. His re-injection of Alanna's voice into the mix creates even more exciting layers in the music. As dancehall continues to influence dance music production in urban centers around the world, Bonjay is at the forefront.
David Dacks
7. Minotaurs The Thing (Static Clang)
In becoming a fully integrated band unit, Nathan Lawr and the Minotaurs have found their calling as Afro-beat soul pop maestros. The Thing is a masterwork of skilfully amalgamated influences, marrying the emotional grandeur of pop songwriting with the rhythmically complex bouncy grooves, dynamic horn melodies and semi-improvised jams of African and Jamaican music. Lawr's gently lilting voice is a mighty sharp hook to pierce listeners across genres. Reminiscent of Thom Yorke's haunting croon, minus the operatic upper register, and coupled with tasteful guitar punctuations, it provides a consistent anchor to the ensemble's genre hopping and cross pollinating.
Scott A. Gray
8. Aloe Blacc Good Things (Stones Throw)
Aloe Blacc's 2006 cover of Sam Cooke's '64 classic "A Change Is Gonna Come," was the first hint that this rapper-turned-singer had a full-length soul burner in him. His Great Recession anthem "I Need a Dollar" was the proof. Lush with backing arrangements of Truth & Soul's in-house production outfit and co-signed by Peanut Butter Wolf, Good Things is difficult social introspection buttered over smooth grooves. Less secular than John Legend's green lights, the ideas here are big as trumpet burps, and the glow burns like hope on a crummy day.
Luke Fox
9. Gil Scott-Heron I'm New Here (XL)
The best way to get people to stop talking about your crack cocaine problem is to release an astonishing piece of art. Teaming with the man who discovered the Prodigy, Scott-Heron dropped jaws with this first LP in 16 years. The content is similar ― a lyrical rebellion against the skewed policies of the ruling class ― but this time Scott-Heron veers deep into his own soul to finger the oppressors. It's still true that the revolution will not be televised, but with I'm Still Here, the revolution will also not be internalized.
Daniel Sylvester
10. Raheem DeVaughn The Love & War MasterPeace (Zomba/Jive)
If conventional R&B is dead, then someone needs to give Raheem DeVaughn the hint. One of the best pure R&B projects of the year, The Love & War MasterPeace infused an ambitious socio-political vibe. From the spoken word intro by philosopher provocateur Dr. Cornell West, DeVaughn embarks on a 13-track journey from a love is war/war is love aesthetic. From the bombastic "The Greatness" (featuring Wale), "Bulletproof" (featuring a surprisingly subdued Ludacris), to the unabashedly nu soul of "I Don't Care," The Love & War MasterPeace ranked as a stark standout in 2010's field of few mainstream R&B comers.
Ryan B. Patrick
2. Sharon Jones & The Dapkings
3. Erykah Badu
4. Bilal
5. The Budos Band
6. Bonjay
7. Minotaurs
8. Aloe Blacc
9. Gil Scott-Heron
10. Raheem DeVaughn
1. Janelle Monae The ArchAndroid (Bad Boy/Universal)
It's taken a few months to appreciate the magnitude of Janelle Monae's achievement with her debut album The ArchAndroid (Suites II and III). It took a lot of nerve and self-confidence to construct every aspect not only of this album but its entire package: a multi-part, multiyear narrative, as well as extensive costuming and visual design. Few black women in American music history have achieved this kind of creative control over major label-handled music, fewer still for a debut. This is an album ranks with some of the great concept albums of decades past both in terms of sweep and standalone tracks. Musically, it's everywhere ― soul, pop, psychedelia, jazz, classical orchestrations are just some of its ingredients. Lyrics are faithful to its conceptual update of Fritz Lang's Metropolis, but explore parallels with class, race and gender issues in America. "Tightrope" is where it all comes together. No doubt one of the singles of the year, its James Brown energy is instantly engaging which sets up the many layers within the song. "Tightrope"'s message ― whether you're high or low, you're always walking on a tightrope, because that's what "the machine" wants from you ― is some serious real talk, miles away from so much anonymous R&B diva fodder. The song also juxtaposes an Ellingtonian horn arrangement kicks in overtop of a slightly samba-ish rhythm. Each aspect of this album inspires dozens if not hundreds of words of commentary. Dull spots? Sure, but it's revealing that critics and fans disagree on exactly what those dull spots are: maybe they're in the eye of the beholder, proving that there truly is something for everyone on The ArchAndroid.
David Dacks
2. Sharon Jones & The Dapkings I Learned The Hard Way (Daptone)
Brooklyn's finest purveyors of "retro-soul" mellow out a bit on this fourth offering. Gorgeous ballads "The Game Gets Old" and "If You Call" are awash in vintage Philadelphia and Chicago style string arrangements and showcase Jones's most stellar vocals of her career while the casual instrumental "The Reason" attests that the Dap-Kings are still a remarkable unit while riding a more relaxed Philly soul-styled groove. Forget the "retro-soul" tag, this music is timeless.
Matt Bauer
3. Erykah Badu New Amerykah Part 2: Return of the Ankh (Universal Motown)
Despite the kerfuffle that arose around the (literally) naked political message of the "Window Seat" video, the inimitable Ms. Badu's latest is personal rather than polemical and a decidedly downbeat companion to New Amerykah Part 1. Though she tries to defuse matters with her quirky sense of humour, the overall themes underlined by stellar, fulsome production, are loyalty and sincerity as she loves hard. Badu's fiercely introspective stance puts her emotional vulnerabilities on full display in aching ballads and strident b-girl-infused proclamations of devotion on arguably her most intimate record yet.
Del F. Cowie
4. Bilal Airtight's Revenge (Plug Research)
More restrained and less brazen than his previous work, Airtight's Revenge is Bilal's real world opus. An ultra-contemporary R&B album (thematically, sonically and conceptually) Airtight's Revenge doesn't pick up where Bilal left off ― the neo-soul world of the early '00s. Instead, he takes the opportunity to make a definitive statement, about frustration, mistakes and modern day mind control. Complex, dense arrangements pair well with Bilal's to-the-point, honeyed vocals; instead of focusing on lyrical complexity, he lets the production get outré ― what R&B should be in 2010.
Anupa Mistry
5. The Budos Band III (Daptone)
The Budos Band play Staten Island soul: infectious, moody, brass-laden slabs of Afro-funk with a '60s soul vibe. What sets them apart from other Afro-influenced acts is the sheer heaviness of the groove; it's no wonder that the New York ten-piece claim to be inspired by heavy metal as well as soul and Ethio-jazz. The one surprise here is "Reppirt Yad," a cheeky cover of the Beatles' "Day Tripper," albeit in quintessential Budos style. The Budos Band prove yet again that they are a heavyweight champion in the world of Afro-soul.
Vincent Pollard
6. Bonjay Broughtupsy (Mysteries of Trade)
Bonjay's first single "Gimmee Gimmee" hinted at their potential, but Broughtupsy explodes their horizons wide open. Alanna's voice creates a space between massed R&B vocals, Caribbean-flavoured neologisms, and indie rock edge to create a remarkable lead presence. Pho's production is active but never manic, not buzz-saw heavy but an appealing combination of elastic and robotic. His re-injection of Alanna's voice into the mix creates even more exciting layers in the music. As dancehall continues to influence dance music production in urban centers around the world, Bonjay is at the forefront.
David Dacks
7. Minotaurs The Thing (Static Clang)
In becoming a fully integrated band unit, Nathan Lawr and the Minotaurs have found their calling as Afro-beat soul pop maestros. The Thing is a masterwork of skilfully amalgamated influences, marrying the emotional grandeur of pop songwriting with the rhythmically complex bouncy grooves, dynamic horn melodies and semi-improvised jams of African and Jamaican music. Lawr's gently lilting voice is a mighty sharp hook to pierce listeners across genres. Reminiscent of Thom Yorke's haunting croon, minus the operatic upper register, and coupled with tasteful guitar punctuations, it provides a consistent anchor to the ensemble's genre hopping and cross pollinating.
Scott A. Gray
8. Aloe Blacc Good Things (Stones Throw)
Aloe Blacc's 2006 cover of Sam Cooke's '64 classic "A Change Is Gonna Come," was the first hint that this rapper-turned-singer had a full-length soul burner in him. His Great Recession anthem "I Need a Dollar" was the proof. Lush with backing arrangements of Truth & Soul's in-house production outfit and co-signed by Peanut Butter Wolf, Good Things is difficult social introspection buttered over smooth grooves. Less secular than John Legend's green lights, the ideas here are big as trumpet burps, and the glow burns like hope on a crummy day.
Luke Fox
9. Gil Scott-Heron I'm New Here (XL)
The best way to get people to stop talking about your crack cocaine problem is to release an astonishing piece of art. Teaming with the man who discovered the Prodigy, Scott-Heron dropped jaws with this first LP in 16 years. The content is similar ― a lyrical rebellion against the skewed policies of the ruling class ― but this time Scott-Heron veers deep into his own soul to finger the oppressors. It's still true that the revolution will not be televised, but with I'm Still Here, the revolution will also not be internalized.
Daniel Sylvester
10. Raheem DeVaughn The Love & War MasterPeace (Zomba/Jive)
If conventional R&B is dead, then someone needs to give Raheem DeVaughn the hint. One of the best pure R&B projects of the year, The Love & War MasterPeace infused an ambitious socio-political vibe. From the spoken word intro by philosopher provocateur Dr. Cornell West, DeVaughn embarks on a 13-track journey from a love is war/war is love aesthetic. From the bombastic "The Greatness" (featuring Wale), "Bulletproof" (featuring a surprisingly subdued Ludacris), to the unabashedly nu soul of "I Don't Care," The Love & War MasterPeace ranked as a stark standout in 2010's field of few mainstream R&B comers.
Ryan B. Patrick
