Our Top 10 albums lists by genre continue today with our staff picks for the best of soul and R&B music this year. Click next to read through the albums one by one, or use the list below to skip ahead to your favourites.
Top 10 Soul and R&B Albums of 2014:
To see more of our Year-End Top Tens, head over to our Best of 2014 section.
10. Elizabeth Shepherd
The Signal
(Linus)
There is no shortage of jazz-oriented female vocalists out there, but few merit as much attention as Elizabeth Shepherd. While so many of her peers are content with cooing versions of canonical standards, Shepherd is made of sterner stuff. Her previous album, 2012's Rewind, showed she can also convince on covers, but The Signal, her fifth and strongest album, fully showcases all her strengths as a supple and subtle vocalist, an eloquent and socially conscious lyricist, fluent keyboardist and imaginative producer.
Shepherd has always worked with a wide musical palette, using soul, hip-hop and pop colours effectively. Here, she judiciously incorporates such instruments as ngoni, kalimba and steel pan on tunes that have a global lyrical perspective. "Lion's Den" tackles the issue of forced marriages in Africa; "B.T. Cotton" (an album highlight) that of the international destruction of our environment. It rather seems that Shepherd's immense talent has been better recognized abroad than at home, but this album deserves to change that. This is a Signal to be heeded. (Kerry Doole)
9. Slakah the Beatchild
Soul Movement Vol. 2
(BBE)
It took six years for Sarnia by way of Toronto "performance producer" Byram Joseph (aka Slakah the Beatchild) to deliver a sequel to his 2008 Juno Award-winner, and Soul Movement Vol. 2 was well worth the wait. Following a detour into psychedelic pop with 2012's The Other Side of Tomorrow, the second Movement sees a return to the chill, retro-fitted '90s-centric hip-hop soul (he dubs it "soulful hip-hop") that's Slakah's calling card. The head-nodding, mellow collaboration with Glenn Lewis, "Number 1," and the magnificent, neo-Motown charge of "Love Fool" with Tanika Charles are prime examples of his top-flight production prowess.
But Soul Movement Vol. 2 eclipses its predecessor with cuts like the vibrant instrumental "Byram's Groove," on which he expands his textural palette, or the nine-minute-plus, slow-burning house throb of "Keep Up" (which features Ayah and Joseph on vocals) while the hip-hop-flavoured "Where's Yesterday" delivers a playful yet stinging critique of modern radio programming. Whatever your definition of soul is in 2014, Soul Movement Vol. 2 is incontrovertible proof that the eclectic Slakah is one of the finest producers/artists working in modern R&B. (Matt Bauer)
8. SZA
Z
(Top Dawg Entertainment)
In a year that saw Top Dawg Entertainment make a strong push to release material from each artist on their roster, New Jersey-based SZA's Z was the most intriguing of them all. The calibre of TDE MCs was a mystery to no one, with notable returns from ScHoolboy Q, Ab-Soul, Jay Rock and Kendrick Lamar on top of a captivating debut from Isaiah Rashad. Z represents the label's first major foray into the world of R&B, one that was made even more delightful through the inclusion of hip-hop and electronic sounds.
Incredibly smooth, soulful production from the likes of Mac Miller, Toro Y Moi, XXYYXX and DJ Dahi tastefully suit the young artist's delicate rasp, which manages to remain commanding all the while. Such diversity could only be expected from one who identifies both Billie Holiday and Björk as influences. The strong crossover appeal results in a satisfying debut from TDE's new R&B poster child. (Calum Slingerland)
7. Majid Jordan
A Place Like This
(OVO Sound)
R&B has been openly electronic for a long time now, but many of its outings have lacked a strong electronic foundation to work from. This is where Majid Jordan break through and shine above the rest. After parachuting down from their Drake-fuelled launch into the stratosphere, the Toronto duo found their own footing with A Place Like This and gave R&B a sufficient jolt. They didn't shatter any barriers per se, but they reshaped a ubiquitous style enough so that it was firmly their own.
The EP is beautifully produced; so much so, in fact, that all of its tracks would work perfectly well as instrumentals, which is no easy feat for a genre that's so heavily reliant on vocals. Opener "Forever" could be thrown into a house mix without anyone batting an eyelid, and while the rest of the tracks are well-suited to daytime radio, they also have enough emphasis behind them that a decent set of speakers tells a whole different story. This is what makes A Place Like This one of this year's gems; it's packaged for the masses, but its inner layers are too innovative to be ignored by the music loving elite. (Daryl Keating)
6. Souljazz Orchestra
Inner Fire
(Strut)
The fact that the Souljazz Orchestra have released six near-classic albums, a feat that few Canadian acts can match, is pretty much unbelievable. The fact that these Ottawans are still relatively unknown in their native country is even more unbelievable. For a workmanlike group that started out as Afrobeat and future funk disciples, the Souljazz Orchestra have declared independence with confidence and dignity on album number six, as the sextet keep things extremely tight, restrained and tempered.
It's a strange decision for an album titled Inner Fire, but the truth is, over the past decade, the Souljazz Orchestra have learned to rely less on jazzy energy, focusing more on the soul of their craft. The fact that no single instrument, musical theme or mode takes centre stage on Inner Fire demonstrates just how capable the Souljazz Orchestra are at making truly eclectic and imaginative art. (Daniel Sylvester)
5. Sharon Jones and the Dap-Kings
Give the People What They Want
(Daptone Records)
If you're tempted to overlook Ms. Jones' fifth platter as one of the year's best because a) it dropped when 2014 was just two weeks old or b) you're starting to take her band's dependable brand of funk for granted, don't. The People is not only a worthy addition to the near-bulletproof Dap-Kings throwback catalogue, but it gains momentum and texture upon repeat listens — easy to do with a 33-minute LP.
The faux shield of pride on "You'll Be Lonely," the myth-busting "People Don't Get What They Deserve" and the stomping intro "Retreat!" all bring new flavours. That Jones toured these songs with her usual fervour in the wake of chemo treatments only makes them more special. (Luke Fox)
4. Kelis
Food
(Ninja Tune)
It's tempting to overload on the culinary references when discussing Kelis's first new album in four years. After all, she named a previous album Tasty, and her biggest hit was the inescapable "Milkshake." Food has no shortage of lip-smacking song titles, but also finds Kelis reflectively musing on her life as a daughter, lover, wife and mother. Evidently, gastronomic indulgences are the way to Kelis's heart.
Producer Dave Sitek draws equally on Southern soul and Afrobeat for brassy nouveau vintage arrangements, allowing Kelis to neatly sidestep the inscrutability that dogged her artistic past as merely a raw Neptunes protégé or Nas's ex-wife via her own raspy, wizened voice. Here, the songs are what shine — and what tasty morsels they are. (Del Cowie)
3. Tinashe
Aquarius
(RCA)
Calling an album "better than it needs to be" isn't necessarily damning it. In the case of Tinashe's major label debut, Aquarius, the Los Angeles-based singer-songwriter could have coasted on the mixtape love she had been getting — for 2012's Reverie and Black Water in 2013 — and on "2 On," her summer hit. But Aquarius arrived polished and hit the ground running with all the requisite electronic, synth and trap sounds demanded by current R&B sensibilities.
There's a definite feel of craft involved: Tinashe's evolving vocals fit with the ultra-moody, sexed-up production. Tracks like "Thug Cry," "2 On" and "All Hands on Deck" check off the respective girl power, urban swag and electro-pop boxes, but then it shifts into another gear with the Dev Hynes-assisted "Bet" and "Wildfire." With Aquarius, it's nice to see that R&B-centric sounds still get love on a major label level. (Ryan B. Patrick)
2. Taylor McFerrin
Early Riser
(Brainfeeder)
Focusing a lifetime of musical influences through a lens of mature introspection, Taylor McFerrin's first full album statement is so tastefully forward-thinking yet respectful of the past, innovative without sacrificing coherence, that it comes off as the work of a veteran at the peak of his game rather than an opening salvo. With Early Riser, the musical scion (son of Bobby McFerrin) makes sweet love to the nexus of glitch-a-delic Brainfeeder bop, sensuous, velvety smooth R&B and starscape-scraping jazz.
Foremost a fine connoisseur of sound textures, an adept beat craftsman and discerning keyboardist, McFerrin is also very capable and highly expressive behind the mic when he graces the record with his creamy croon. In a display of what could be humility, bashfulness or simply a community-minded approach to dressing each track in whatever sort of character his muse calls for, a number of stellar guests join McFerrin on his blissful cosmic journey: labelmates Ryat and Thundercat; fellow genre catalyst Robert Glasper; and his legendary progenitor, most notably. The graceful, ambitious efficacy and raw talent for tunefulness McFerrin brings to bear on Early Riser mark this inexhaustibly catchy collection as a solid cornerstone for the future development of soul music. (Scott A. Gray)
1. FKA twigs
LP1
(Young Turks)
The record with the most tenuous relationship to this genre is also one of the best. In a year when R&B's heavy hitters seemed to take the year off, it was up to someone else to define the genre's sound in 2014, and by working with some of today's most interesting names — Arca, Clams Casino and Sampha, among others — FKA twigs' debut album LP1 established a sonic palette so minimal and unshackled from traditional R&B that only her sweet, sultry vocals provided a real connection to the genre.
The result was a bold, forward-thinking album driven by unlikely online hit "Two Weeks" and twigs' beguiling live performances, which, like her songs, started unassumingly and grew to dazzling proportions as she contorted her body and voice with the sounds of her snapping, spacious music. Her lyrics — mostly about love and sex, and their relationship to gender and identity — told the story of a young artist with a clear vision confidently establishing her place in the musical landscape. In the process, twigs made one of the best albums of the year, in any genre. (Stephen Carlick)
Top 10 Soul and R&B Albums of 2014:
- 1. FKA twigs - LP1
- 2. Taylor McFerrin - Early Riser
- 3. Tinashe - Aquarius
- 4. Kelis - Food
- 5. Sharon Jones and the Dap-Kings - Give the People What They Want
- 6. Souljazz Orchestra - Inner Fire
- 7. Majid Jordan - A Place Like This
- 8. SZA - Z
- 9. Slakah the Beatchild - Soul Movement Vol. 2
- 10. Elizabeth Shepherd - The Signal
To see more of our Year-End Top Tens, head over to our Best of 2014 section.
10. Elizabeth Shepherd
The Signal
(Linus)
There is no shortage of jazz-oriented female vocalists out there, but few merit as much attention as Elizabeth Shepherd. While so many of her peers are content with cooing versions of canonical standards, Shepherd is made of sterner stuff. Her previous album, 2012's Rewind, showed she can also convince on covers, but The Signal, her fifth and strongest album, fully showcases all her strengths as a supple and subtle vocalist, an eloquent and socially conscious lyricist, fluent keyboardist and imaginative producer.
Shepherd has always worked with a wide musical palette, using soul, hip-hop and pop colours effectively. Here, she judiciously incorporates such instruments as ngoni, kalimba and steel pan on tunes that have a global lyrical perspective. "Lion's Den" tackles the issue of forced marriages in Africa; "B.T. Cotton" (an album highlight) that of the international destruction of our environment. It rather seems that Shepherd's immense talent has been better recognized abroad than at home, but this album deserves to change that. This is a Signal to be heeded. (Kerry Doole)
9. Slakah the Beatchild
Soul Movement Vol. 2
(BBE)
It took six years for Sarnia by way of Toronto "performance producer" Byram Joseph (aka Slakah the Beatchild) to deliver a sequel to his 2008 Juno Award-winner, and Soul Movement Vol. 2 was well worth the wait. Following a detour into psychedelic pop with 2012's The Other Side of Tomorrow, the second Movement sees a return to the chill, retro-fitted '90s-centric hip-hop soul (he dubs it "soulful hip-hop") that's Slakah's calling card. The head-nodding, mellow collaboration with Glenn Lewis, "Number 1," and the magnificent, neo-Motown charge of "Love Fool" with Tanika Charles are prime examples of his top-flight production prowess.
But Soul Movement Vol. 2 eclipses its predecessor with cuts like the vibrant instrumental "Byram's Groove," on which he expands his textural palette, or the nine-minute-plus, slow-burning house throb of "Keep Up" (which features Ayah and Joseph on vocals) while the hip-hop-flavoured "Where's Yesterday" delivers a playful yet stinging critique of modern radio programming. Whatever your definition of soul is in 2014, Soul Movement Vol. 2 is incontrovertible proof that the eclectic Slakah is one of the finest producers/artists working in modern R&B. (Matt Bauer)
8. SZA
Z
(Top Dawg Entertainment)
In a year that saw Top Dawg Entertainment make a strong push to release material from each artist on their roster, New Jersey-based SZA's Z was the most intriguing of them all. The calibre of TDE MCs was a mystery to no one, with notable returns from ScHoolboy Q, Ab-Soul, Jay Rock and Kendrick Lamar on top of a captivating debut from Isaiah Rashad. Z represents the label's first major foray into the world of R&B, one that was made even more delightful through the inclusion of hip-hop and electronic sounds.
Incredibly smooth, soulful production from the likes of Mac Miller, Toro Y Moi, XXYYXX and DJ Dahi tastefully suit the young artist's delicate rasp, which manages to remain commanding all the while. Such diversity could only be expected from one who identifies both Billie Holiday and Björk as influences. The strong crossover appeal results in a satisfying debut from TDE's new R&B poster child. (Calum Slingerland)
7. Majid Jordan
A Place Like This
(OVO Sound)
R&B has been openly electronic for a long time now, but many of its outings have lacked a strong electronic foundation to work from. This is where Majid Jordan break through and shine above the rest. After parachuting down from their Drake-fuelled launch into the stratosphere, the Toronto duo found their own footing with A Place Like This and gave R&B a sufficient jolt. They didn't shatter any barriers per se, but they reshaped a ubiquitous style enough so that it was firmly their own.
The EP is beautifully produced; so much so, in fact, that all of its tracks would work perfectly well as instrumentals, which is no easy feat for a genre that's so heavily reliant on vocals. Opener "Forever" could be thrown into a house mix without anyone batting an eyelid, and while the rest of the tracks are well-suited to daytime radio, they also have enough emphasis behind them that a decent set of speakers tells a whole different story. This is what makes A Place Like This one of this year's gems; it's packaged for the masses, but its inner layers are too innovative to be ignored by the music loving elite. (Daryl Keating)
6. Souljazz Orchestra
Inner Fire
(Strut)
The fact that the Souljazz Orchestra have released six near-classic albums, a feat that few Canadian acts can match, is pretty much unbelievable. The fact that these Ottawans are still relatively unknown in their native country is even more unbelievable. For a workmanlike group that started out as Afrobeat and future funk disciples, the Souljazz Orchestra have declared independence with confidence and dignity on album number six, as the sextet keep things extremely tight, restrained and tempered.
It's a strange decision for an album titled Inner Fire, but the truth is, over the past decade, the Souljazz Orchestra have learned to rely less on jazzy energy, focusing more on the soul of their craft. The fact that no single instrument, musical theme or mode takes centre stage on Inner Fire demonstrates just how capable the Souljazz Orchestra are at making truly eclectic and imaginative art. (Daniel Sylvester)
5. Sharon Jones and the Dap-Kings
Give the People What They Want
(Daptone Records)
If you're tempted to overlook Ms. Jones' fifth platter as one of the year's best because a) it dropped when 2014 was just two weeks old or b) you're starting to take her band's dependable brand of funk for granted, don't. The People is not only a worthy addition to the near-bulletproof Dap-Kings throwback catalogue, but it gains momentum and texture upon repeat listens — easy to do with a 33-minute LP.
The faux shield of pride on "You'll Be Lonely," the myth-busting "People Don't Get What They Deserve" and the stomping intro "Retreat!" all bring new flavours. That Jones toured these songs with her usual fervour in the wake of chemo treatments only makes them more special. (Luke Fox)
4. Kelis
Food
(Ninja Tune)
It's tempting to overload on the culinary references when discussing Kelis's first new album in four years. After all, she named a previous album Tasty, and her biggest hit was the inescapable "Milkshake." Food has no shortage of lip-smacking song titles, but also finds Kelis reflectively musing on her life as a daughter, lover, wife and mother. Evidently, gastronomic indulgences are the way to Kelis's heart.
Producer Dave Sitek draws equally on Southern soul and Afrobeat for brassy nouveau vintage arrangements, allowing Kelis to neatly sidestep the inscrutability that dogged her artistic past as merely a raw Neptunes protégé or Nas's ex-wife via her own raspy, wizened voice. Here, the songs are what shine — and what tasty morsels they are. (Del Cowie)
3. Tinashe
Aquarius
(RCA)
Calling an album "better than it needs to be" isn't necessarily damning it. In the case of Tinashe's major label debut, Aquarius, the Los Angeles-based singer-songwriter could have coasted on the mixtape love she had been getting — for 2012's Reverie and Black Water in 2013 — and on "2 On," her summer hit. But Aquarius arrived polished and hit the ground running with all the requisite electronic, synth and trap sounds demanded by current R&B sensibilities.
There's a definite feel of craft involved: Tinashe's evolving vocals fit with the ultra-moody, sexed-up production. Tracks like "Thug Cry," "2 On" and "All Hands on Deck" check off the respective girl power, urban swag and electro-pop boxes, but then it shifts into another gear with the Dev Hynes-assisted "Bet" and "Wildfire." With Aquarius, it's nice to see that R&B-centric sounds still get love on a major label level. (Ryan B. Patrick)
2. Taylor McFerrin
Early Riser
(Brainfeeder)
Focusing a lifetime of musical influences through a lens of mature introspection, Taylor McFerrin's first full album statement is so tastefully forward-thinking yet respectful of the past, innovative without sacrificing coherence, that it comes off as the work of a veteran at the peak of his game rather than an opening salvo. With Early Riser, the musical scion (son of Bobby McFerrin) makes sweet love to the nexus of glitch-a-delic Brainfeeder bop, sensuous, velvety smooth R&B and starscape-scraping jazz.
Foremost a fine connoisseur of sound textures, an adept beat craftsman and discerning keyboardist, McFerrin is also very capable and highly expressive behind the mic when he graces the record with his creamy croon. In a display of what could be humility, bashfulness or simply a community-minded approach to dressing each track in whatever sort of character his muse calls for, a number of stellar guests join McFerrin on his blissful cosmic journey: labelmates Ryat and Thundercat; fellow genre catalyst Robert Glasper; and his legendary progenitor, most notably. The graceful, ambitious efficacy and raw talent for tunefulness McFerrin brings to bear on Early Riser mark this inexhaustibly catchy collection as a solid cornerstone for the future development of soul music. (Scott A. Gray)
1. FKA twigs
LP1
(Young Turks)
The record with the most tenuous relationship to this genre is also one of the best. In a year when R&B's heavy hitters seemed to take the year off, it was up to someone else to define the genre's sound in 2014, and by working with some of today's most interesting names — Arca, Clams Casino and Sampha, among others — FKA twigs' debut album LP1 established a sonic palette so minimal and unshackled from traditional R&B that only her sweet, sultry vocals provided a real connection to the genre.
The result was a bold, forward-thinking album driven by unlikely online hit "Two Weeks" and twigs' beguiling live performances, which, like her songs, started unassumingly and grew to dazzling proportions as she contorted her body and voice with the sounds of her snapping, spacious music. Her lyrics — mostly about love and sex, and their relationship to gender and identity — told the story of a young artist with a clear vision confidently establishing her place in the musical landscape. In the process, twigs made one of the best albums of the year, in any genre. (Stephen Carlick)