Five 2010 R&B Albums for Fans of Neo‑Soul, Quiet Storm and Grown Folks’ R&B
While the charts chased EDM, these five albums doubled down on grown‑folks storytelling. They’re the kind of records that reward late‑night listening and make you Google who produced track seven.
Five 2010 R&B Albums is a time-capsule series that revisits five distinct projects from a year when R&B was in flux—still tethered to radio cycles, but already bracing for streaming shifts, digital edits, and a changing industry pulse. Fifteen years later, these albums read less like trends (well, depending on the list) and more like blueprints for how artists held on to emotional directness, full-album ambition, and layered vocal craft in an era that was quietly reshaping what R&B would become.
Erykah Badu, New Amerykah Part Two: Return of the Ankh
Her first new album in about two years, a sequel to the previous one, carries the subtitle Return Of The Ankh. As that suggests, it seems to signal a return to the atmosphere of her debut Baduizm, which prominently featured the ankh (the Egyptian symbol) on its artwork. The previous album, perhaps reflecting the state of American society at the time, was a combative, sharp‑edged record. So what about this one? According to Erykah, “if the last album was the left brain, this one is the right brain,” and she says she pushed the emotional side to the fore this time. Indeed, on first listen, you get the impression that the feminine elements have moved to the front. The overall feel is so different that it makes sense the hardcore track “Jump Up in the Air (Stay There),” featuring Lil Wayne and Bilal, was ultimately left off this album; the finished work stands in clear contrast to its predecessor. In a way, this direction was already foreshadowed when the last album came out, but now that the sequel is actually here, it all balances out, and the significance of that earlier record feels all the greater.
Even so, although the mood is contrasting, this album includes songs recorded during the same sessions as the last one, and many of the producers and players are the same, so Erykah’s distinctive “ism” is as present as ever. Since it is a sequel, it preserves the same texture; it just feels as if, this time, she shifted the emphasis toward the “soft” side she only hinted at on the previous album. Symbolic of that is “Window Seat,” co‑produced with James Poyser, whose music video caused quite a stir. The tone spun by Questlove’s snare drum and Poyser’s Rhodes is exactly like early‑period Erykah, and that dreamy, mellow mood ends up dominating the album as a whole. Another factor seems to be the number of tracks built on melodic samples. Continuing the Roy Ayers–related remake thread from the last album, where she reworked Ramp’s hard, no‑nonsense funk, this time she offers a mellow reinterpretation of Sylvia Striplin’s “You Can’t Turn Me Away” in the form of “Turn Me Away (Get MuNNY).” As the “Get MuNNY” in the title suggests, this remake also nods to Junior M.A.F.I.A.’s Get Money, which itself sampled Sylvia’s original. Looked at that way, this too can be taken as a return to her debut‑era ‘90s self.
Madlib, whose work on the previous album may have been a bit too abstruse, delivers something more immediately catchy this time with “Umm Hmm,” which flips Ndugu & the Chocolate Jam Company’s “Take Some Time.” Flowing comfortably out of that is “Gone Baby, Don’t Be Long”—produced by Detroit up‑and‑comer Ta’Raach, which completely recasts Wings’ Arrow Through Me and keeps the listener in a pleasant groove. By the time you get to “Fall in Love (Your Funeral),” produced by Karriem Riggins, the heavy use of Eddie Kendricks’s “Intimate Friends” sample makes things very straightforward and easy to grasp. By contrast, Love, produced by J Dilla and built on the deep‑funk track “Take Me” by Fabulous Souls, has a slightly old‑school feel, but it’s treated more like an interlude and never disrupts the flow of the album. On most tracks, she scatters strange tones created with a Moogerfooger effects unit, and that, too, probably contributes to the strong sense of unity the record has.
Toward the end, the herbal, meditative Incense again evokes that “incense‑burning” vibe of her early days, and the jazzy, abstract suite “Out My Mind, Just in Time,” made together with Georgia Anne Muldrow, further enriches the “return of the ankh” mood. The latter in particular gives the impression that she is once again living up to the “second coming of Billie Holiday” tagline that was attached to her around the time of her debut, yet, just as with her recent shows in Japan, traces of evolution can be seen everywhere. All in all, this back‑to‑basics album feels like a kind of cushion that helps you absorb the previous work, too. Let’s say the star rating is meant to be taken together with that earlier album. — Phil
Toni Braxton, Pulse
Toni Braxton’s one‑woman show at Las Vegas’s Flamingo Hotel, which began in 2006, proved so popular that the initially planned six‑month run was extended by more than a year. Success in Vegas means being recognized by the public as a top‑tier entertainer. In Europe, her collaboration with Il Divo was used as a 2006 FIFA World Cup theme and drew great acclaim, and in the United States, she appeared on season 7 of Dancing With the Stars, captivating TV viewers. To go back a bit: when she moved from Arista to Blackground, Toni took Barry Hankerson to court over alleged misconduct, and in the end, she left Blackground after releasing just one album there. Her new label home is Atlantic. As if to celebrate that move, last year she released “Yesterday” featuring labelmate (and now, a certified rapo) Trey Songz, as the lead single from this album, but the version here is the original, without Trey. With its liberal reverb on the drums and so on, the sound is quite different, and it feels poppier to the ears than the Trey‑assisted version.
Harvey Mason Jr.’s name appears in some form on nine of the eleven tracks (the bonus tracks hadn’t arrived at the time of writing). Even though a colorful lineup of creators, starting with Frank E and D’Mile, crowd in shoulder to shoulder, it seems largely thanks to Harvey’s hand—presumably acting as the core of the production—that the overall cohesion of the album is maintained. He also serves as A&R on this project. Meanwhile, the two tracks without Harvey are handled by Lucas Secon, who is also known as a rapper. “Make My Heart” thickens a loop of the intro from Evelyn “Champagne” King’s “We’re Going to a Party” with layers of synths, while “Lookin’ at Me” stacks bright, refreshing synths over a fuzzy beat and a prominent bass line. Both are carefully put together as contemporary uptempo cuts that never neglect Toni’s strengths. Incidentally, UK artist Don‑E’s name also appears in the credits on these two songs.
If the word “pop” makes you uneasy, I want you to listen to “Why Won’t You Love Me,” a quiet ballad co‑written by Toni and Harvey. Her passionate soul singing is every bit as intense as it was in the days of “Breathe Again.” — Imani Raven
Vivian Green, Beautiful
Vivian Green’s third album—and her first in five years—finds her leaving the majors and releasing through indie label E1 Music. That said, Anthony Bell, who has been with her since her debut, provides solid backup here as well. Every track on this carefully crafted album gives the feeling that, even more than on the previous record—where she brought in Scott Storch and others in an effort to chase hits—her true, life‑sized self is being projected. Above all, it’s packed with beautiful songs that make full use of her clear, transparent voice, making for an utterly refreshing listen. There may be no track with a huge, explosive impact, but each song shines with a gentle glow, and over the course of the album as a whole, it delivers a pleasantly moving experience. In that sense, too, more than the previous album, which employed Scott Storch and aimed for the commercial mainstream, this one feels like a more honest reflection of who she is—beautiful songs that fully bring out the clarity of her voice, and really, it’s just a pleasant listen. There’s no single “shock” tune, but every track gives off a soft light, and the album as a whole provides a quietly satisfying emotional impact.
The track I personally like best is the reggae‑flavored Save Me. Built on minor chords and carrying a slightly prickly feel, it still has a pop, easy‑to‑listen‑to melody and a strong groove that naturally makes your body move. Jason “J‑Vibe” Farmer, who worked on this song, also produced the simple mid‑tempo “I Know How” (Anthony Bell produces all the remaining tracks). That song, too, is put together in a way that brings Vivian’s cute vocal tone fully to the fore, making it a very satisfying listen. — Tai Lawson
PJ Morton, Walk Alone
Before Maroon 5, whose warm vocals and neo‑soul‑leaning production have prompted comparisons to Musiq Soulchild, PJ Morton is an indie artist who has nevertheless earned popularity within the R&B communities. Born the son of Bishop Paul S. Morton Sr.—who has releases of his own—he grew up a true church kid, learning singing and instruments there. This album happily includes “Let Go,” a charming duet with his father. He began his career in gospel, and it’s said that he provided “Don’t Lose Your Candlestick” to Men of Standard (produced by PAJAM) when he was just fifteen. Since then, he has built his solo career in parallel with work for R&B acts such as India.Arie, Monica, and Jagged Edge. Counting the band‑name release Perfect Song and a live album, this is his fourth project, and it reflects a musicality that, along with soul, also loves the Beatles, James Taylor, and Sting. The base is organic, retro‑tinged soul, lightly shot through with pop and rock flavors. Self‑produced and largely played live, the record brings in strings on “The One,” where he enlisted the help of Warryn Campbell, who produced Musiq Soulchild’s “Dear John,” and features horns on many tracks as well.
There’s nothing shockingly new here, but the depth of flavor on cuts like “Don’t Ever Leave,” a mid‑tempo groove reminiscent of Stevie Wonder; “I Need Your Love,” with its sexy, constantly moving bass line; and “Love You More,” a roots‑reggae‑styled track where Tweet truly shines, is exceptional. — Seraphina Joy Clarke
Darien Brockington, The Cold Case Files
About four years after his first album—which drew attention for its soulful production by 9th Wonder and others—this Hall of Justus–affiliated singer has released a new work. The production lineup includes returning names from the previous album, such as E. Jones, along with a few new faces. Even though some of the songs have a slightly rockish edge, the overall mood is once again mellow and melancholic. That said, perhaps because 9th Wonder does not participate this time, a certain underground feel has faded, and Darien himself leaves the impression of having become more of a straight mainstream singer in the Usher mold. “Don’t Miss You No More,” which quotes a wistful Willie Hutch song, also has a production style that feels very 9th Wonder‑esque, yet the finished result is still in that Usher lane. Even so, on the emotionally delivered mellow mid‑tempo “Girl It’s You” and on “Beautiful,” a mysterious slow jam that recalls his work with The Foreign Exchange, his own colors are in full bloom, and you find yourself drawn into his bewitching musical world. — Keziah Amara Reid