R&B Albums from the 2000s That Deserve More Appreciation (Part Four)

We are shining a light on R&B's underappreciated albums of the 2000s. Here’s the finale!

The 2000s were a transformative decade for R&B, marked by evolving sounds, emerging artists, and genre-blending experiments. While many albums achieved commercial success and critical acclaim, numerous exceptional works flew under the radar. These underappreciated gems showcase the depth and diversity of R&B during this period, featuring innovative production, powerful vocals, and thoughtful lyricism. From soul-infused debuts to mature works by established artists, these albums represent the richness of R&B in the new millennium and deserve a second chance.

Here’s the finale!

JP — Jesse Powell

With a voice that spans four impressive octaves, Jesse Powell showcases his genuine talent on JP, his third album. The Midwesterner’s specialty remains romantic urban contemporary, with ballads and slow jams defining the album. While a few tracks veer into mildly funky territory, the album’s foundation is built on soulful, heartfelt songs. A stunning remake of One Way/Al Hudson’s “Something in the Past” is the album’s best track, showcasing Powell’s impressive vocal range and attractive phrasing. Powell’s growth as an artist is evident in the quality of the writing on JP. The album may not be a masterpiece, but it marks a notable improvement from his earlier work, Jesse Powell and ‘Bout It.

A Beautiful World — Robin Thicke

The untamed spirit of A Beautiful World, Robin Thicke’s oft-overlooked debut album, may intimidate fans who discovered him during his later work with Star Trak. Yet, this album showcases some of Thicke’s finest work, thanks to its unbridled energy. Each track is a wildly eclectic ride, veering from hip-hop beats and rock riffs to classic soul and even Beethoven-inspired moments. What appears to be a chaotic tracklist on paper is actually held together by Thicke’s infectious optimism. Thicke himself once described this album as a demonstration of music’s limitless potential—a claim that A Beautiful World embodies with its adventurous, genre-bending sound.

Hard — Jagged Edge

The most underrated and overhated Jagged Edge record is a throwback to the early 1990s R&B sound. As Jermaine Dupri is noticeably absent, the group’s music is characterized by its focus on harmony and minimal use of hip-hop elements. Even on uptempo tracks, the rapping is kept to a minimum, reminiscent of Boyz II Men’s hits from the same era. The album features guest appearances by OutKast’s Big Boi and Major Damage, but the focus remains on showcasing the quartet’s vocal abilities. The title track is an introspective song about a lost opportunity for love rather than a boast about street toughness. The album’s themes are primarily centered around love, relationships, and clubbing, which is also a nod to the past. While Jagged Edge has been criticized for making similar songs, the album cuts on Hard are strong and well-crafted.

After Hours — Rahsaan Patterson

Produced independently after his label went bankrupt, After Hours showcases Rahsaan Patterson’s skillful mastery of neo-soul. While Stevie Wonder’s influence is evident, Patterson’s unique voice and melodies set him apart. His sensitive and vivid sound departs from the uninspired production that dominated R&B then. The album’s luxurious sound results from his careful attention to detail and dedication to his music. For those who haven’t tapped in, you can experience the joy of surrendering to a perfectly crafted, soothing, uplifting composition.

Keep Reaching Up — Nicole Willis & The Soul Investigators

Hailing from Brooklyn but based in Europe, Nicole Willis shifted gears after two contemporary R&B albums. In 2005, she teamed up with Finnish funk outfit the Soul Investigators to craft a robust homage to the ‘60s and ‘70s. Coincidentally or not, their vintage-inspired sound aligned perfectly with the burgeoning retro soul revival. Unlike other diva-led throwback acts like Sharon Jones and Amy Winehouse, Willis and Company exude a compelling authenticity or perhaps a masterful deception. Unlike some peers rigidly adhering to a retro blueprint, their approach is relaxed and eclectic. Their style leans towards the polished, pop-oriented Northern Soul spectrum, often substituting strings for horns while maintaining an upbeat tempo. While Willis’s voice lacks the effortless authority in her more melodic work, these tracks are far from missteps. They inject welcome diversity into an album that stands as a premier soul release of the decade.

Between Friends — Tamia

Tamia’s fourth release showcases her impressive vocal range and talent. The album’s production, handled by Shep Crawford and Rodney Jerkins, offers a diverse mix of tracks, from upbeat club numbers to sensual love songs and mainstream pop and R&B. Tamia’s voice takes center stage, demonstrating her ability to convey emotion and authority. The lead single, “Can’t Get Enough,” a slow jam, highlights Tamia’s breathy and authoritative vocals. Other tracks, like “Happy,” showcase her voice at full throttle. With four Grammy nominations and two gold albums under her belt, Tamia has established herself as a talented artist. Between Friends deserves more love.

Luvanmusiq — Musiq Soulchild

Luvanmusiq maintains the steady quality of Musiq’s previous work. A label change from Def Jam’s Def Soul to Atlantic has not affected the sound of his music. The consistency of his material is often mistaken for a lack of creativity, with some critics suggesting that he should incorporate trendy elements or collaborate with popular MCs to spice up his sound. However, Musiq Soulchild’s decision to stick with his signature style has resulted in a collection of slow grooves and ballads that are both soulful and timeless. The addition of Warryn Campbell to the production team has enhanced the quality of these tracks, which are a welcome respite from the more explicit content that dominates contemporary R&B. These songs are a rare find in 2007, and their subtle yet effective approach is likely to appeal to fans of more mature R&B.

Lay It Down — Al Green

The legendary singer Al Green’s soulful voice and the production talents of Ahmir “Questlove” Thompson and James Poyser come together on his third Blue Note album, Lay It Down. Their collaboration creates a classic soul album with a contemporary twist. The producers focused on capturing the essence of Green’s 1970s sound while updating it for a modern audience. Thompson and Poyser prioritized creating a live, analog sound to achieve this goal. They recorded nine of the album’s 11 tracks in a single session, emphasizing immediacy and feel in collaboration with Green. This approach fosters a cohesive and atmospheric album that draws the listener in with its sense of presence. The partnership between Green and his producers has yielded an exceptional soul album that showcases the singer’s enduring talent. Lay It Down exemplifies the power of classic soul music, reimagined for a new era through the combined efforts of a legendary vocalist and veteran producers.

Sol-Angel & the Hadley St. Dreams — Solange

Five years after her unremarkable debut, Solange Knowles returned with a daring and spirited sophomore effort. Sol-Angel and the Hadley St. Dreams embraces the classic sounds of the late 1960s and early 1970s Motown and R&B, offering a refreshing departure from her initial generic release. While not groundbreaking in concept, the album’s execution sets it apart, showcasing Knowles’ distinctive approach to music-making. The record is infused with wit and lightheartedness, even when addressing personal struggles and public perception, and demonstrates Knowles’ growth as an artist. Raw emotion and creative expression precede polished perfection, resulting in an engaging and entertaining listening experience. This shift in priorities allows for a more authentic connection with the audience despite some tracks feeling more like sketches than fully realized compositions. Though Sol-Angel signaled an improvement in Knowles’ artistry, it was eventually overshadowed by her later works, A Seat at the Table and When I Get Home. Nevertheless, this album remains a crucial stepping stone in her musical evolution, highlighting her willingness to take risks and explore new artistic territories.

How to Be a Lady, Vol. 1 — Electrik Red

Before releasing their debut album, Electrik Red gained experience as backup dancers for prominent artists like Aaliyah, Usher, Beyoncé and Ciara. The group’s sole album, How to Be a Lady, Vol. 1, was created in just two weeks with the help of songwriting and production team Terius “The-Dream” Nash and Christopher “Tricky” Stewart, with Carlos McKinney contributing to two tracks. Although lead vocalist Naomi Allen takes center stage on most songs, her bandmates’ presence is still evident, and together they exude a carefree, confident attitude. The album’s title, How to Be a Lady, Vol. 1, is a tongue-in-cheek nod to the group’s sassy, empowered persona. Despite being their only album, it has largely flown under the radar.