25. Jaheim
Ghetto Classics, 2006
Ghetto Classics may bat its eyes at R&B and hip-hop, but its heart belongs to gospel. “Daddy Thing” is almost too cute for its own good, while the come-hither ballad “Come Over” is sweeter than it is sultry. With a lush, silky baritone, Jaheim bears more than a passing resemblance to Luther Vandross. —Sam Chennault
On her second LP, Amerie continued to turn heads. With a sleek but hard feel that jumps out of the speakers from the moment Touch begins (and even continues through the ballads), the D.C.-bred up-and-comer offered a strong entry into the hip-hop/contemporary R&B scene. Some pretty leggy videos didn’t hurt, either. —Mike McGuirk
Although she’s already a superstar overseas, Kelis blew up stateside with her third album, Tasty. Blessed with a unique style and one of the sexiest voices in the industry, the Harlem siren is backed by an array of ear-tickling beats, many produced by the Neptunes. Features the smash hit single “Milkshake,” as well as collaborations with Nas and Andre 3000. —Brolin Winning
22. J*Davey
Beauty in Distortion, 2008
The slinky electro-funk reveals Prince as an influence, but the shimmering synths, jerky rhythms and hanging vocals put J*DaVeY into the psych soul camp occupied by the Platinum Pied Pipers and Georgia Anne Muldrow, among others. Occasionally the songs don’t completely congeal—there are more references than hooks, and the vocals are a bit thin—but this compilation of two previously released EPs announced the emergence of a major new talent. —S.C.
21. Alicia Keys
As I Am, 2007
Keys is undeniably a major talent, but her albums have intermittently suffered from insipid lyricism and a certain—we hate to say it—mediocrity when your ears stray from the hits. Sounds like she’s on the way to correcting that: As I Am delivers as solid a slice of timeless soul as we’ve ever heard from her. And we mean soul music. Nothing stands between Keys and the mic—no tricks, no overdubs—while the emotional messages and organic music find a synchronicity that, at its best, brings you not just closer to Keys but to yourself. “Lesson Learned” and “The Thing About Love” stand out. —Sarah Bardeen
20. Keyshia Cole
Just Like You, 2007
Cole’s got a great voice, and there’s more than enough on this album to keep her career ascendant. But Just Like You suffers from a slightly monotonous emotional state. Depending on your perspective, you’ll either feel that Cole’s voicing your relationship struggles in a Houdini-esque feat of emotional release, or you’ll feel assaulted by the persistent negativity. The reality is a bit of both. Cole can sing an inner monologue and make you feel it to your core. But she has so much to offer as a singer that she deserves material that goes beyond relationship complaints now and then. —S.B.
19. Usher
Confessions, 2004
After dominating the charts and selling over 9 million copies worldwide with the original LP, Usher returns with an improved version of Confessions. This special edition includes four bonus tracks, including the hit Alicia Keys collaboration “My Boo.” —B.W.
18. Chrisette Michele
I Am, 2007
Rich and buoyant, Chrisette Michele’s striking voice coils around her classically minded compositions with a warmth that recalls both Jennifer Hudson and Jill Scott. And though she does have a good range, her phrasing is thankfully restrained; she never tries to overwhelm her songs with meandering excursions into melisma. Instead, she feels her way through tracks like “Good Girl” and “Be Ok,” and emerges with a sound that is genuinely soulful. The perfect album for those who like Xtina and Amy Winehouse in theory, but feel the execution is too forced and the end product rather contrived. —S.C.
17. Van Hunt
On the Jungle Floor, 2006
Sultrier than the average neo-soul artist, Van Hunt projects a punchy sexuality on Jungle Floor that more closely approximates Prince’s saintly pimp persona than that of soul seer Stevie Wonder. But Hunt is far from a one-note parody of past stars, and the rocker “Ride, Ride, Ride” and the opiated ballad “Being a Girl” defy imitation and easy categorization. —S.C.
16. Al Green
Lay It Down, 2008
Al Green’s first two comeback recordings for Blue Note felt right and sounded wonderful, but they were missing that elusive magic. Lay It Down brings the magic, making it a work that can stand tall next to Green’s classic recordings. Coproducers ?uestLove and James Poyser bring in the Dap Kings horns and vocalists Anthony Hamilton, Corinne Bailey Rae and John Legend, yet the results never veer from Green’s unique artistry. The songs are top-rate, and the entire set is burnished with soul. Forget genre and age—this is universal love music, in the secular and spiritual sense. —Nick Dedina
Chalk up another win for Maxwell. After a couple of years out of the spotlight, he returned with one of the grooviest, rootsiest neo-soul albums to grace the charts in years. It’s horny but subtle, smooth but not overproduced, and it spawned deserving hits. You can almost see Prince and the Isley Brothers nodding over these grooves. Give it a listen. —B.W.
14. Sarah Jones & the Dap Kings
Naturally, 2005
Casual listeners would be forgiven for mistaking this LP for a recently excavated 1970s soul classic. Jones’ vocals—soaring and gritty—recall Aretha Franklin in her prime, while the Dap Kings’ loose funk grooves instantly bring to mind the JB’s. The chunky “My Man Is a Mean Man” and torch song “How Long Do I Have to Wait for You?” sound hopelessly (and sublimely) archaic. —S.C.
Aaliyah never had a voice on the order of other R&B divas, but the production on this album is powerful—techy, robotic and bass-driven. Aaliyah’s just-heavier-than-a-feather voice navigates the terrain nicely. The album has spawned at least two hit singles, “Rock Da Boat” and “We Need a Resolution.” Other hot tracks include “Read Between the Lines” and “U Got Nerve.” —S.C.
12. Raheem DeVaughn
Love Behind the Melody, 2008
Calling DeVaughn a neo-soul artist is doing the singer a disservice. Sure, Love Behind the Melody pays tribute to the classics, and in its better moments, the singer’s falsetto evokes memories of Marvin. But the tracks here are tight, well-executed pop gems. Grammy-nominated “Woman” balances a driving backbeat above the piano figure loop and DeVaughn’s velvety purr; “Customer” approaches the swooning dream pop of Ne-Yo. There are some clunkers (the more ostensibly soulful songs tend toward maudlin mush), but this is a major refinement from his debut. —S.C.
11. Darondo
Let My People Go, 2006
It’s a fact: they just don’t make soul music like this anymore. Although this classic platter from San Francisco mack daddy Darondo was released in ’06, the tracks were originally recorded in the 1970s, when Daron “Get That Dough” Pulliam was knee-deep in the Bay Area music scene. Imagine Al Green’s devotional warble shimmying alongside Sly Stone-ish minimalism and JB’s-style, on-the-one funk and you’re getting close. Playful, serious and greasy with groove, this lost gem was unearthed by the ever-diligent Ubiquity Records. Props. —Jonathan Zwickel
10. John Legend
Get Lifted, 2004
John Legend was all over the Top 40 the entire decade—even before he released one of the decade’s biggest R&B debuts—having worked with Lauryn Hill, Kanye West and Jay-Z, to name a few. Get Lifted, his first proper release, is an infectious cross between old-school soul, modern radio rap and the kind of neo-pop/hip-hop Outkast nailed with “Hey Ya.” —M.M.
9. Anthony Hamilton
Ain’t Nobody Worryin’, 2005
Putting the blues back into R&B, Anthony Hamilton’s third LP is a dark, political affair suffused with frustration and loss, from the first bar of lament “Where Did It Go Wrong?” to the vulnerable strains of “Never Love Again.” To call this his What’s Going On sounds trite, but listen closely and you may hear the dawn of a serious new strain of soul. —James Doiling
8. Beyonce
Dangerously in Love, 2003
Beyonce Knowles’ highly anticipated solo debut is a diverse effort with as many potential hits as there are guest singers (Missy Elliott, Jay-Z, Sean Paul, etc.). From the smoldering seduction of “Be With You” to the freaky, funkified “Naughty Girl,” Knowles proves she’s a multitalented force. —Linda Ryan
7. The-Dream
Love Vs Money, 2009
The-Dream releases one of the more immediately satisfying R&B albums in recent memory. Along with producer Tricky, the ATL singer-songwriter has crafted a set of lush textures, beautiful melodies and unforgettable hooks. Love Vs Money is playful, sexy and addictive. There’s more than a little bit of Prince in the dramatically trashy, mid-’80s synths and punchy rhythms, while “Kelly’s 12 Play” pays respect to another very obvious influence. There’s a sense, though, that The-Dream has ambitions of claiming Kels’ title as the king of R&B. —S.C.
6. Raphael Saadiq
Instant Vintage, 2002
A founding member of Tony! Toni! Tone! and the short-lived Lucy Pearl project, Raphael Saadiq has been lacing listeners with his smooth crooning since the late 1980s. Instant Vintage was his first solo LP, and it oozes with neo-soul niceness. Angie Stone, D’Angelo and T-Boz appear on the album, which earned Saadiq five Grammy nominations. —B.W.
5. Mariah Carey
Emancipation of Mimi, 2005
With this career-defining 2005 release, Mariah returned after a long bout of artistic irrelevance and personal, um, difficulties. The album is beautiful, full of lush electro productions and soaring yet refined vocal turns from pop’s most accomplished vocalist. It’s hard to pick out favorite tracks, as this album is consistent front to back, but “Shake It Off,” “Say Somethin’” and “We Belong Together” are all absolute classics. —S.C.
4. Mary J. Blige
No More Drama, 2001
The title may be No More Drama, but Mary J. brings heavy strings and commanding beats and bass to the table—not to mention her own powerful presence. It’s good stuff: she uses The Young and the Restless theme on the title track, and an Al Green sample to buoy her fem-jam “PMS.” Not many people can carry a song on that subject off, but then, they aren’t Mary J. —S.B.
Voodoo has all the elements that make a D’Angelo release so memorable: slightly snarling, falsetto vocals; self-harmonizing, slippery keyboards; and seductive grooves. It’s a shame that D’Angelo would dissapear for the decade following this release, but this is a testament to the golden era of neo-soul. —S.B.
2. R. Kelly
Chocolate Factory, 2003
With a big debt to some brothers named Isley, R. Kelly drops another album rich with laid-back, convertible-friendly slow jams. The title track is a highlight, and “Ignition (Remix)” remains the quentessential R&B song of the decade, but there are gems throughout that further reveal Kelly’s songwriting excellence. This was his first album released after his very public sex scandal, and he goes a long way in making people forget that unfortunate incident. —John Pruett
1. Erykah Badu
New Amerykah, 2008
Lead single “Honey” and the delicate “Telephone” hint at the loose neo-soul of Badu’s early work, but much of the album exists in a smoky haze of French horns, synth squiggles and vaguely political chants. Think Sly & the Family Stone’s There’s a Riot Goin’ On filtered through the lens of left-field hip-hop, played at a Hindu death procession and recycled for a malfunctioning video game about an Afrofuturist apocalypse. It’s a beautiful and strange album that announces a new dawn for psychedelic soul. —S.C.
This was his first album released after his very public sex scandal, and he goes a long way in making people forget that unfortunate incident. —John Pruett
Really? Cause I have not forgotten. (unfortunate incident)
C'mon Mr. Pruett, people don't forgett, they just forgive too easilly. It's no big deal these days if a young lady has been violated by someone who took advantage of her innocence.
It's a shame to see RK in this list when you have Avant standing there with "My First Love" going un-noticed.
Not your fault...it's ours. We have become too complacent to the nasty deeds of these artists that are bigger than life.
Regards,
Russ
"Who is Jill Scott?" should be up there. It was released in 2000.
Darryl, Who is JIll Scoot was from the previous decade...1991 to 2000. The first decade of the new millenium covers 2001 to 2010....
its ashame i have to ask, but why isnt invincible up here...on this list? its not on the pop list either?
Stanley, if '00 was considered part of the previous decade, D'Angelo's "Voodoo" wouldn't have been listed as #3. "Voodoo" was also released in 2000 (and, in my opinion, should have been ranked #1).
I think Scott's album was overlooked by Rhapsody.
Corinne Bailey Rae? What gives?
Kinda suprised to see The-Dream's second album on the list but not his first. The only question I have is where is a Ne-Yo album, besides that, this was a good list.
Where is Jamie Foxx?
I agree that Ne-Yo should be on the list. Usher should be within the top 10...the allbum went Diamond! Eryka should not be number 1! No way! My man Kellz is in a good spot at number 2..despite his personal life...you can't deny Chocolate Factory was a huge hit.