2000 Rewind: Remembering Erykah Badu’s Mama’s Gun

Y’all ready to relive Y2K? All year long the Rewind column will revisit the year 2000, celebrating great releases that will mark 25 years in 2025. I’ll be joined by a host of old friends as we look back at a new millennium of music.

Twenty-five years ago this week, Erykah Badu stared the Sophomore Jinx in its Green Eyes, said Time’s a Wastin and proved to be too Cleva for the opps. Mama’s Gun was a completely different experience than her heralded debut, but it’s gone on to be one of her most celebrated albums. Charles Williams joins me for a look back at one of the cornerstones of the neo-soul era.

Let’s get it in! Take us back to November 2000 share your memories of this era and album.

Charles: First single – “Bag Lady“

August 2000 was a time transition for me. I was moving from Morgantown, WV to St. Louis, MO to go back to school. I split my journey to St. Louis into two legs. The first leg was from Morgantown, WV to spend a night or two at my mother’s.  And to pick up my two “ride or dies” to travel and help me move. Entering the city on I-64, we were listening to the radio, and a song comes on that captured all of us. Dr. Dre’s “Xxplosive” track is booming, but it isn’t Dr. Dre. Erykah’s voice comes on and we lost it. Badu was back! Her smooth, yet piercing tone cuts through the hip hop track with a theme of self-awareness and empowerment. Needless to say, “Bag Lady” was it with us and we were ready for more.

Mama’s Gun Release Day – November 21, 2000

Tuesday, November 21, 2000, was Mama’s Gun album release day. As soon as I was done with classes, I drove to Streetside Records in the Delmar Loop and picked up the album and popped the CD into my CD Walkman in the car.

As the album started, I was confused. I heard the different voices in Erykah’s head expressing all the things that she had to do then the beat comes in. I questioned whether I bought the right CD. Is this Badu? This sounds like a rock song. But she started singing and I knew it was her. She gave us her point of view of the country’s situation and the rock orientation worked well for its urgency. The song is still relevant today, unfortunately.

Listening to the album, one thing that captured my attention was the sequencing…how the songs transitioned into one another with no break, similar to Prince’s Love Sexy album. The transition of songs from one to the other was well done and helped to create a pleasing flow. It doesn’t quite work on streaming. LOL!

I was a bit disappointed that the version of “Bag Lady, Cheeba Sac mix,” which had run on the airways was not on the album but enjoyed the slower album version. I had seen her perform that version on an awards show before, so it wasn’t a total surprise.

I thought the album was so smooth as she addressed her worldview. The sound was familiar, yet different. The introduction alone let you know that it wasn’t going to be the same as her first. She covered many topics including love, empowerment, and social issues. I knew that it wasn’t going to a go to album to party. But it was good for relaxing and “chilling out” after a long and hard day.

 I also liked how she addressed the topic of her lyrics being misunderstood and hard to follow. One of my favorite lines is “What good do your words do, if they can’t understand you; don’t go talkin’ that s***, Badu, Badu.” I loved it. And her lyrics were a bit clearer or more direct on this album, but still in Badu fashion.

I only took the CD out of my car to play in the house. It is still in heavy rotation to this day!

And let’s not forget the album artwork. It is perfect to help set the mood of this album, reminiscent of many 70’s covers and imagery. I was drawn to the contents as soon as I saw the cover.

Edd: By 2000, Erykah Badu’s Baduizm had already cemented its place as one of my favorite R&B records of all time. In fact, I was playing it so regularly that I wasn’t even concerned with a new project – her last one never left my deck. So imagine my delight when I saw Badu return as the “Bag Lady” in the summer of 2000, and then dressed as a tube of Crest toothpaste while strolling across the desert a few months later. I was READY for that Nu Badu, but it came with a twist.

By fall 2000 I was a few months away from college graduation, and despite spending countless hours on campus – specifically the campus bookstore – it wasn’t until this era when I realized that our store sold music! In the final few months of my college career, that store was my R&B plug – bangers from Jahiem, Dave Hollister, Badu and many more went from my campus bookstore to my Honda Accord with the quickness. And while Mama’s Gun was a much different sonic experience than her debut, I fell deeper in love with Badu’s trademark wit and heartfelt lyrics. Her artistry was growing, and so was my fandom.

What’s your pick for best song, and why?

Charles: “Green Eyes”

The best song on Mama’s Gun is clearly its closer, “Green Eyes.” It is a three-movement masterpiece taking us through the stages of break up or grief. I recently saw an interview where Erykah talked about her approach to songwriting. She writes some songs once she hears the track and others originate from poems she has already written. “Green Eyes” was a poem she had already written.

This song was a total surprise. On the first listen, I thought it was a clever way to close the album with the bluesy sound of the first movement…thinking that it was the only movement. I loved the crackling you would hear on an old recording as she sang about not being envious of her ex’s new love. Her eyes are green because she eats a lot of vegetables. I later discovered that this movement was “denial.” When she transitioned into the next phase, I was mesmerized. It morphed into a smooth, jazz slow jam as she emotes about her “acceptance” of the break-up. The music and the emotion in her voice pulls me in. Then as it goes into another movement, the tempo picks up, and she gets everything off her chest. This is a total R&B feel with the prominent horns and piano driving it. Erykah sings of still being in love with her ex and she can’t leave. And she doesn’t even know why. She explains that she in too deep and I felt her when she said, “And I don’t know why I f*** with you.” This is my favorite movement.

Overall, this song is a masterpiece in my eyes. I love the use of the three different musical styles to fully express her feelings along with the vivid lyrics. And the raw emotion in her voice is captivating. The first time I saw her perform this song was at The Dream nightclub in Washington, DC. She commanded the stage in this intimate environment from the beginning to the end of the show. But this song was special. EVERYONE was singing along with her, and she gave it her all. Her performance of this song was perfect. I still see her in her afro wig taking these dramatic pauses in between each movement. This song is Badu at her best. This is the song that shows Badu’s pen strength. The writing is brilliant.

Edd: “Kiss Me On My Neck”

I’m sure I’m in the minority on this one but I strongly believe “Kiss Me On My Neck” is one of Erykah’s best songs to date. The production from James Poyser, the iconic J. Dilla and Badu herself always struck a chord, no pun intended. It’s so breezy and whispy, as intimate at the track itself. The unconventional structure of the track is also a win – the way the track goes full circle by the end always gets me hype. It doesn’t have the complexity of “Green Eyes,” the defiance of “…& On” or the hilarious wit of “Booty,” but it’s Badu at her best – a simple, affectionate and piercing performance.

Which single was your favorite?

Charles: “Didn’t Cha Know”

The best single, in my opinion, is “Didn’t Cha Know.” I love that it is the second song on the album because it is such a contrast to the album rock opener, “Penitentiary Philosophy.” The J Dilla production takes me away every time I listen to it. I recently saw an interview where Erykah explained how the song came to be. She was working with J Dilla and looking through his record collection. She selected Tarika Blue’s song “Dreamflower” to sample. It is perfect and dreamy to go along with the lyrics. It is so liberating and makes you think deeply about your life…sometimes a good thing and sometimes, not. My favorite line, “I think I made a wrong turn back there somewhere” gets me every time. And I love to harmonize on that part. LOL!

You can tell that Erykah was going through a transition at this time by listening to this song. She talks about how she made some mistakes in the past and was now deciding which way to go in life. I think we call can relate that. It conveys a feeling of needing to change and choose a different path. She needed to be free. And this was amplified with the visuals in the video where she reveals her almost bald head. She shed her locs. Ready for new energy. Ironically, the video is futuristic rather than vintage. But it fit so well.

I remember the first time I heard the song on the radio. I was deep into my school studies by then and one night I needed to take a drive and get something to eat. I jumped into my car and drove towards Terri’s Southern Cafeteria to get a good soul food meal. As I drove down Olive Blvd listening to the radio, the DJ announces Erykah Badu’s new single. It was “Didn’t Cha Know.” I knew the song, but listening to it while driving during the night to relieve stress immediately transported to another world. I WAS IN LOVE, and the song stays in heavy rotation to this day.

Edd: “Didn’t Cha Know”

I know Bag Lady Gang may come for us but this one is Didn’t Cha Know hands down. The wonderful sample of “Dreamflower” and that vintagely futuristic vibe presented by the video may be the main draws but, for me, it’s the lyrics. R&B in the year 2000 wasn’t nearly as trite as it would be in the modern era, but lyrics as deep as those presented in “Didn’t Cha Know” were still rarity for radio playlists.

Time to save the world
Where in the world is all the time?
So many things I still don’t know
So many times I’ve changed my mind
Guess I was born to make mistakes
But I ain’t scared to take the weight
So when I stumble off the path
I know my heart will guide me back

“Didn’t Cha Know” feels less like your typical love track and more like self-help – a woman who realizes her faults and is ready to redirect her paths. The themes may be heavy, but they’re more motivational than preachy. I love when R&B educates as well as entertains.

Speaking of singles, which song should have been a single?

Charles: “My Life”

This is a hard one. I don’t see this as an album of singles, if that makes sense. This is a body of work that is not necessarily radio friendly. To be honest, I did not know “Cleva” was an actual single until this interview. I found that to be an interesting choice as well. I like the song but did not see that as a single.

If any other song should have been a single, I would go with “My Life.” It has a more radio friendly vibe to it and has a flow like those singles from Baduizm. I think it would have had a decent reception. And I just really like it.

Edd: “Kiss me On My Neck”

My pick is obvious: Justice for “Kiss me On My Neck!” The only thing that may work against it is its unconventional structure – and if it were made a single, I’m sure the label couldn’t fight the desire to throw a random rapper on it. But it’s breezy production, insanely catchy hook  and video-friendly lyrics make this one a no brainer.

Although a “Booty” video would be hilarious.

Mama’s Gun’s production is one of its many highlights. What’s the best-produced song here?

Charles: “Green Eyes” and “Didn’t Cha Know”

This is a well-produced album. As I mentioned, the Soulquarians produce magic. Mama is an example of that. The live instrumentation and smooth transitions from song to song are seamless and each song contributes to the overall 70’s groove. It feels so authentic and not forced. That says a lot about the production. Sometimes albums or songs seem to be forced or fitting into a formula. Mama’s Gun is not an example of that. It is an authentic sound that is reminiscent of times before yet ahead of its time.

I know I have referenced these two songs a lot, but I really think the “Green Eyes” and “Didn’t Cha Know” are the best produced songs on the album. You feel the emotion through every facet of the song. The lyrics, the instruments, and delivery made you feel them.

But there are feelings of Baduizm on “…& On,” “My Life,” and “Cleva” with more of her original sound with reference to lyrics from that first album. The production seems to be very similar with the jazz and R&B influence.

“Orange Moon” is another standout. The inclusion of the flute helps to give it another dimension. The production immediately takes you to the smoke-filled jazz club. The slow beat and prominent rim shot set remind you of a jazz standard.  

I wish I was in the room when she recorded “Time’s A Wastin’.” The string arrangement is a nice touch that gives it another dimension. And the opening chords are heard throughout most of the song provided a consistent foundation. But my favorite is the bridge “Oh baby, we need to smile.” It is so smooth, yet urgent in its message. And it brings the verses and choruses together. I love the faint bass line in the background.

Because of the excellent production, Mama’s Gun keeps you engaged with the consistent flow with little surprises in each song that grab your attention.

I hate the Cheeba Sac mix of “Bag Lady” was not included, but it would have been an anomaly compared to the rest of the songs because of its more hip-hop feel. Maybe it could have been a bonus track…if they had the space. LOL!

Edd: “Green Eyes”

“Green Eyes” is the clear winner here, and for good reason. It’s not just a song, it’s a sweeping 10-minute score that details a crumbling relationship in sad, sonic form. The track starts out almost whimsically, with Badu doing a 1930s era lounge singer act. But as the song break down, so does she, with the production stripping down to piano keys to detail her pain. You can feel the track weeping alongside her – storytelling at its finest.

Let’s talk about the songwriting: Which song is the best example of the strength of her pen and why?

Charles: “Green Eyes”

Erykah has been open about sometimes having writer’s block, and if I remember correctly, she suffered from it when tackling this album. But based on the product, I believe she recovered well. When she is not suffering from writer’s block, her pen is strong. I also think it depends on the producers she is collaborating with. When working with her fellow Soulquarians, like J Dilla, Questlove, James Poysner, and others…they make magic. I think her pen was strong on Mama’s Gun as she talked about many themes. Again, the strongest for me is “Green Eyes,” but as I said before it was a poem before. With that, the production is top notch to bring the poem to life.

“Bag Lady” is another example of excellent song writing. It is written to empower women to overcome their own hang ups that may be holding them back in relationships and life. The “baggage” metaphor is clear and palatable. And then the video later pushed the message home. The songs phrase “pack light” is referred to often and the title for a recent song by Queen Naija. This song also samples “Bag Lady.”

Another favorite is her message to young men in “Time’s A Wastin’.” “Times a wastin’, don’t you take your time young man. Keep on drifting, ain’t no telling where you’ll land,” are powerful lyrics urging young men to plan to live a productive life and not get caught up in a life of crime.

“Booty” might seem whimsical or playful, but it says a lot.

Edd: “Didn’t Cha Know”

Hate to sound like a broken CD from November 2000, but on an album filled with great writing – the melancholy of “Green Eyes,” the sass of “Booty,” the motherly wisdom of “Bag Lady” – something keeps me coming back to “Didn’t Cha Know.” It’s a tale about navigating through life’s trials. For a woman who was stricken with writer’s block at the time, she sure smashed those walls down with this one.

What’s the most underrated album cut?

Charles: “Booty”

Not sure about this one either. But “Booty” is the first to come to mind for me. It may come across as a silly and fun one-off, but the track is undeniable. I love it and then the transition into “Kiss Me On My Neck” is perfect…another favorite of mine.

I think “A.D. 2000” could also be in this category. It is so subdued but says a lot about how people are easily forgotten or overlooked. The production on this is amazing.

Edd: “A.D. 2000”

I planned to say “Cleva” here but after relistening to the project for this post, I think I’m going with “A.D. 2000.” It’s not a song I revisit often but it really struck me on my most recent playthrough. Maybe it’s because it’s touching ode to Amadou Diallo, who was murdered the year earlier by NY police officers, rings so strongly today. Honestly, it hits even harder today than it did 25 years ago.

This was a different, slightly risky approach after her debut. What do you think about the change in direction? Did it pay off?

Charles: I love the change in direction. It shows that she has range and that she is always evolving. And we all know that she continued to evolve with her next releases. Many artists either do not evolve or do not show their evolution so blatantly in their music because of fear of failure or rejection. Erykah is bold and open with it. And reminds us that we all evolve. Why not embrace it?

Did it pay off? I think so. It may not have commercially for Erykah, but artistically, it certainly paid off. She is respected for her unapologetic approach and openness to change. Her fans love this about her, and fellow artists admire her for this. She never wanted to be titled the “Queen of Neo Soul” in the first place. This album showed other sides of her and other ways of expressing herself.

Edd: Change isn’t just good, it’s necessary to survive. Erykah could have easily dropped an album identical to Baduizm (and trust me, I would have loved it) but that wasn’t the album for this era. R&B was changing, with artists like D’Angelo earlier in the year proving that audiences were open to experimentation. Badu wisely followed suit, not only expanding her sound, but her writing and creative scope. I don’t think Badu would be the artist she is today without the risks she took in 2000.

Where do you rank this album in Erykah Badu’s discography?

Charles: For me, this is at the top of her discography. Mama’s Gun is a more cohesive package than her other offerings. The artwork, the music, the production, and the lyrics all come together nicely. The sequencing and “Green Eyes” set this album apart for me…along with the whole vintage vibe. You have to listen to this on vinyl. It is close between this and Baduizm, but Mama wins. I still play Baduizm, but Mama’s Gun gets more spins.

Edd: Many rank this at the top of Badu’s heap, including the homie Charles, but y’all know I love to pick nits, so I’d have to place it at No. 2. As great as it is  – and it gets major props for expanding Badu’s sound and themes – I just don’t think it’s as airtight as the album that came before it. Baduizm is rarified air in R&B, I still think it’s one of the greatest albums in the genre. But that’s more of a testament to Baduizm’s strengths than Mama’s Gun’s weaknesses – it’s a powerhouse in its own right.

How does Mama’s Gun stand up among the best R&B releases of the 2000s?

Charles: 2000 was a hell of a year for r&b. D’Angelo dropped VooDoo, Jill dropped her debut, Sade gave us Lover’s Rock, Carl Thomas released Emotional…and Mama’s Gun is right there at the top with them. This album stands tall as a bold declaration that Erykah was here to stay and was doing it her way. Erykah explored many of the same issues she did on Baduizm but presented them differently with a little more clarity (referring to lyrics). Again, it may not have done as well commercially as some of the other releases that year, but it helped to cement Erykah’s legacy as a fearless and influential artist. For many, Mama is on their list of classic albums, including mine.

Edd: We love to celebrate 90s R&B – and for good reason – but let’s not sleep on how incredible R&B was through the 2000s (until about 2007 or so, at least…). Usher, Alicia Keys, Amerie, Justin Timberlake, Mariah, Mary J Blige, D’Angelo, Tweet, Anthony Hamily, Jill Scott – the first half of the decade was stacked with incredible releases, with Badu among them. I don’t think the legacy of Mama’s Gun was as strong as many of those that I named – she seemed to quickly get overshadowed by both emerging neo-soul artists and rising young solo acts like Beyonce and Ashanti. Mama’s Gun might not top the 2000s list, but it’s certainly among the top 10-15 drops of that decade. Competition may have been stiff, but Badu has plenty of heat in that chamber.

Who got it right, Charles or Edd? Let us know below and share your memories of Mama’s Gun.