ERUKAH BADU
In what is largely a cookie-cutter industry — how much real difference is there, for example, between Rihanna and Ciara? — artists who really stand apart are few and far between. In addition to being talented and daring, such artists are, more often than not, eccentric and uncompromising.

Erykah Badu (real name: Erica Wright) burst upon the music scene in 1997, seemingly out of nowhere, with an album captivatingly titled “Baduizm.” The Afrocentric singer’s look was different — she quickly established herself as the queen of the mile-high head wrap — and so was her sound. But even so, it was apparent on the first single, “On&On” (she wanted no spaces between the ampersand and the words), that she had done a substantial amount of listening to Billie Holiday.

Badu was hailed in many circles as part of the “neo-soul” movement which, in essence, meant current R&B artists who incorporated 1970s soul music, hip-hop, jazz, funk and house music into their recordings and live presentations.

Among the others loosely categorized as neo-soul were Tony! Toni! Toné! (with their leader Raphael Saadiq), John Legend, Maxwell, Jill Scott, D’Angelo, Lauryn Hill, India.Arie, and Angie Stone, although, of course, many artists do not wish to be categorized at all. (Badu said she “grew up listening to old soul.”)

“THIS IS what I’m supposed to do,” said Badu, who thinks of herself as being on a mission of sorts. “I love it, singing, performing, taking chances, doing something different, giving energy and receiving it back from the audience. This is my world.”

She continued, adding a spiritual dimension: “I consider my musical ability to be a gift from the Creator. I don’t think I would really be much without music coming through me. It was given to me and I appreciate it.”

As for the Billie Holiday comparisons that still turn up now and then, that is okay too.

“If you say I sound like Billie Holiday, that’s good, it’s beautiful,” said Badu. “Let’s look at who Billie Holiday was. She was this passionate singer, this beautiful diva who could move the audience. What a wonderful, creative, helpful spirit. She was someone who wanted to help others by sharing her emotions. That’s what I do, too, so I think that’s a great comparison.”

“Baduizm” did exceptionally well. In fact, it was certified triple Platinum by the Record Industry Association of America (RIAA) for reaching the three million mark in sales. Next came “Live” (double Platinum), followed by “Mama’s Gun,” “Worldwide Underground” and her long-awaited current release, “New Amerykah: Part One (4th World War).”

Like any true artist, Erykah Badu does not like being rushed. In fact, she refuses to allow it. Hence, the long delay between her last release and the new one (five years!). This, of course, bothers record company executives. But so be it. Badu will not be moved.

“MUSIC AND the music business are two different things,” she said. “The music business is motivated by money. Music is motivated by feelings and energy.”

But it could be that no one understands the impact of dramatic, and completely out of the ordinary visuals. That, in fact, is a major part of Erykah Badu’s appeal and her mystic. Her fans, and non-fans who are just curious, never know what to expect from Badu. What’s on, or not on, her head, for example. On one occasion she might be sporting a huge Afro, and the next perform in one of her trademark head wraps. Or she might step on stage with no hair at all.

And then there is her attire, which so often defies description, which was the main reason for the publication of this story on Erykah Badu, the singer, songwriter, actress and visionary who proudly stands alone.

No one could deny that, and that includes “Tyrone.”