With only three albums and seven years in the spotlight, Erykah Badu has established herself as a neo-soul diva. On her newest release, Worldwide Underground, Badu once again proves herself as a first-rate musician. Instead of creating an album of expectancies, Badu creates a collection of ideas that seem entirely impulsive. The grooves are continuous, allowing Badu to lay back and let it flow. Underground is as if jazz singer Nina Simone took a soul band into the studio and told them to jam while she improvised.

This is an album for devoted listeners, not radio. The production is minimal and there are no memorable "singles" on the entire album. With three multi-platinum albums and the respect of fans and musicians alike, Badu has nothing to prove.

It's difficult to single out any particular song that makes this album what it is. There's "Bump It," with its solid trio backing (synthesizer, bass, percussion) and relaxed chorus, "Push up the fader / Bust the meter / Shake the tweeter / Bump it ... well well well." And there's the lead single "Danger," which just isn't a single with its way-too-long clocking time of six minutes and its chorus that repeats a slang word for male genitalia. Not to mention, the entire song contains about two chords total and minimal textural shift. There's a remake of "Love of My Life" from 2000's Mama's Gun (with guests including Queen Latifah and Angie Stone), and "Back in the Day," which easily could fit on an early '70s Marvin Gaye album.

With so much structural freedom, however, Worldwide Underground seems at times to lose momentum. Its grooves sometimes overstay their welcome and there are moments when not enough is happening. Fortunately however, this isn't enough to detract from the spirit of the album. Worldwide Underground values artistry over commerciality, and for this it should be commended.

Rating: 3.5 stars.