Album Anniversaries: November 2025 (Erykah Badu, Sade, Queen, & more)

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November is a time of transitional melancholy; it’s all candlelights, fog, knitted sweaters, and warm solitude. However, as we know, music never sleeps. Twenty years ago, Madonna thought it was time to light up the dance floor. Christmas came early for rap fans as GZA dropped a classic album, and Amaarae commanded all eyes on her with her debut. Some incredible albums are celebrating some big birthdays this month – so let’s dive into why they deserve to be celebrated.

Madonna – Confessions on a Dance Floor (20)

Queen M has undergone several reinventions in her career, which explains why she has remained successful for multiple decades. The soundscape on her 10th album is comprised of electronic disco, house, and general club-ready sounds that result in a euphoric, campy listen. ‘Only when I’m dancing can I feel this free‘ the ‘material girl’ once sang. This has never been more evident than in ‘Confessions on a Dance Floor‘. This is an escapist record through and through. 

From front to back, this LP plays like a DJ set. Tracks like ‘Hung Up’ and ‘I Love New York’ are confirmed pop classics. ‘Hung Up’ famously samples ABBA’s ‘Gimme! Gimme! Gimme! (A Man After Midnight)‘, a beloved track in its own right. ABBA rarely allows sample clearances. I see this song as an example of her power and prestige in the music industry.

Interestingly, across the record, you can hear influences that have been pulled from generations past and present. I hear Pet Shop Boys, Donna Summer, and even Daft Punk at times throughout. It’s giving leopard-print leotards, neon pink dance floors, and disco balls. It’s Studio 54 for the 2000s and made way for an electro pop revival.

Buy the album here.

Erykah Badu – But You Caint Use My Phone (10) and Mama’s Gun (25)

For Erykah Badu fans, we have two big birthdays to celebrate in November. Firstly, her seminal album ‘Mama’s Gun’ turns 25. This album is sacred to so many people, as she explored healing and heartache in equal measure. On a personal note, I’m certain discovering this album in my early teens rewired my brain. I felt Erykah was talking directly to me on ‘Bag Lady‘, while ‘Cleva‘ became my life soundtrack. ‘Green Eyes‘ was my go-to when love didn’t go my way, and ‘Orange Moon‘ was my spiritual safe space. Erykah and the Soulquarians built a sonic world that’s imperfect, off-the-cuff, and rooted in Black liberation. This isn’t just music, it’s medicine.

In 2015, the Texan vocalist dropped a mixtape entitled ‘But You Caint Use My Phone‘. Here, she uses technology as a recurring motif in her explorations of human connection and relationships, furthering her reputation as a cultural antenna. This mixtape houses some top-tier tracks that are a fusion of neo-soul, trap, and jazzy sounds.

Her radio hit ’Tyrone’ from 1997 is one of my favourite records ever from Ms. Badu, and “You need to call Tyrone… But you caint use my phone.” is the electric closing line. Listen to the live version of ‘Tyrone‘ if you haven’t already, and hear how the crowd goes bonkers to that parting shot. This album’s title is a witty throwback reference, all whilst she catapults us into modern-day philosophical thought. The concept of setting boundaries in an ever-connected age is an interesting idea she explores in the only way she knows how, in a woozy, surreal, hypnotic fashion. 

From flirty tracks like ‘Phone Down’ to an effortlessly brilliant reunion with baby daddy André 3K on ‘Hello’ – this project is funny and conceptually tight. Its timeless soul and grooves meet self-aware 2015 vibes in just over half an hour. What more could you ask for?

Buy the mixtape here and the album here.

GZA – Liquid Swords (30)

It’s rude to put this down as just one of the best Wu-Tang albums. Frankly, it should be discussed as one of the best hip-hop albums of the ’90s overall. 

Picture the scene – it’s 1995 and RZA is the king of cinematic, menacing production. GZA, an often underrated member of the Wu-Tang Clan, has verbal weaponry locked and loaded. This was all part of RZA’s ‘Five-Year Plan’ for the Wu, which delivered us albums including ‘Only Built 4 Cuban Linx…’ from Raekwon and ‘Ironman‘ from Ghostface Killah. Whilst I return to those records more often than ‘Liquid Swords‘, this work is by far the most coherent and focused of all Wu’s solo endeavours. 

GZA is an intellectual warrior on this record. He speaks on breaking out from the prison of his mind and prioritising mental strength for coping with street life. It’s gritty and violent, and inspired many of your ‘conscious’ rappers thereafter. 

The title track is a razor-sharp album opener, plus the classic track ‘Shadowboxin’‘ sees him and Method Man undertake an epic wordplay duel. In addition, press play on ‘Duel Of The Iron Mic‘ to be treated to a Wu-Tang cypher at its finest. There are plenty of other tracks that hip-hop nerds can dig into with razor-sharp wordplay that keeps your head nodding. “I come through with the Wu and drop math / And versatile freestyle bombs on phonographs.”

Buy the album here.

Sade – Promise (40)

Elegant, timeless, and calm. No, I’m not describing Sade – although that’s a good description of her. I’m describing the group’s beloved sophomore release, ‘Promise’. Famous for her smooth, smoky, and soulful R&B, it’s easy to understand why the group’s lead is one of the most successful female artists in the history of British music. 

Her influence on today’s music is perhaps most obvious on ‘Promise‘, which is arguably the most cohesive of her albums. This project houses timeless tracks, including ‘Is It a Crime’ and ‘The Sweetest Taboo’, that made them a household name. 

In essence, this album plays like a late-night whisper – confessional, effortless, and understated. It’s more introspective than the poppier ‘Diamond Life’ that came before it, and sets a slower pace. If you’re new to Sade, I’d recommend their debut or ‘Stronger Than Pride’ to begin with, and circle back to this record for an intimate, spiritual journey when you’re ready for it.

Buy the album here.

Queen – A Night At The Opera (50)

This may be the album that defined Queen. This ambitious project was daring and theatrical, just as the title suggests. This musical buffet is comprised of hard rock, balladry, heavy metal, opera, and just general zaniness. The incredible Freddie Mercury had a vision here, as the group managed to bring it to the world stage in the grandest fashion. The more you research the making of this record, the more impressive it gets. No synthesizers were used — every soaring vocal harmony and instrumental was manually constructed. ‘A Night At The Opera’ inspired musicians then and continues to do so now. 

Brian May’s ‘orchestral guitar’ innovation is still studied by guitarists today. This album pushed multi-track recording to its limits at the time, with music scholars still pointing to this release as a benchmark for complexity and precision. At the time, this LP broke records for how expensive it was to record.

This is Queen at their most playful, pulling no punches. ‘Bohemian Rhapsody’ is certainly the pièce de résistance of the project and will live on forever. However, ‘Love Of My Life’ and ‘Death on Two Legs (Dedicated To…)’ I also love for different reasons. 

Buy the album here.

Amaraee – THE ANGEL YOU DON’T KNOW (5)

I still remember hearing Amaraee for the first time via this album, and she completely blew me away. She sounded like nothing else out, and I knew I had stumbled across a superstar in waiting. A bold fusion of Afro-pop, R&B, and trap music – this debut is the soundtrack of an international playgirl. From one track to the next, you never know what you’re getting. She’s been boldly experimental from the jump, becoming a leading figure in the Alté/Afro-fusion space. 

Every record on this track sounds ready-made for going viral. ‘SAD GIRLZ LUV MONEY’ is a record that’s arguably become bigger than her, especially with Kali Uchis on the remix. ‘JUMPING SHIP‘ featuring Kojey Radical and Cruel Santino is also a stand-out banger. Additionally, ‘LEAVE ME ALONE’ and ‘FANCY’ are some of my favourite songs, but everyone will find something different to love. 

I love it when you get a debut that feels like stepping into a new world, and Amaarae delivers this with full confidence here. It’s a wild ride from the first track to the last, full of addictive non-confirmative energy. This being said, I think her newer albums are better, and that’s a big statement. As she refines her talent, she keeps improving and has blossomed into a formidable artist. Give this album a listen to fully understand that it’s Amaraee’s world, we’re just dancing in it. 

Tracy Chapman – New Beginning (30)

Few artists are as egoless and solely focused on the craft as Tracy Chapman. For her millions of fans, she articulates pain, hope, and humanity in her bittersweet records. When we consider Chapman’s albums, most point to her self-titled debut, which boasts tracks that made her famous, including ‘Fast Car’, ‘She’s Got Her Ticket’, and ‘Talkin’ Bout a Revolution’. However, I think real fans also cherish her fourth album, ‘New Beginning’. This feels like a renaissance moment for this artist, as her use of instrumentation gives it an off-the-cuff jam session feel. 

It’s a breath of fresh air from the suffocating hype that had followed her albums since her debut, and it’s a deep breath in musical form. Standout tracks include ‘Give Me One Reason’, ‘New Beginning’, and ’The Promise’, but you really need to give the LP a complete listen to catch the vibe.

Musiq Soulchild – Aijuswanaseing (25)

I feel really vulnerable even writing about this album; it means so much to me. However, I know I’m not alone in this. This was the debut album by one of the best artists of our time, Musiq Soulchild, and even though it gets its props in the Neo-soul, R&B space, it’s fundamentally under-appreciated in music overall. This is the music of Sunday mornings, deep talks, and egoless love.

Musiq’s debut came at the peak of the Neo-Soul movement as we entered the new millennium. It brought us records like ‘Just Friends (Sunny)’, ‘You Be Alright’, and ‘Girl Next Door’. Plus, one of the all-time romance tracks, ‘Love’. For many, the track ‘Love’ is peak R&B/gospel crossover. How many people have walked down the aisle to this? A lot. 

‘Settle For My Love’, a cover of Patrice Rushen’s 1979 song, is a love letter to those who came before him. I think he knew this was his moment, and he grabbed it with both hands. I hate to be the one to say ‘They don’t make albums like this anymore.“, but they really don’t.

Buy the album here.

The Pharcyde – Labcabincalifornia (30)

Playful, poetic misfits. That’s the best way to describe South Central rap aficionados The Pharcyde. They embody much of what I love about the Native Tongues movement in hip hop in the 90s. It isn’t trying to be gangster rap, which was mainstream at the time. They’re an offbeat, quirky collective that is not to everybody’s tastes – but for the fans, ‘Labcabincalifornia‘ is the jewel in the crown of their discography. 

It’s a more mature record than their debut, and was an early taste of J Dilla’s production genius. Not unlike their peers, De La Soul, this group’s sophomore feat was also a jaded look at success, but with a laid-back LA cool aesthetic throughout. It’s an alternative to the G-funk that dominated the West Coast at the time, and its experimental underground vibe laid the foundations for the likes of Kendrick Lamar to draw from decades later.

This LP houses one of their biggest hits, ‘Runnin’’, a must-listen, and ‘Drop’, which I really love if only for the music video. The iconic Spike Jonze-directed video was filmed entirely in reverse (of course) and still feels as wacky and adorably weird since I first saw it. Other tracks to check include ‘She Said’ – an emotional song about relationship regrets, and I recommend peeping the clever wordplay on ‘Devil Music’. For the kids looking to find funk in their flaws, this is one of their best albums.

Buy the album here.

Kali Uchis – Sin Miedo (del Amor y Otros Demonios) ∞ (5)

Kali Uchis is a much-adored R&B dream queen now, but in 2020, she definitely still felt she had something to prove. Proudly stepping out with her first Spanish-language album, this love letter to her Latinas was freeing and at times psychedelic. ‘Sin Miedo‘ literally translates as fearless, thereby this album delves into the beauty of vulnerability. This is an album of liberation and transcendence, as tracks like ‘la luz(Fín)‘ and ‘vaya con dios‘ play like spiritual awakenings. 

I’m not a native Spanish speaker, but this album is a prime example of how you don’t need to understand every word to understand every word. Breathy and sensual vocal stylings lace every track with smooth reggaetón beats, celestial synths, bolero, and bachata influences. Her most commercially successful tracks from this album include ‘fue mejor’ featuring PARTYNEXTDOOR (and later SZA) – which is a total late-night drive song. Plus, if you’ve ever been on social media in the last five years, you’ll be familiar with ‘telepatía‘, a bilingual banger. 

Buy the album here.

Closing Thoughts

All of the albums above have one thing in common – they have a unique quality that showcases the best of the artist, and have become cherished works for many fans. It’s incredible that decades later, R&B up-and-comers still cite ‘Aijuswanaseing‘ as a pivotal moment in their artistic journey. It’s impressive that GZA’s ‘Liquid Swords‘ still sounds hard today, or how ‘A Night At The Opera‘ feels far from dated. November is the perfect time to stay warm, put the headphones on, and let yourself be transported back in time to when these magical albums came to being. Happy birthday, all. 

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