Motown's 4-time Grammy award winning singer/songwriter returns after a 5 year hiatus with 'New Amerykah Part One (4th World War),' released on her birthday. Though Badu's multifarious musical roots of soul, jazz, and hip hop do collide to make sweet chaos, it is her organic hip hop sensibilities that pervade her new opus.

Acclaimed producers Mike “Chav” Chavaria, 9th Wonder, Madlib, Shafiq Husayn, Om'Mas Keith and Taz Arnold of Sa-Ra, Kariem Riggins, Ahmir ‘?uestlove’ Thompson of The Roots and James Poyser lend their wax expertise, and she enlisted guest performers Bilal, Roy Hargrove, Omar Rodríguez-López (Mars Volta), Amen Khum Rah and Georgia Anne Muldrow.

Written and co-directed by Badu, the first single “Honey” sets Badu in a classic hip hop scenario as she browses through vinyl at a local record shop, her face super-imposed on covers of Nas' 'Illmatic,' De La Soul’s '3 Feet High and Rising,' and Eric B. and Rakim’s 'Paid In Full' - “album covers [that] represent all the influences that she embodies," says co-director Chris Robinson. "Telephone" is Badu's artful tribute to the late J Dilla, inspired by the conversation she had with Yancey's mother on his passing. In "The Healer," produced by Madlib, Badu poetically advocates for hip hop as the world's cure-all music genre where finger cymbals, thick bass, triangles and an echoing choir surround her esoteric, spoken-word vocals. 'New Amerykah' is chock full of all of Erykah's complexities, emblems of modern society and ideas of self-revolution - just take a closer look at the cover art.

'New Amerykah,' Erykah Badu's first album release since 2003's Worldwide Underground, reflects not only the state of Badu, but the state of the country. 'New Amerykah Part I: The 4th World War,' is an imaginative two-part studio project that Badu describes as "the war within...the war we fight with ourselves to become a better and stronger person."

Musically she has been selling out live concerts and wooing fans worldwide. While it's been 5 years since her last release, Badu has no problem responding to frequently asked questions about her absence. "Where have I been?" she says sarcastically. "I'm a touring artist and I've been touring. Touring is where I create a moment. Recording is where I capture it."

The once self-described "analog girl in a digital world" now packs a powerful laptop on which she recorded most of her latest project. "Most of the beats on this album, I got from producer's mix tapes," Badu explains. "I'd listen to beats online and to others that had been given to me over time. I was on the hunt, putting things together very carefully. It was a great experience."

Badu, who came into the digital world late, says, "I have Mercury in Aquarius in my chart and that makes it really easy for me to pick up on technology." From digitally producing her music to managing her own MySpace page, Badu may have to trade in her old title for what one magazine dubs her: the "queen of the digital underground."

Badu's reconciles the diverse genres that comprise her style. For ‘New Amerykah,' she conjures up her Hip-Hop roots that trace back to her days of freestyling on Dallas radio. The album's cover and interior art, a collaboration between Badu and graphic artist Emek, The Thinking Man's Poster Artist, uses symbols of American culture to reflect Badu's rich beat perspective on a myriad of issues - from music, religion, economic empowerment, global warming and "Big Brother" to our broken emergency response and healthcare systems. Badu's abstract fro is filled with spray cans, dollar signs, power plants, handcuffs, broken chains, bar codes, drugs, guns and other emblems reflective of modern day society. At the same time, Badu sprinkles images of life, love, hope, faith, family, and music to deliver a powerful message of self-revolution. To drive the point home, Badu flashes her knuckles, which are donned with the ‘80s style gold New Amerykah nameplate.

The buzz factor for the 9th Wonder produced "Honey," ‘New Amerykah's' first single, harks back to the radio success of "On and On" produced by Jah Born. "We need cookout music, music that your auntie does the electric slide to while holding a B-B-Q rib with one pinky in the air," says 9th Wonder. Whereas "On and On" was calm, bluesy, and poetic, "Honey" is a retro, bouncy, percussive, hit about the deliciousness of requited love. "It's so Hip-Hop and grimy. It was just undeniable from the beginning," shares Badu.

The video, written, and directed by Badu, sets Badu in a classic Hip-Hop scenario as she browses through vinyls at a local record shop. By the end of the jam, Badu finds her face super-imposed on the covers, the likes of Nas' ‘Illmatic,' De La Soul's ‘3 Feet High and Rising,' and Eric B. and Rakim's ‘Paid In Full.' Shafiq and Taz Arnold, from the hit production team Sa-Ra, make cameo appearances. In another striking moment, "Honey" is interrupted by a video-in-a-video, as an excerpt of "Annie," recorded by Badu's super-group side project Edith Funkier, plays on the store's video screen. "We wanted a video that spoke to Badu's eclecticism," says Chris Robinson, the film's co-director. "Those album covers represent all the influences that she embodies."

With its converging influences and the 5-year period it took Badu produce it, ‘New Amerykah Part One: The 4th World War'encourages its listeners to celebrate discord and embrace their own inner struggles. Badu obeyed her inner colors and peacefully allowed them to coalesce into a beautiful Hip-Hop Soul brainchild, "I don't feel pressure putting out a new album," says Badu. "I'm not concerned with what other artists are doing. I'm always competing with my last album. Where was I last time? How do I move to the next level? That's what I focus on."

"Honey" Video