Ursula Rucker ‎– Ma'at Mama

Studio !K7 ‎– !K7194CD
CD, Album

Tracklist Hide Credits

1 Humbled
Vocals – Sonia Sanchez
2 Rant (Hot In Here)
Guitar – Anthony TiddKeyboards – Anthony TiddVocals – Malene Younglao
3 Black Erotica
Bass – Anthony TiddPiano – Anthony TiddTrumpet – Jonathan Finlayson
4 I Ain't (Yo' Punk Ass Bitch) 3:36
5 Sol's Intro
Producer – Solgreen
6 Children's Poem
Producer – Larry Gold
7 Libations 4:02
8 Church Party 1:26
9 Uh Uh
Producer – Ensemble Du Verre
10 Spiri-Chant
Featuring – Gary Smalls
11 For Women 5:00
12 Broken
Producer – Rob Yancey
13 Sudan's Intro
Producer – Sudan Green
14 Poon Tang Clan 5:52
15 L.O.V.E. 3:06



Copy Protection FREE, respect the music.

Barcode and Other Identifiers

  • Barcode (Text): 7 30003 71942 4
  • Barcode (Scanned): 730003719424
  • Matrix / Runout: 51731620/K7194CD 22
  • Mastering SID Code: IFPI LB50
  • Mould SID Code: IFPI 0754
  • Label Code: LC 07306

Other Versions (2 of 2) View All

Cat# Artist Title (Format) Label Cat# Country Year
!K7194 CD Ursula Rucker Ma'at Mama(CD, Album, Promo, Jew) Studio !K7 !K7194 CD Germany Unknown Sell This Version
!K7194 CD, !K7194CD Ursula Rucker Ma'at Mama(CD, Album, Promo, Pla) !K7 Records, !K7 Records !K7194 CD, !K7194CD Europe Unknown Sell This Version


Reviews Show All 2 Reviews

Add Review



August 17, 2006
edited over 12 years ago

No doubt, many music critics, amateur and professional alike, would love to use the colorfully profane language favored by Ms Rucker (especially the references to female genitalia, e.g., in track 3 here) to describe her and her music. Alas, the rules of civilized discourse — by which Ms Rucker does not feel bound (presumably on account of artistic license) — would preclude giving Philly's black poetess laureate full measure of her own verbal vitriol on these pages.

To be perfectly clear, even a generous dose of social or political consciousness can do little harm to underground dance music: it might even elevate the merely groovy into something with higher meaning (see, e.g., Soul Rebels, Roland Clark, and Moodymann). On the other hand, setting Ms Rucker's poetry to music was always a dubious proposition, but the progression from her maiden release, "Supa Sista" (2001), via the Modaji remix of that album's title track, to 2003's "Silver Or Lead" gave rise to the hope that mellowing the Rucker sound musically while maintaining the vehemence of her poetry might produce a win–win solution. Indeed, by co–opting the likes of Louie Vega, King Britt, The Mysterium, and 4hero (among others) to produce on "Silver Or Lead", Rucker managed to lay down some outstanding musical tracks without diluting her message, thereby providing the foundation for a crossover to a wider audience.

Unfortunately, "Ma'at Mama" is a big step backwards for this artist and that wider audience. Musically, she has ditched the big name producers for the meager, experimental sound of guitarist/producer Ant Tidd. And whereas "Silver Or Lead" showed a subtler, more lyrical Ursula Rucker, the bad–mouthed, "punk ass bitch" is back in full swing in this release, making it a doubly disappointing outing for all but her diehard black radical feminist audience.

It's not clear what brought out the Queen Kong in Ms Rucker for this temper tantrum of an album: Was it the scant attention given to the previous album (despite the co-opting), and the failure to crossover to more "mainstream" underground dance music audiences? Or was it the frustration engendered by the reality of four more years of Cheney–Bush–Rove? Or did she just happen to have a run of bad hair days? For her sake, let's hope that, by the time she pieces together her next album, she will have taken stock of a bigger picture in the world, worked out that inna–city anger through more constructive channels, and refocused on winning over the wider audience that she clearly deserves.