Meshell Ndegeocello Bitter (Deluxe Edition) Numbered Limited Edition 2LP (Color Vinyl)

Michelle Lynn Johnson, better known as Meshell Ndegeocello (born August 29, 1968), is an American singer-songwriter, rapper and bassist. She has gone by the name Meshell Suhaila Bashir-Shakur which is used as a writing credit on some of her later work. Her music incorporates a wide variety of influences, including funk, soul, jazz, hip hop, reggae and rock. She has received significant critical acclaim throughout her career, being nominated for eleven Grammy Awards, and winning one. She also has been credited for helping to "spark the neo-soul movement." Ndegeocello adopted her surname, which she says means "free like a bird" in Swahili.

Ndegeocello honed her skills on the D.C. go-go circuit in the late 1980s with the bands Prophecy, Little Bennie and the Masters, and Rare Essence. She unsuccessfully tried out for Living Colour's bassist position, vacated in 1992 by Muzz Skillings. Going solo, she was one of the first artists to sign with Maverick Records, where she released her debut album, Plantation Lullabies. Her biggest hit is a duet with John Mellencamp, a cover version of Van Morrison's "Wild Night", which reached No. 3 on the Billboard charts. Her only other Billboard Hot 100 hit besides "Wild Night" has been her self-penned "If That's Your Boyfriend (He Wasn't Last Night)", which peaked at No. 73 in 1994. Also in 1994, Ndegeocello collaborated with Herbie Hancock on "Nocturnal Sunshine", a track for the Red Hot Organization's compilation album, Stolen Moments: Red Hot + Cool. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African American community, was heralded as "Album of the Year" by Time magazine.

She had a No. 1 dance hit in 1996 with a Bill Withers cover song called "Who Is He (And What Is He To You)?" (briefly featured in the film Jerry Maguire) as well as Dance Top 20 hits with "Earth", "Leviticus: Faggot", "Stay" and the aforementioned "If That's Your Boyfriend.. Last Night)". Ndegeocello played bass on the song "I'd Rather be Your Lover" for Madonna on her album Bedtime Stories. Ndegeocello was also tapped, at the last minute, to perform a rap on the same song. Ndegeocello also performed a rap on Chaka Khan's single "Never Miss The Water", from the album Epiphany: The Best Of Chaka Khan, Vol. 1, released in 1996. The song reached #1 on Billboard's Dance Club Play Chart and #36 on the Hot R&B/Hip-Hop Singles Chart.

Her music has been featured in a number of film soundtracks including How Stella Got Her Groove Back, Lost & Delirious, Batman & Robin, Love Jones, Love & Basketball, Talk To Me, Tyler Perry's Daddy's Little Girls, The Best Man, Higher Learning, Down In The Delta, The Hurricane, Noah's Arc: Jumping The Broom, and Soul Men. She has appeared on recordings by Basement Jaxx, Indigo Girls, Scritti Politti, and The Blind Boys Of Alabama.

On The Rolling Stones' 1997 album Bridges to Babylon she plays bass on the song "Saint Of Me". On Alanis Morissette's 2002 album Under Rug Swept, she plays bass on the songs "So Unsexy" and "You Owe Me Nothing In Return". On Zap Mama's album ReCreation (2009), she plays bass on the song "African Diamond". She can also be seen in the documentary Standing in the Shadows of Motown, singing The Miracles' "You've Really Got A Hold On Me" and The Temptations' "Cloud Nine". In the late 1990s, she toured with Lilith Fair. She also did a remake of the song "Two Doors Down" on the 2003 release Just Because I'm a Woman: The Songs of Dolly Parton.

Billboard called Ndegeocello's 1999 album Bitter "a modern masterpiece," writing that it "shines for its sonic presence as well as its inherent musical quality." The New York Times wrote that "its rhythms flow in circulatory patterns guided by Ms. Ndegeocello's bass playing; guitars, strings and her guarded vocals intertwine like brain waves."

The ROG deluxe edition releases the album on vinyl for the first time and expands it to include b-sides and remix tracks.

Bitter is an appropriate title for Meshell Ndegéocello's third album. Inspired by a torturous romantic relationship, Bitter surges with emotions, and most of them are shaded with regret, remorse, or bitterness. Undoubtedly, the relationship was painful, but it has given Ndegéocello an artistic focus missing on her two previous albums. It provides a sorrowful, meditative emotional template that she matches with moody, slow songs that flow into each other. It's the kind of album that demands close listening, otherwise it has the tendency to fade into the background. For some listeners, concentrated listening may be a little difficult, given the bleak emotions of the music, but Ndegéocello's subtle songcraft truly reveals itself upon close inspection. And, with repeated plays, Bitter reveals itself as the most personal - and in many ways, most rewarding - album of her career.