曾获2002年第四十四届格莱美音乐大奖“年度最佳专辑”等7项重量级提名的美国R&B女唱将India.Arie，在她的首张专辑中就已经创造了只属于她自己的特殊风格，在“只有躯壳，没有灵魂”的节奏布鲁斯歌曲充斥市面的今天，India.Arie独特的音乐风格，直指心灵的演绎，无疑是为我们带来了一股新节奏布鲁斯的清风。现在，India.Arie又将用她的最新专辑――《Voyage To India》，带我们展开一段洒满温暖阳光的奇妙心路旅程！无需卖弄性感，远离嘈杂的电音编曲，India.Arie仍然只需要拨动她那把原声吉他的琴弦，就给人以耳目一新的感觉。《Voyage To India》延续了首张专辑中带有根源布鲁斯的清新质朴风格，以及华丽旋律化的演唱，India.Arie以高超的驾驭各种音乐的能力，在灵魂乐的基础上将城市民谣
Despite an excellent debut, India.Arie still had much to prove with her second record. Several of her neo-soul compatriots, from D'Angelo to Erykah Badu to Macy Gray, had faltered with sophomore albums, and it appeared she may have already said everything she had to say on Acoustic Soul. That anticipation, and trepidation, is exactly what makes Voyage to India such a beautiful surprise; it's a record that easily equals her debut, boasting better vocal performances but also better songwriting and accompanying production. As on her debut, there is a marked balance of organic and artificial: an acoustic guitar paces many tracks, though the edges are shorn off for a digital feel; the beats are often sampled, but there are still plenty of handclaps and fingersnaps; and the arrangements are simple yet obviously very polished. The improvement in her songwriting is most obvious from the first three tracks (after the short intro). The themes driving "Little Things" (keeping it simple), "Talk to Her" (the importance of honesty, warmth, and communication in relationships), and "Slow Down" (taking life one day at a time) certainly have been covered already, many times even, but India.Arie writes with a fresh perspective that makes it sound as though she's the first to broach the topic. And, finally, her delivery is the best of any neo-soul vocalist, barring only the incomparable Jill Scott, alternately earnest and playful and sexy and questing. It all adds up to one of the most glowing comebacks of the year (if she ever left), an important record whose stamp — the Motown logo — isn't the only thing it has in similarity with a classic LP by Marvin Gaye or Stevie Wonder.
