same old, same old.

I feel old. When I listen to new rap music these days and I feel like I'm missing something. I start to say things like, is this all they have to talk about? Drugs. Money. Guns. Derogatory terms for women. When I was a teenager rap and hip-hop was virtually all I listened to. Back then I would have argued with anyone who spoke out against the anger, the violence and the negativity that existed in rap music. To me, rap music was about stories. Not just stories -  true stories from people who had lived completely different lives than me but still wanted the same things: to be understood, to be loved and to be secure. Perhaps that's still true. If it is, however, the stories that I hear in most of today's music feels entirely out of touch with the present state of our nation. I have found myself being drawn to those artists who have figured out a way to tell their story, use their talent and sellout shows without relying on the same tired old formula that Puff Daddy made popular in the '90s. What I've found is that these artists have been around for a while, and I guess that's part of what makes me feel old. The Roots, Common, Nas, Killer Mike, El-P,  and Shabazz Palaces ("Butterfly" from Digable Planets), are a few that still hold my interest.

As sort of an effort to find something new, I have chosen to revisit something old. There are several albums that I keep coming back to and I can't help but wonder if the era in which most of them were recorded will go down as the last golden age of hip-hop. I've wondered if Nas was right, that hip-hop is virtually dead. I don't get A$AP Rocky or Drake or Whiz Kalifa or even Lil Wayne. When I listen to most new rap music what I hear has either all been said before or it's not worth saying at all. See my old post on Raekwon for further rants on this subject. I need some substance. So these are the records that have had things to say to me and have continued to speak.

A Tribe Called Quest - The Low End Theory
This was the very first rap tape that I ever bought (if you don't count Kris Kross' Totally Krossed Out) and I really had no idea what I was getting into. I don't know what prompted me to buy it or made me think that I would like it. But it ended up changing the way I listen to music forever. It was the perfect entry into rap music for me - a subtle introduction to inner city life and the rap music industry that manged to be light-hearted and serious at the same time. I don't believe that I would have any interest in jazz if it weren't for this album. Between this and Digable Planets' Blowout Comb (more on that to come) I was primed for Miles Davis and Pharoah Sanders.

Nas - Illmatic
It's a classic. Everyone knows it. I can't say anything about it that hasn't already been said. From  front to back it's probably the strongest rap album of all time. And it's straight to the point. There is no filler and no fluff. Say what you want about the Nas records that followed all you need to do is listen to "One Love" to know he's one of the greatest rappers of all time (and it doesn't hurt that Q-Tip gives the production some of his jazzy flavor).

Outkast - ATLiens

I'm one of those people who prides themselves on the fact that they listened to Southerplayalisticadillacmuzik when Andre 3000 was just plain old "Dre" and no one had any idea who he was. While ATLiens was a bit of a departure from their debut in my opinion it is their strongest album to date. I was comfortable with them dropping the gangster sensibilities and becoming more reflective. I mean who else could get away with humming a chorus ("Millennium") or making a rap song without any beat ("E.T. [Extraterrestrial]"). I committed the lyrics of "Elevators (Me & You)" to memory and proudly recited them to every English-speaking Romanian that I met while overseas in 1996. I could still give you Dre's last verse in full.

Goodie Mob - Soul Food

It's hard to believe that this is where Cee-Lo Green got started. Well, maybe not entirely. Well paired with fellow Dungeon Family mates Outkast, the Goodie Mob sorta put southern rap music on the map with this one. They coined the phrase "dirty south" for goodness sake. But while they were telling tells of drugs and poverty, it was also clear that these dudes were from the Bible belt. Also, they made a song about food.

EMPD - Strictly Business

It's all about the samples. They certainly weren't the first use samples but you could probably make an argument that they were the first use them in this way. Folks made a big deal about the samples used on Watch the Throne last year (Otis Redding, James Brown, Nina Simone, etc.) but they were only impressive because of steep price of the royalties and the total lack of necessesity. EPMD managed to sample folks like Eric Clapton, ZZ Top, Steve Miller, Pink Floyd, Michael Jackson, Kool & the Gang, Aretha Franklin, Rick James, Otis Redding, Zapp and themselves (over and over) in ways that would make Puff Daddy's head explode. They were used to craft songs and attract the ears of those who undoubtedly recognized their source. It's a total embodiment of what makes rap music entertaining.

Souls of Mischief - '93 Til Infinity

It's a bit difficult to explain this one. I just like it. The beats are comprised of jazz/funk. The lyrics  stand out as a stark contrast to the west coast gangsta rap that was being pumped out in 1993. I always felt like the sound of the album was more New York than California. This was of course during a period of rap music when it was usually easy to tell what part of the country a record was produced in. In a group of four MCs, the flow from one verse to the next is virtually seamless. It's that cohesion which made Souls of Mischief much easier to listen to than the Hieroglyphics collective to which they belonged.

GZA - Liquid Swords 

From the release of Enter the Wu-Tang I was a Clan junkie. I couldn't get enough (there are periods even now when that is still true). While some might tell you that Only Built 4 Cuban Linx or Ironman are the best solo releases from the Wu they would be wrong. I feel dirty every time I do this but if you want to read more on why this album is probably one of the greatest of all time then you should check out the Pitchfork review of the chess box deluxe reissue. The production is perfect. The guest spots from other Wu members are perfect. The Genius is perfect. The only thing I never quite understood was the Killah Priest cut at the end of the album. Despite that, the GZA paints a vivid picture of the streets, the industry pitfalls and the drug trade with the tone and demeanor of a veteran. "Shadowboxin'" will always be right. Always.

Digable Planets - Blowout Comb

Honestly, to this day I don't think I have any idea what the hell they're talking about most of the time. Creamy spies? Huh? But it doesn't matter. It just sounds so funky. Much like The Low End Theory the production on this album had a great impact on me. It's just such an overwhelmingly cool record.

The Roots - Things Fall Apart

Whether they intended it to be or not, this was the tipping point - not The Tipping Point. "You Got Me" put them into everyone's homes and the success of this record is responsible for the genre bending force of nature that is The Roots today. Each track out does the previous one. It's just a progression of sound and lyricism that was organic and unexpected at the same time. Despite featuring their first sample ("Without a Doubt") the changes they were undergoing here feel much more like a realization of their talent as opposed to a compromise. Also, "Double Trouble" is some of my all time favorite back and forth rhyming of all time.

Common - Be

I wanted more of Like Water For Chocolate. I wanted Kanye West to bring rap music back the '90s, to the heyday of soul and funk samples. I got what I wanted in Be. Arguably Common's best effort, everything about it is just right. There are times when it feels like Kanye's beats are simply going to the highest bidder. This is not one of them. The whole show is tailored and contoured for Common Sense. I'm not saying the dude is old but he's not new to the game and the vintage soul cooked up for this album fit him perfectly. "Faithful" and "Testify" would have been enough for me to declare this one of my favorite lyrical albums but fortunately there is so much more. I never understood why "They Say" was not a huge hit.

I have to stop here. As I was writing this entry I continually asked myself why I listen to rap music so much. The only answer that I could up with is that it feels necessary as a way of continuing my understanding of the human condition, in almost the same way that I refuse to give up on the political process. To abandon it would be to abandon a certain insight into our culture.

more of y'all know who

I feel like I need to say more about The Roots. Their first album, Organix, was recorded in 1993. I was 12 years-old. Now, 17 years later, I feel as if I've grown up with them. I will admit, Organix didn't blow me away and few people heard it in '93 as it was self-released. Like many others, I discovered The Roots in '95 when they dropped Do You Want More?!!??! At that time they were an anomaly (and still are, really). No one was making rap music with live drums, no one. At least now one was doing it on records. To this day I don’t believe there is another group like them on the planet. If you've seen them live then you understand the true nature of their eclecticism.

In real life, they are much more than a rap group. They are a full band with a working knowledge of jazz, rock and pop which allows them to do just about anything they want on stage. I've seen them cover The Police, Bob Dylan, Jimi Hendrix, Black Sheep, De La Soul and countless others. On record, they are hip-hop legends who carved out a niche for themselves in rap music, played a large part in the late '90s Neo-Soul movement and helped jump start, revitalize and resurrect several careers. Common can thank them for making him relevant again with their work on Like Water For Chocolate in 2000. They turned D'Angelo from a simple hit maker into a seasoned-sounding soul man on Voodoo (also in 2000). They turned in one of the most memorable performances of MTV Unplugged history providing live beats as Jay-Z's backing band in 2001 (some of those songs sound way better than Jay's recorded versions). They've made a habit of spot-lighting local talent on their records, exposing Philly artists like Dice Raw, Jazzyfatnastees, Ursula Rucker, Bahamadia, Beanie Sigel and Eve. And if they had had their way, a then unknown Jill Scott would have been singing the chorus on "You Got Me" instead of Erykah Badu. You've got to love how they have not forgotten where they come from and have done their best to bring other talented folks up with them.

For those unfamiliar with The Roots I want to give you a road map. As with most things, start at the beginning.

For a taste of the early, raw sounding work listen to "Popcorn Revisited" from Organix and the classic "Proceed" from Do You Want More?!!??!. Then check out my favorite cut from Do You Want More?!!??!, "Distortion to Static". There are hints at the diversity ?uestlove possesses on the drums here.

Now, from this point on, they work on polishing their studio sound. Example, "Push Up Ya Lighter" from Illadelph Halflife. The drums sound tighter, the production slicker. Plus, you'll get to hear Bahamadia, which is both bitter and sweet. Where did she go? I'm ready for her return. While you're on Halflife check out the posse cut "Clones," "UNIverse at War" featuring Common and their first hit "What They Do" with Raphael Saadiq on the chorus.

Move on to the classic Things Fall Apart and listen to several things. Hear "Without a Doubt," which contains the first sample they used in the studio, coming of course, from a Philly native, Schoolly D and his song "Saturday Night". Also hear the two tracks that follow, "Ain't Sayin' Nothin' New" and my favorite "Double Trouble" featuring Mos Def. Don't forget about the big hit, "You Got Me" and the anthem "The Next Movement".

Long time member and second MC Malik B leaves the group prior to Phrenology, which finds the band taking great creative strides. Ben Kenney joins the group on guitar, allowing them to incorporate elements of rock in their studio sound. They score big time with "The Seed (2.0)" featuring Cody ChesnuTT on vocals. It becomes a cross over hit, getting regular airplay on alternative radio. They also reach out both stylistically and lyrically on "Water" lamenting the departure of Malik B and the challenge his drug addiction posed. "Sacrifice" and "Thought @ Work" are a couple of my favorites.

Kinney leaves to play in Incubus and long time member Scratch, who was their human turn table/noise machine, leaves as well. The Roots start jamming with Martin Luther and Kirk Douglas on guitar. The result is The Tipping Point. Shorter in length but certainly not lacking substance, the album includes the Sly Stone tribute in the song "Star," as well as Black Thought's excellent impersonations of Big Daddy Kane and Kool G Rap on "Boom!" and my favorites "Stay Cool" and "Web". This is clearly their most radio friendly album so far.

The band signs to Def Jam."Captain" Kirk Douglas stays. Martin Luther leaves. Kirk is a genius, by the way. Malik B returns, drug habit kicked and the band pushes that radio sound even further with Game Theory. I'm not a huge fan of this move, but it's still solid. Highlights for me include "Here I Come," "Long Time" featuring a re-energized Peedi Peedi and the darkest sounding cut of the band's career, "In the Music".

The darkness continues, as does the push for radio sounding hits. Consequently, Rising Down is the album I connect to the least. Apparently long time bass player Leonard "Hub" Hubbard felt the same way. He quits the band. No matter, they bring in guest MCs like Mos Def, Styles P, Common, Talib Kweli and Wale. I listen to the title track, featuring previously mentioned Mos Def and Styles P (who sounds completely inferior as a lyricist). I also listen to "75 Bars," "I Will Not Apologize" and "Criminal".

Then the band agrees to be Jimmy Fallon's house band on Late Night with Jimmy Fallon. See June 25 post for their most recent antics.

Now, to prove Black Thought's lyrical wizardry, read these lyrics from "Ain't Sayin' Nothin' New":

Yo, head lost, sippin’ this Lambic Framboise
Spittin it for like whoever demand the answer
What’s the cure for this hip-hop cancer? Equivalent
to this avalanche of black snow, rap flow
to get my people thinkin mo’, we at the brink of war
What does it all mean? What’s it all for?
With knowledge of yourself, then you’re through the first door
My people hungry and thirst for more next music explore
It’s heavenly to your ebony daughter next door
So what you think The Roots get the world respect for?
The splendid authentic hip-hop that’s raw core
Severe, world premier, a superior sophomore
No doubt, wherever you dwell, that’s where the bomb fell
Explodin from the imperial en-sem-ble, for real
From the ven-ue to the avenue
We truly only got respect for a few, y’all ain’t sayin nuttin new

I mostly wanted to point out that he used Lambic Framboise in a lyric. That takes skill, and a deeper knowledge of beer. I appreciate both. This is by far the most self indulgent post I have written. I had fun.

y'all know who

Yes. The legendary Roots crew. They dropped their 9th studio disc this week, How I Got Over. I don't know what's gotten into me lately, but I have been breathing hip-hop. All the old school talk of the last few weeks has stuck with me. I've even gone so far as to investigate some of the newer cats in an effort to quench my thirst. No luck. T.I. can't seem to make a record that actually captures his greatness. Lupe Fiasco is interesting, but not mind blowing. Talib Kweli is dependable, although I almost gave up on him when Eardrum was released. When you start listing guest MCs AND the producers of each track on the outside of your packaging, you're pretty darn close to selling out. Kweli regained my trust with this years Reflection Eternal album, Revolutions Per Minute. And now to really hit that hip-hop sweet spot I've got How I Got Over.

I will admit, when I first heard the Roots were going to be the house band for Jimmy Fallon's late night show I instantly felt it was the end of the band. I didn't understand what ?uestlove and company were thinking. Then Hub quit the band and I really started to lose hope. I don't like it when founding members leave. It changes things. But maybe I just have an issue with change. This is a band that was known for their tireless touring, billed as the best show in the business (I can testify, it's extremely energetic and entertaining) and now they are stuck in New York five days a week for six months out of the year. However, around this time last year I caught a clip of the Roots performing their new song "How I Got Over" on Fallon's show and it suddenly made sense to me. Free air time. In those five minutes they played to their largest audience ever, through TV's across the country. They get to do this five nights a week. That's the kind of exposure most bands drool over. I still wasn't sure about Black Thought dressing up like a cast member of Star Trek and rapping about intergalactic pimping, but I decided maybe they knew something I didn't.

One listen to How I Got Over and I'm completely over the network television thing. It is an obvious return to greatness from one of my most beloved rap groups of all time (it helps that they're from Illadelph, but I can remember listening to '95s Do You Want More?!!??! on cassette after basketball practice in the D.C. suburbs). The album is easily their most cohesive, flowing from one track to the next effortlessly. The live drum sound that made them famous is back and as present as ever after being over taken by production grease and what seemed like a desire for more mainstream appeal on Rising Down and Game Theory. It's almost as if being forced to stay in one place (Fallon's show) has caused the band to regain a sense of who they are and allowed them to create a new sound that is both organic and modern. Perhaps this shouldn't be surprising. I have learned myself that new things are born from stillness. All the touring was necessary for financial purposes I'm sure, but I wonder what they would say about how it effected their ability to create new music.

How I Got Over finds Black Thought taking a more reserved role, sharing the mic with other home grown talent, like old time friend Dice Raw, and more recent addition Peedi Peedi (who has sounded like a completely different MC since joining the fold on Game Theory). Then there are totally new faces like STS, Blu (whose 2007 debut Below the Heavens is also quite good) and Indie darlings Joanna Newsome, Monsters of Folk and the Dirty Projectors. Those last few names certainly made me raise my eyebrows. How does that work? Rather well, actually. Their additions are subtle, with the exception of "Dear God 2.0" which is essentially a remix of the Monsters of Folk original but may also be the best track on this album. All of this makes it seem as if Black Thought has finally let go of his Jay-Z-status ambitions and is fully dedicated to the Roots vision in a way that we haven't heard since their classic Things Fall Apart. Maybe the regular spot light of late night television has satisfied Thought's desire for a broader audience, but whatever the reason he's figured out that less is often more. I found myself waiting for his turn on the mic while enjoying the change of pace when he passes it to one of his comrades.

This album is the whole package. The live sound blended with simple production techniques, the guest shots from familiar names and local unknowns and the refined work of a veteran crew who has really found their stride. My only complaint is the short running time, clocking in at just over 42 minutes it can really breeze by but perhaps that's most appropriate. It's lean, efficient and rediscovered.