A Jazz Education: A Week with 'A Love Supreme'

The whole reason I started this blog was to discover new music. I've always viewed myself as pretty knowledgeable when it comes to music, but I'm learning with every week how much more musical goodness exists for me to discover. And so it was with this past week. Jazz is a genre that I've been vaguely familiar with my whole life. I was in jazz band (briefly) in high school, where I learned the importance of rhythm and improvisation in jazz (I personally contributed some of the worst trumpet solos ever heard during my band stint). I know and have been told that jazz is an important genre in its contributions to the cultural as well as musical landscape, but I feel that for most of us jazz has been unfairly relegated to musical wallpaper. Jazz is something that you hear when you go out for coffee, eat at Panera, or watch old movies. Many times for me, jazz is music that I hear but don't listen to; sort of in one ear and out the other. I thought that this week I would give a jazz record a fair shake and listen to it with as much attention and repetition as I would a new rock or pop album. What follows is very much a layman's/I-don't-know-anything look at John Coltrane's classic 'A Love Supreme' so I apologize ahead of time to all jazz-ophiles out there if it is a tad reductive; but this was my week with 'A Love Supreme'.

Recorded in one session on December 4, 1964 with John Coltrane on saxophone, Jimmy Garrison on double bass, Elvin Jones on drums, and McCoy Tyner on piano, 'A Love Supreme' is essentially one long piece broken up into 4 parts. In liner notes and interviews, Coltrane said that this record is a very "spiritual album" about the struggle for purity and the recognizing of a higher power that gives him his talent and ability to play music. And while that is all well and good on paper, what is most impressive to me is that this is the message Coltrane actually conveys extremely well and powerfully through his music. 'A Love Supreme' is truly transportive album that takes the listener on a journey through its four suites; from excited awakening of Pt. 1: Acknowledgement to the peaceful and hymn-like finale of Pt. 4: Psalm. It is, without a doubt, one of the strongest and most moving pieces of jazz that I have ever had the pleasure to spend some time with; but it took me awhile to arrive at that opinion.

My first listen on Sunday was fairly disorienting (as I suppose it is for most jazz newbies). Jazz being jazz means that it doesn't follow conventional pop song structures; no verses or catchy chorus in sight. At first it's hard to pin down the trajectory of a song and I found I would automatically fall back into old habits and start to tune the record out, hearing it but not listening to it. Because I'm not a jazz listener, it was difficult for me to really appreciate everything that Coltrane and pals were doing on this record. So my first hurdle for the week was really just to do my best and actively pay attention to what I was hearing and begin to pick out moments and melodies that set this record apart. As I continued with repeated listens, 'A Love Supreme' went from being disorienting to truly engaging.

By Tuesday and Wednesday, I could recognize the development of motifs and themes within each movement. For example, The four note melody strummed by Garrison on bass at the very start of the record is the same one picked up at the end of the track by Coltrane; something that I'm sure is immediately obvious to well-versed jazz listeners but it took me a couple listens to make that connection. Or when Coltrane does arrive at that signature four note melody, each time he plays it there is a slight variation in his phrasing; tweaking a note here or pausing for an extra breath there. And yes, yes, yes, I know that's what the whole point of jazz is, but it was still extremely exciting for me to start to get it. To understand the skill, precision, and total command of an instrument you must possess to play at this level is truly amazing; combined with the fact that these four dudes banged this out in a day at the studio, makes these 33 minutes of music all the more impressive. 

Though Coltrane's name is the only one on the cover, credit must be given to the other three musicians on the record who provide an excellent foundation from Coltrane to build upon. I particularly enjoyed McCoy Tyner's piano playing throughout and would find myself trying to filter out the sax, bass, and drums just so I could try to concentrate on the amazing things he was doing. The drum work is also wonderful; heck, I even like the drum solo on this record. You could go on and on about each musician's playing because they are all exceptional; each adding their own flair and style into the mix. 'A Love Supreme' would not be nearly as impressive as it is if it was only Coltrane playing away on his saxophone. The quartet's playing as whole is what truly makes this record special.

Come Saturday I was firmly feeling the Coltrane. The high-point and climax of the record comes, for me, with Pt. 4: Psalm. Most certainly the most beautiful piece of jazz I've ever listened to, but also so strongly able to convey mood and meaning. The spiritual side of the record that Coltrane describes really comes across in these 7 minutes. His saxophone wails with such a peaceful assurance and the drums roll and cymbals wash like waves coming in and out on the sand; I never got tired of it. And that's kind of how it went with every track on the record; with each listen, I continued to uncover new details and new slight variations in phrasing and melody. 'A Love Supreme' is truly a gift that keeps on giving. All said and done (if my iTunes play count is to be believed) I clocked 22 complete listens of the record. What is truly great about this record is that I think I could carry on for another week and another 20-odd listens and still be finding new things to enjoy.  

Long story short, my week with 'A Love Supreme' was excellent. My time with this record became a real education on what can make jazz truly special, as well as the importance of a mental discipline to really, truly listen to something this intricate. I know I've done a lot of gushing in this review, but there is a reason it is considered one of, if not the best, jazz records of all time. Even if jazz is not your thing, I would recommend giving it another chance. Whether with this record or another (i.e. Miles Davis' 'Kind of Blue'), jazz is a worthwhile landscape to explore. Before Panera and Starbucks were even blips on the radar, jazz was an important cultural and musical force and it has been a real pleasure this week connecting, just a bit, with part of that musical heritage.


The Breakdown:
Stand-Outs: Pt.2: Resolution, Pt.4: Psalm (but really the whole thing is rather great and all basically one piece)
Let-Downs: None
Rating: 10/10

Any jazz lovers out there? Any album recommendations for me?

Up Next: We are going to be staying in the 60s for this week, but with a very different type of record. A progressive rock classic (I'm told) King Crimson's 1969 album 'In the Court of the Crimson King' which I've only ever heard bits and pieces of. Should be fun! 

Off the Record: Talk Talk

Along with John Coltrane this week, I've been listening to a lot of Talk Talk. I've had their greatest hits collection (Natural History) for a while now but never really given it a good listen. So for whatever reason I've found myself listening to it quite a bit this week and really, really enjoying it. It is very 80s art pop in its production but has a lot of little songwriting/instrumentation quirks that set it apart from your average 80s pop record. Anyhow, I'm liking it so much that I might make one of their albums a featured one soon; we shall see. Till then enjoy one of my favorites:

Pt. 2: Resolution...

It's been an interesting week thus far with John Coltrane and I've got some thoughts formulating for Sunday. 'A Love Supreme' is an album with four tracks/movements and I thought I would share one of these today. Pt. 2: Resolution has been the section of the record I've been enjoying the most at this point so I thought I would offer it up as this week's video (though to be fair the video is not much of a video); enjoy your listening!

'I Feel It All': A Week with Rudimental's 'Home'

There is not much else in this world that I enjoy more than really good electronic music. Whether it's Kraftwerk, Daft Punk, Burial, Aphex Twin, or The Knife, something about electronic music has really always appealed to me. A lot of it may have to do with growing up in Asia in 90's where techno was playing just about everywhere you went. Whether in bowling alleys, malls, markets or taxi cabs, electronic dance music was omnipresent. From my younger years through today, electronic music and I have had an ongoing and burgeoning relationship and I'm always excited to see what is coming down the pipe next as the genre continues to evolve and change. 

When I first heard Rudimental's single, Feel the Love (a number 1 hit in the UK) late last year I was immediately hooked and excited for what they might offer next. But life happens and over time I forgot about Feel the Love and their following debut album until the nominees for this year's Mercury Prize were released. Rudimental's debut 'Home' was on the short-list and I thought that now would be a perfect opportunity to give the record a week (and 16 complete listens) of my time.

Rudimental are a drum and bass electronic outfit from London consisting of four members (Piers Agget, Kesi Dryden, Amir Amor, DJ Locksmith) all sharing songwriting/producing duties. They've said in interviews that they want to give anthems to their generation that celebrate who they are and the times they live in. 'Home' lives up to this statement by providing a sort of melting pot of popular trends in both pop and electronic music. Everything from dubstep warbles, to soulful vocals, to ernest lyrics, to group-sing-along chorus, and a reclamation of 90's R&B stylings and melodies can be found on this record. Rudimental wants to cram everything that they love about music onto one record and when it works it truly is a thing of beauty.

Rudimental do a lot of things right on this record. Rock solid production values are found on every track. The bass rumbles and the melodies soar; everything sounds great. Along with grabbing stylistic hints of this and that from popular electronic music, Rudimental brings their own unique flavor by adding horns to many of the tracks. From vocal accompaniment to trumpet solos, horns play a big role in making this record something new; they provide an extra edge to tracks like Feel the Love that really sets them apart. The vocal performances on the record are also excellent without a real misstep in the bunch. 'Home' does a wonderful job of pairing up-and-coming pop vocalists with tracks that really show off their strengths as singers. Rudimental balances all of these elements quite well from track to track, especially considering that this is their debut outing.

Stand-out tracks like Spoons and Baby feature inventive production (with Spoons featuring actual spoons forming the basis of the track), excellent silky-smooth R&B vocals from guest MNEK, and solid songwriting representing what is wonderful about groups like Rudimental. Waiting All Night (also a number 1 single in UK) is another high watermark for me. Its skittering beat and passionate vocals from Ella Eyre energize the track and keep it engaging for five minutes, which is no mean feat. An infectious exuberance permeates these energetic songs and makes them impossible not to enjoy and get caught up in. Rudimental are passionate about their craft and their energy is palpable in these tracks.

As with many records, 'Home' contains a few tracks where the grand synthesis of styles and ideas that Rudimental strives for doesn't quite gel. Hell Could Freeze contains a wonderful chorus, but the rapped verses feel disjointed; almost as though they belong to another song. More Than Anything suffers from a similar problem, its wonderfully-power-ballady-rock-your-socks-off chorus makes the verses that precede and follow seem like a bit of a letdown. While Not Giving In sounds like Rudimental treading water; ticking the boxes and painting-by-numbers but not really capitalizing on some of the ideas or vocal talent present in the song. None of these tracks are bad or even necessarily weak, but Rudimental could have done more with them to give them that extra zing! They could have been essential to the album rather than pleasant scenery along the way.

Needless to say, I'm excited for where Rudimental goes next. 'Home' proves that they have something to say and some exciting ways of saying it. If you have any interest at all in electronic-pop, I highly recommend giving Rudimental a whirl. Hopefully by the time album number two rolls around they will have been able to really pin down what makes them unique in the pop-electronic world (horns, excellent guest vocalists, exuberant production) and play to those strengths. For now we have 'Home', a perfectly delightful debut record that serves up the pop-electronic-R&B goods while showing ample room for growth and exploration in the future. Here's to a long and prosperous future.

The Breakdown:
Stand-Outs: Feel the Love, Spoons, Baby, Waiting All Night
Let-Downs: Hell Could Freeze, Not Giving In
Rating: 8/10

Up Next: I'm diving this week into another genre that I've never really (seriously) given the time of day: jazz (expect, you know, when eating at Panera). I thought I would select what is widely regarded to be one of the best jazz albums of all time: John Coltrane's 1965 LP 'A Love Supreme'. 

Off the Record: London Grammar

Though Rudimental has been keeping me occupied this week, I have also been throughly enjoying London Grammar's debut album 'If You Wait.' It reminds me a lot of The xx mixed with a little more piano, strings, and absolutely gorgeous vocals from Hannah Ried. It's a quiet record full of beautiful moments and spacious instrumentation. Anyhow, I'm really digging it so I thought I would share one of my favorite tracks from the record today. Enjoy!:



See you Sunday with Rudimental!

'Feel the Love' & 'Waiting All Night'...

Good times this week with Rudimental's 'Home'. I thought today I would share two singles from the album that I have really been enjoying; both with pretty excellent videos. First, Feel the Love:

And here is Waiting All Night:

'Fairies Wear Boots, You Gotta Believe Me': A Week with 'Paranoid'

Heavy Metal is a genre that I struggle with. It is a genre, try as I might, that has never really clicked for me. And I've tried; on multiple occasions with multiple albums and I feel like I'm always missing something. Most of time it is the vocals, but weird and unique vocals in other genres don't usually prove as much of stumbling block to me as they tend to in metal. I'll pick up an album, try to like it, fail, and end up frustrated yet again. But I firmly believe that somewhere inside me lives a long-haired, axe wielding, blood-spattered, Nordic-named creature that really wants to like heavy metal. Really really. I have plenty of intelligent, well-spoken, and charismatic friends who will sing metal's praises all the live long day so there has to be something there, right? So I have once again decided to give the genre another shot and I thought that I would ease into it this time with one of the first releases dubbed as 'heavy metal': Black Sabbath's 1970 LP 'Paranoid'.

The first thing that struck me during my inaugural listen was how fresh this record still sounds. Despite being released 43 years ago (and only 7 months after their debut album), the guitars still crunch, the bass still rumbles, and the drums are still crisp. Everything sounds great and not at all dated. Though it may be more similar in many ways to the blues-heavy rock of Led Zeppelin than to what comes to mind when you think of heavy metal, it rocks pretty hard; even today (especially when I think about it in the context of its own release). Quickly looking through some of top 25 hits of 1970 gives you a glimpse of how different a trail Black Sabbath was blazing: Simon & Garfunkel's Bridge Over Troubled Water, Carpenter's (They Long to Be) Close to You, B.J. Thomas' Rain Drops Keep Falling on My Head, Jackson 5's I'll Be There, and so on. Looking at 'Paranoid' in view of the music that was around at the time really helped me to appreciate that what these four lads (Geezer Butler - bass & lyrics, Tony Iommi - guitar, Bill Ward - drums, and Ozzy Osbourne - vocals ) were doing was pretty bold and unique; not to mention totally rocking.

It all starts with a loud droning guitar strum. Drums and bass enter, followed shortly thereafter by a wailing air raid siren. The sound builds, then quickly drops out with two loud strokes of Iommi's guitar (Da-dun!) and Ozzy sings, "Generals gathered in their masses, Just like witches at black masses, Evil minds that plot destruction, Sorcerers of death's construction" and we're off. War Pigs (originally also the album's title) serves as the perfect opener to 'Paranoid'. Setting the tone both sonically and lyrical, it gets the album going in a grand fashion and begins the flawless (and perfectly paced) first side of this record. The song, Paranoid, comes in after the eight minutes of War Pigs and with its quick pace, heavy riff, and 3 minute run time serves as the perfect counterpart to the album opener. Planet Caravan arrives and slows things way down with a blurry psychedelic vocal filter on Ozzy's singing, bongos, and blues-y solo from Iommi. Iron Man then revs it back up with it's inescapable, wonderfully lumbering, guitar riff. Everything on this first side works so well together and each song is sequenced so perfectly that the first 20 minutes of the record flew by for me. With every listen, I found myself wanting to go back and listen to things that I hadn't caught the first time: the weird woop-woop-woop guitar delay sound on Planet Caravan or Geezer Butler's incredible bass work on Iron Man. Above all, they are just great tunes to get lost in, fist-pump to, and sing along with.

The goodness continues on the second side of the record with Electric Funeral and Hand of Doom; both serving up engaging riffs and melodies, and appropriately dour, war-horror filled lyrics as well as interesting time signature changes. And it all ends with the gloriously epic (and epic-ly titled) Fairies Wear Boots, which serves as a perfect summation of the album. It has it all. The classic riffs, great drum and bass work, strong singing from Ozzy, and one of the best choruses ever: "Fairies wear boots and you gotta believe me; Yeah, I saw it, I saw it, I tell you no lies". It rocks. And it's safe to say after a week and 14 listens, it is my favorite track on the LP. The only hitch on the record is Rat Salad, and it's a fairly inconsequential hitch. I'll get this out there now, and I apologize to all the drummers who might be reading this: I'm not huge on drum solos. In a live setting, I can understand them being awesome, tubular, and totally sweet but, on records, I rarely enjoy them. I'm sorry. And most of Rat Salad is a drum solo. It's not a bad one and the track is only 2 and half minutes long so it's gone quickly, but it doesn't really add anything to the record for me. Whenever I arrived at the track in my listening I couldn't wait for it to be done with so I could get on to the goodies in Fairies Wear Boots.

My few (and very minor) gripes aside, my week with 'Paranoid' was one definitely not wasted. Sometimes it's just nice to listen to record with heavy guitar, booming bass and riffs you can just sink your teeth into. I talked about a "pop sweet spot" last week and this week 'Paranoid' alternatively hit the rocking out-epic fantasies-head banging in my car-Vikings will always be totally awesome "sweet-spot". Even with lyrics of doom-and-gloom, Black Sabbath serve up a memorable and even fun journey full of amazing songs. This is Heavy Metal that I can get behind and thoroughly enjoy... this was not hard work.


Up Next: I thought I would bring it back to the present for this week and look at a record that has been widely acclaimed , widely popular (in the UK at least) and was just short-listed for the Mercury Prize; plus it's one I've been wanting to sink my teeth into for a while now, Rudimental's debut album 'Home'. Plus, anthemic, R&B-infused, drum & bass club-bangerz should prove a nice transition from Sabbath, yes? Hooray! Here's a taste of what is in store.

Also, to any metal-heads out there, what do you suggest I try next?

Off the Record: Arcade Fire 'Reflektor'

This has been everywhere so I'm sure it's not going to be news to most of you but Arcade Fire has released the debut single, 'Reflektor', from their new album of the same name coming in October. And, boy, is it a doozy! A totally awesome, mind-blowing, 7 minute, James Murphy-produced, trippy video having, David Bowie featuring, indie-disco-thumping doozy! I think I've watched the video 8 times in the past couple days and I like the song more each time. So please, partake in the goodness:

Paranoid...

The week thus far with Black Sabbath has been pretty awesome, and I've already got five listens under my belt. A great kick in the pants after spending last week with Katy Perry. Please enjoy this video (I'm not sure what TV program it's from) of a 1970 appearance by the band and their hit Paranoid. Gotta respect that hair! And that bass! And the swirly background!

'Toned, Tanned, Fit and Ready': A Week with 'Teenage Dream: The Complete Confection'

This was a difficult album for me to write about. It was not because Katy Perry's 'Teenage Dream' was awful or that I hated every moment spent listening to it. I think it was difficult for me to really think about why I liked the things that I liked and why I disliked the things that I did. It was a hard record for me to pin down in my head. But I would like to begin by saying that I'm not here to trash Katy Perry, her record, or the people that genuinely love her. What follows is simply some of the myriad of thoughts I had during my week and 10 listens of 'Teenage Dream: The Complete Confection'. It is just my opinion.

I'll begin with what I really genuinely enjoyed about the record: the singles. There is a good reason why these singles sold upwards of 30 millions copies in the U.S. (which is an insane number; especially when compared to the overall albums sales of 5 million). These are very catchy songs; they are fun, well-produced, and slick. Songs like Teenage Dream, California Gurls, and Firework, whether you love them or hate them, get stuck in your head and stay there. It's easy for me to appreciate and enjoy the auditory experience that is Last Friday Night (T.G.I.F) on a pop level; with its syrupy bass line and (almost) Daft Punk-y repetitive riff, it's a good tune and it punches all the correct pop-pleasure center buttons. I'm sure most of you reading this can sing along with one if not all of the singles released from this album; they were everywhere. They are engineered to be blasted in your car while driving down the highway, singing along with your friends at the top of your lungs or dancing 'til you can't dance no more at wedding. They are light-hearted, enjoyable, easily digestible, and most of all, fun.

I like to think of the album itself like candy. Candy is wonderful in small doses and it hits a special spot that only candy can hit. I feel the same way about a lot of good pop music; it does something in my brain when I'm listening to it that no other kind of music does for me. I love the band Joy Division, but their music was not made for cruising down the highway and especially not for dancing at weddings. But I love them just the same and for very different reasons than I love a great 3-minute pop single. As I was listening to Katy this week, I realized it's not the kind of music that is meant to be sat and thought about; there's no subtext (and I don't really mean that as a criticism). Things are just to be fun and taken at face value which is a good thing sometimes. But after a week of 'candy', I'm ready for something more substantial.

The biggest gripes that I had with this record were with the non-single tracks. And I'm sure that's only natural seeing as this is a pop record and singles are were all the focus is placed. But it was in these tracks that listening to this record day after day became a bit of a burden. Lyrics are not Katy Perry's strong suit. She does write a lot of her own songs which is not the norm in pop music, so respect must be given for that; but sometimes it did get a little painful. Peacock could be a song about letting the greatness inside of you shine through, but it really just seems to be a song about wanting to see a guy's wiener. And the song, Pearl, has a very encouraging message about being true to who you are and getting out of abusive relationships but it's just overwrought and, unfortunately, just a little too hammy.

The worst offender on the album to me was the song Circle the Drain. It's about not wanting to stick around and watch someone throw their life away to a drug addiction. It goes for this edgy, hard vibe and it just really doesn't work. At all. The chorus contain's the line, "I want to be your lover, not your f*cking mother." It just hurts every time it comes around; not because I'm offended by the word but because it rings so false. Katy Perry isn't hard and edgy - I think the record struggles whenever it tries to play that card. There is a big difference between ernest and edgy. Katy does ernest really well; whether Firework or The One That Got Away, she is very good at balancing being positive and inspirational without slipping too much into cheesy territory. But edgy and confrontational does not work for her, so its good to see that she is playing to her strengths in her newest single, Roar.  I sure hope there is not another Circle the Drain on her upcoming record.

At the end of the day, I have also realized that I'm not the target audience for this record. I'm not a fifteen year old girl (or am I? Dun-da-dun!!!!). Songs like Pearl and Who Am I Living For? that seem a little overdone and cheesy to me, may totally hit the mark for others. Music has always been so exciting to me because we can all like different things and that's okay. There is always room to expand and explore and grow in music and that's what makes being a listener so great. Katy Perry is at her best when she is genuine and plays to her strengths. As listeners, I think the same principle carries over; we are who we are and your opinion is just as valid as mine. For a long time, I've felt the need to keep up with what's hip and new in music and to like the things that everyone else likes and hate the things that are cool to hate; but I'm trying to get away from that mindset. I enjoy the things that I enjoy and there may be artists and genres that, try my darn-dest, I may never like. If Katy Perry is your favorite artist, that is wonderful and your adoration of her is part and parcel of what makes music so great. For me, I'm glad to have spent the week with 'Teenage Dream' but I will be alright with simply buying the singles collection in a few decades and cranking it up while I drive down the highway, awash in nostalgia.


Up Next: Black Sabbath's 'Paranoid'. The godfather of all metal albums that I have somehow gone this far without ever (really) listening to.

Off the Record: September Records!

I'm pretty stoked for September. So many records are coming out this month that I am quite excited for and I thought this Friday I would share a few songs from some of the LPs that I'm looking forward to. First off, Janelle Monáe's new record 'The Electric Lady comes out on the 10th. She is responsible for one of the best records of 2010, 'The ArchAndroid', and I have high hopes for her second album. Here is the second infectious single off of the album, Dance Apocalyptic: 



Next up is the fifth LP from one of my favorite bands, Arctic Monkeys, simply titled 'AM' (also out on the 10th). If the first few singles are any indication of what to expect, we are in for a real treat from a band that continues to morph and grow with each record. Here's the wonderfully stomping & chugging single, Do I Wanna Know?:



It's seems like I've been waiting forever for the debut album of an awesome little outfit called Haim (rhymes with 'time') and come September 30, the wait will be over. If you have never heard of them, check out the video below for the single, The Wire, and you'll see what sweet delights you've been missing from these three sisters.


Also excited for Holy Ghost!'s second record, 'Dynamics', and, of course, Part 2 of Justin Timberlake's 'The 20/20 Experience'. Anything I'm missing? What upcoming records are you excited for?

Katy Perry & I will see you Sunday!

Firework...

You have to ask yourself: do you ever feel like plastic bag? Well, do ya?

'We Got the Jazz': A Week with 'The Low End Theory'

Hip-hop is largely unexplored territory for me. I'm familiar with a lot of stuff that's been on the radio for the past 20-ish years, and I've picked up the occasional album here and there, but as far as a working knowledge of what is good and great in the world of rap: I am at a loss. When I look at lists of all-time greatest hip-hop albums, I'm lucky if I've heard even one or two songs from those albums, let alone the records as a whole. So when it was suggested to make A Tribe Called Quest's 1991 LP, 'The Low End Theory' this week's album, I was excited to delve into what is considered one of the greatest hip-hop LPs of all time.

After a week with this record and 13 listens, I can honestly say this is the best hip-hop album I've had the pleasure to listen to (which to be fair isn't that many). I think what has proved to be a roadblock for me in the past with hip-hop is lyrics. For the majority of my listening life, I haven't been a lyrics person and with so much of the enjoyment of hip-hop being solely based on lyrics; it never really struck a cord with me. (Quick Aside: Spending time with and thinking about lyrics has been one of my favorite parts of The Locked Groove thus far. It's something that, for one reason or another, I never paid much attention to before and I'm really starting to enjoy this it). So spending a week listening to this record has really helped me appreciate that aspect of hip-hop, and I couldn't have asked for better album to do it with. 

A Tribe Called Quest (as they appear on this record) are Q-Tip and Phife Dawg, who handle rapping duties, and DJ Ali Shaheed Muhammad; along with various guests. Q-Tip and Phife have a wonderful vocal interplay that bounces extremely well off of one another. Q-Tip has a more mellow, laid back, and almost philosophical style ('abstract' as he calls it) while Phife is more energetic, straightforward, and down to earth. They both have tracks where they rhyme separately but when they are together, like Check the Rhime or Jazz (We've Got), that is when the group really shines. As far as content of their lyrics, it is a very positive record: all about being who you are, doing what you do, and not worrying about what others may think of you. Also girls. And shady record label executives. Going into the week I was expecting a more dour (or at least serious and "hard") record lyrically, but 'The Low End Theory' is a lot of fun; joyful even. It's a celebration of life and doing what you love and even though I grew up in different circumstances and I was 4 years old when it came out, I can relate to and appreciate a lot of the themes of the record.

Beneath Q-Tip and Phife's amazing rhyming is a rock solid production. A Tribe Called Quest's beats and sampling on this record are flawless. While many of the beats may seem quite simple at first, they reveal themselves to be a perfect foundation for some excellent rhyming. Loud crisp drum beats, great bass, and the jazz sample loops that Tribe use all combine perfectly into auditory experiences that are impossible not to bob your head along to. The use of samples on almost every track also helps Tribe to draw the line between the two musical forms of hip-hop and jazz. The album opens with Q-Tip rapping that his father says that hip-hop reminds him of "be-bop" and they use the rest of the record to illustrate that point; highlighting the importance of rhythm and improvisation in both art forms. Each track has intricacies that after multiple listens make you realize just how much work and skill it takes to make a record like this. The fact that Tribe make it seem like its no big thing is a testament to their skill. 

There really isn't a dud on the record. I suppose tracks like The Infamous Date Rape and Skypager (the only song that really dates the record seeing as it is an ode to pagers) aren't as rock solid as some others; but they serve their purpose in the flow of the record and it would be worse off with them missing. As far as standouts, I mentioned Check the Rhime and Jazz (We've Got) above and I will add Buggin' Out, with its outstanding opening verse by Phife, and What?, which has Q-Tip delivering hilarious one-liners over an awesomely funky beat. But for me all of these pale in comparison to the closing track, Scenario, which features guest verses from the members of Leaders of the New School (which includes Busta Rhymes). Members of Tribe and New School take turns delivering verses, each one full of great rhymes and rhythms; each building on the momentum of the previous one until it reaches Busta Rhymes' show-stopping verse in which he is both gloriously unhinged and totally in control of his delivery. Words can't really do it justice so, please, have a watch and listen; you'll be a better person for it.



I've enjoyed my week with this record so much more than I thought I would. With each listen, the familiarity builds with the rhymes and the hooks and I'm able to rap and bob along with my favorite parts. It has just become really fun to listen to; more fun than I ever thought I could have listening to a rap album. So whether hip-hop is uncharted waters for you or old hat, if you haven't given 'The Low End Theory' a listen; I highly recommend it. Even if rap is "not your thing", this record has so much to offer lyrically and musically that you'll find something to enjoy. I don't know if this will lead me to become a true hip-hop convert but I do know that this record will be entering regular rotation in my collection, and I hope you all are able to give it a spin and enjoy it as well. It's good. Real good. 

Up Next: My wife suggested that for this coming week I should pick a very popular artist. Somebody that everyone knows well or is at least familiar with; and form a real opinion either way about a legitimate POP star. So she suggested I go with one of the biggest albums of the last few years; a record that has sold over 5 million copies worldwide and produced 5 number one singles: Katy Perry's 'Teenage Dream'. I'm going to go with 'The Complete Confection' edition so we can get the full experience. In for a penny, in for a pound, right? It will be an interesting trip I'm sure.