I know that the review of Mos Def’s The Ecstatic album has been one that people have been looking for since Tuesday when it was released and I am happy to deliver it in its entirety. I apologize for three day delay in delivering this review but that’s what happens when you’re in school and you have to pay more attention to these things in life called “priorities”, but I thank those that have been patient in waiting on this review to arrive (the impatient ones…I’ll save those thoughts and words for another time). With The Ecstatic being Mos Def’s fourth solo album to date and three years since his last release (True Magic), people are wondering what to expect from The Mighty Mos. Will he return back to his true emcee form seen on early career works like Black Star and Black On Both Sides or continue with the experimental path he has been traveling as of late.

1. Supermagic
Produced by Oh No
Right off the back we can see that Mos is sticking with this more experimental side in starting off the album. Oh No provides Mos with a fast paced lead guitar filled beat that allows him to spit some rapid-fire lines. A lot of people were skeptical as to whether Mos was losing his edge and skills as a lyrical emcee but this track reassures that Mos is still an emcee to be reckoned with on the mic.

2. Twilite Speedball
Produced by Chad Hugo
Mos slows things down a bit on this next track but the intensity is still there with production provided by The Neptunes’ lesser-seen half Chad Hugo. Chad keeps the production diverse and ever changing on this track that Mos is able to ride without a problem.

3. Auditorium
Featuring Slick Rick; Produced by Madlib
This track has been on repeat since I first heard it and it’s with good reason. Madlib, one of the most diverse and creative producers of all-time, produces a beat of Middle Eastern flavor that flows smoothly and complements the verses of Mos Def and Slick Rick quite well. Wait…did I just say Slick Rick was featured on this track? Slick Rick “The Ruler”?? Hell yeah, the one and only appears on the track and shows why he’s still one of the best storytellers in Hip-Hop history with a verse that maybe upstages Mos Def’s. All in all this is one of the best tracks on the album so far and hopefully there are more of this caliber to come.

4. Wahid
Produced by Madlib
Madlib provides Mos with another beat on this next track as he delivers some good rhymes over the string filled production. There’s nothing too spectacular about this track as it just features a lyrical Mos Def over some nice Madlib production, kind of serving as an interlude of sort with the short track length.

5. Priority
Produced by Preservation
Again this track kind of feels like an interlude because of its short length but as opposed to the previous track I would have liked to hear more of this one. Preservation delivers a well-produced beat with piano and horns that Mos Def destroys lyrically. This track had all of the necessary aspects to be one of the best on the album but the short track length snubs that (it’s still one of the better tracks though).

6. Quiet Dog Bite Hard
Produced by Preservation
This song was recently performed live by Mos on the Late Show With David Letterman and I can see why he selected this song to perform. Preservation returns for another track to provide Mos with a tribal feel beat that he fits comfortably with. This song has the sound and feel of something that might have been heard on The Roots latest album Rising Down and I could have really heard Black Thought spittin’ some lines on this one.

7. Life In Marvelous Times
Produced by Mr. Flash
Mos attempts to bring out his rougher side on this track over some dark, dramatic, and synth filled production produced by Mr. Flash. Mos delivers some nice rhymes and adequate singing on this track but it almost sounds like a reach at times over the near mainstream sounding beat. This isn’t a bad track by any means but more of an acquired taste that is sure to grow on the listener after a few plays.

8. The Embassy
Produced by Mr. Flash
In similar fashion to the “Auditorium” heard earlier in the album, Mr. Flash provides Mos with some Middle Eastern styled production as he tells about his journey and travel in the land. This is another track that I wish was longer in length as it’s over when you start getting into it.

9. No Hay Nada Mas
Produced by Preservation
Mos hooks up again with Preservation for a track of foreign appeal if you may that features Mos showcasing his fluent foreign language over some lush production that is supplied. I wish I could have understood what Mos was saying but nonetheless this is a very nice track from start to finish.

10. Pistola
Produced by Oh No
Mos teams up again with Oh No on another fast tempo track that features some jazz styled production with Mos showcasing both his rhyming and singing to positive results.

11. Pretty Dancer
Produced by Madlib
The connection with Mos Def and Madlib on tracks are pure chemistry as they both complement each other quite nicely. Madlib produces a very nice beat that erratic in style while Mos keeps the listener in a lyrical daze on the microphone.

12. Workers Comp
Produced by Mr. Flash
On this track Mr. Flash once again provides Mos with some lush sampled production that allows him to display his lyrical prowess on. Like “Wahid” there’s nothing too spectacular about this track, just good music provided to the listener.

13. Revelations
Produced by Madlib
Like I said before, this combination of Mos Def and Madlib just doesn’t disappoint as evident on this track that stands as their fourth collaboration on this album. Madlib produces an ethnic sounding pulsating beat that Mos completely flows on effortlessly. This song could have had MF Doom on it for the ultimate satisfaction as it sounds like something you might have heard on the Madvillainy album.

14. Roses
Featuring Georgia Anne Muldrow; Produced by Georgia Anne Muldrow
This track really serves as a Georgia Anne Muldrow track featuring Mos Def and it works quite really in the end result. Over a nice piano driven beat produced by Georgia Anne Muldrow she delivers a strong vocal performance with Mos providing the background vocals and verse to accompany. This is a nice addition that provides a different vibe from most of the album’s other tracks.

15. History
Featuring Talib Kweli; Produced by J Dilla
This is the first song that I heard from the album before it was released and just like I loved it then I still do now. Those looking for the reunion of Black Star and complaining that there wasn’t any on this album can rest assured with this track as it provides what they’ve been looking for. Over a lovely produced beat by the great J Dilla (even after death he’s still better than most producers with production), Mos and Talib hook up to drop lyrical bombs not heard since 1998. This track stands as one of the best on the album that you will not be hesitant to hit the repeat button after the first listen.

16. Casa Bey
Produced by Mos Def & Preservation
I remember when I first saw the video for this song online and not really liking it too much and thinking if Mos Def’s new album was going to be worth it. But over time this song has grown on me and it most definitely is an acquired taste. Mos displays some very nice lyricism over very live production that suites the taste. This is a song that I could see Mos performing live to perfection with a band like The Roots.

Bottom Line:
So after 16 tracks does the final product result in Black Star, Black On Both Sides, The New Danger, or True Magic? Ultimately I think The Ecstatic combines the elements of all of those albums into one complete album that satisfies the different tastes of all Mos Def fans and listeners. There aren’t really any bad tracks to be found on this album and like I said much throughout the review this album is going to be an acquired tastes for many. Many Mos Def listeners and Hip-Hop enthusiasts are going to listen to this album expecting to hear Mos go back to the styling of Black Star and Black On Both Sides. Even though the production might not be as soulful as those albums were, Mos Def is still lyrically as strong now as he was then. That aspect of Mos Def has not changed or dwindled over time, as he’s still one of the most lyrical emcees in the game. This album showcases production wise that Mos isn’t scared to experiment and be different than the stale and monotonous production that has become standard with most Hip-Hop albums. I think this is one of Mos Def’s best solo albums to date and ranks right up there with his strongest one in Black On Both Sides. People can stop asking what happened to Mos Def and thinking he crazy because he’s challenging the likes of Jay-Z, Kanye West, and Lil’ Wayne in terms of lyricism. This album proves that he has every right to be challenging and questioning Hip-Hop’s best emcees because deserving so he is and has been one of Hip-Hop’s elite for a long time now (people just have a hard time acknowledging that fact). If you haven’t already picked up a copy of this album get your ass to the store or online right now and do so real quick! Like this review, The Ecstatic was worth the wait and delivers in the end.

nappyPicks: “History”, “Auditorium”, ‘Revelations”, “Quiet Dog”, “Casa Bey”, & “Roses”

Download: Mos Def – “Priority”

This week, other than people falling out of the Top 50, it really wasn’t any movement. The late great J Dilla’s posthumous album, Jay Stay Paid, manage to make the Top 100. By the way, we didn’t actually “review” the album, but SBK (aka SpeakerHead) wrote a insightful piece about it. Check it out here.

By this time next week, Eminem’s Relapse will most likely pass 1 million in sales. In this day and time, that’s incredible. Em still shows he definitely has drawing power. I wonder how Relapse 2 will do. I’m outta here quick. Till next week…

#2 Eminem/Relapse (Last Week: #1) – 141,000; Total: 962,000 (Gold) [3 Weeks]
#23 Beyonce/I Am Sasha Fierce (Last Week: #23) – 16,100; Total: 2,220,700 (2x Platinum) [30 Weeks]
#25 Keri Hilson/In A Perfect World… (Last Week: #27) – 13,600; Total: 327,200 [11 Weeks]
#30 Method Man & Redman/Blackout! 2 (Last Week: #18) – 14,400; Total: 92,400 [3 Weeks]
#33 Chrisette Michele/Epiphany (Last Week: #26) – 13,400; Total: 162,500 [5 Weeks]
#40 Rick Ross/Deeper Than Rap (Last Week: #32) – 12,000; Total: 315,900 [7 Weeks]
#41 Busta Rhymes/Back On My B.S. (Last Week: #22) – 11,400; Total: 87,400 [3 Weeks]
#42 Jamie Foxx/Intuition (Last Week: #39) – 11,100; Total: 957,800 (Gold) [25 Weeks]
#96 J Dilla/Jay Stay Paid (Last Week: NA) – 5,800; Total: NA [Debut]

While some might be trying to figure out if this is a standard album review by nappyafro terms, I’d like to introduce you to SpeakerHead’s Boomin’ System (props to LL circa 1990). SpeakerHead (aka SBK) is a nickname that I picked up for my love of music and constant collection of it from vinyl to CD to cassette to mp3’s. While sneaker heads are coppin’ the latest Jordan Package or AF1’s, I’m at the record store getting that rare 45 or foreign soundtrack. This is designed to highlight albums that are currently getting play in my boomin’ system and to review them overall rather than track-by-track like the standard ‘fro album reviews. So to kick off the initial review we’re going to look at the latest album from a producer on my Top 5 list in J Dilla’s Jay Stay Paid.

One of the best music producers of all-time is back at it again, this time teaming up with another legendary producer in his own right. J Dilla’s mother (Maureen Yancey aka Ma Dukes) called up legendary Hip-Hop producer Pete Rock to oversee this project and it would only seem fit as he was considered Dilla’s only musical idol. It’s great to see Dilla’s mother so involved with her son’s work in making sure that his legacy remains strong and relevant while not letting it become tainted by folks in the industry looking for $$$. We’re gonna continue to raise it up for Ma Dukes and support Dilla no matter what. Combine material from old disks, DATs, and beats produced by J Dilla while he was in the hospital battling Lupus and you get the next chapter of his legacy entitled Jay Stay Paid.

This album follows the format of a radio station (cleverly named KJAY) with Pete Rock serving as the Host in delivering unreleased and unheard J Dilla productions as well as newly composed songs by various artists. With the amount of J Dilla posthumous albums and compilations being released (Jay Stay Paid, Dillanthology 1, Dillanthology 2), some people might think we’re headed towards the “Pac Syndrome” with Dilla’s music. But in reality it’s far from that as the releasing of these albums and compilations displays an individual that worked on his craft passionately and took care in perfecting it. These projects continue to add to the growing legacy of J Dilla as it also those that didn’t recognize and appreciate his talent while he was still alive or even take the time to listen or know that they’re favorite song was produced by him, to understand how special he was and why he’s so sorely missed by the Hip-Hop community.

On this album we are blessed with unreleased beats that not only showcase Dilla’s soulful side (“Coming Back”, “Mythsysizer”) but his experimental side as well (“On Stilts, “In The Night (Owl N Out)/While You Slept (I Crept)”). Not to be labeled as the same style as his Donuts album, which was an instrumental album, this album features choice emcees droppin’ rhymes over Dilla beats. As with other artists’ posthumous albums (2Pac, The Notorious B.I.G.) you usually get songs featuring artists that either don’t sound right on collaborating with them or wouldn’t have worked with the artist if they were still alive. But with songs on this album it works, as many of the artists are those that previously worked with Dilla (Black Thought, Blu, Frank Nitty) and the ones that didn’t have a chance to collaborate with him don’t sound out of place (Lil’ Fame of M.O.P., Havoc, Raekwon). Of these songs “Reality Check” works extremely well with Black Thought delivering some “reality TV” themed rhymes over Dilla’s fast paced beats and “24K Rap” sees Dilla delivering a grimy, dark beat for Havoc and the Chef to deliver making you image how Dilla would have collaborated with other artists of the same type.

Not all of the production featured on this album are unreleased or unheard as Dilla enthusiasts will recognize beats like “caDILLAc” (“Hip Hop Quotable” – A.G.), “Smoke” (“JLJ Intro” – J Dilla), “Digi Dirt” (“Put Ya Stamp On It” – Akrobatik), “KJay and We Out” (“Ma Dukes” – Frank-N-Dank) from previous Dilla releases and other artists he produced for. But this doesn’t take any from the beats at all as they are fantastic productions you don’t mind hearing again.

Now while this album doesn’t have the lasting effect of Donuts or isn’t as soulful as The Shining, it shouldn’t be compared to his past albums anyway. That’s the aspect of J Dilla and each album released before and after his death that a lot of people don’t understand or overlook. Each J Dilla album is unique and as a whole reflects something different every time. Welcome 2 Detroit couldn’t be said to be the same as Ruff Draft just as Donuts is in no way the same as The Shining, and the same thing could be said about this beats and production. This uniqueness and sense of individuality is what made Dilla one of the best producers in Hip-Hop, as he took his time while crafting and perfecting his works. He was somebody that was passionate about what he did and it continues to show in his music even after his passing. Just listen to songs released this year (“Stress” – Guilty Simpson, “History” – Mos Def) and it sounds like Dilla is still here producing these gems.

Passion is something that separates somebody from being great and just being another, and Dilla definitely wasn’t just another producer in the game. This thing called “passion” is something that sorely missing in the game today with most artists and producers in their works, and is the reason why most of these “hot” artists and producers won’t really be remembered years later after careers are done and over with the likes of J Dilla, Big L, 2Pac, The Notorious B.I.G., Big Pun, Jam Master Jay, Aaliyah, Lisa ‘Left Eye’ Lopez, etc. As I said previously, Jay Stays Paid displays a span of Dilla’s career as it features productions from early in his career to the last stage of his life, and it was put together to further extend his legacy to fans of his music and introduce new listeners to how great of a producer he was. Jay Stay Paid is definitely an album I would recommend adding to your collection whether “Dilla Changed Your Life” or you just heard about him.

Playlist: “Reality Check”, “24K Rap”, “Smoke”, “See That Boy Fly”, “Coming Back”, “On Stilts”, “Mythsysizer”, “In The Night (Own N Out) / While You Slept (I Crept)”

J Dilla feat. Havoc & Raekwon – “24K rap”

When speaking about the word classic, terms such as timeless, unforgettable, and lasting come to mind. Just after the 3-year anniversary of the passing of the legendary James Yancey, better known to the Hip-Hop community as Jay Dee (aka J Dilla), one can only think about the last album released before his death on February 10 (three days before to be exact). The album that I’m referring to is aptly entitled Donuts as it was stated that Jay Dee had a big appetite for donuts and the format of this album follows the concept of donuts perfectly. When you visit your favorite spot for donuts, whether it’s Dunkin’ Donuts or Krispy Kreme (word to Phonte…”Dunkin’ Donuts, fuck em! Little Debbie, fuck ‘em!”) and you get a dozen donuts there is usually an assortment of donuts to enjoy from glazed to powdered to sprinkle (my favorite) to jelly filled. When you finally get down to eating the donuts the enjoyment of them usually lasts under a minute before you’re on to the next one and before you know it all twelve donuts have been eaten. Now think about this concept when applying it to J Dilla’s Donuts album and you’ll understand exactly why it was labeled perfectly.

There are a total of 31 tracks on the album which spans about 43 minutes contain instrumental tracks with no rapping or lyrics on them whatsoever. When listening to tracks like “The New”, “Dilla Says Go” and “U-Love”, they are over too quickly while you’re still enjoying and groove to them (think back to the donuts analogy). This happens to be the case with this album but that’s not to say in a bad way at all that the most of the tracks being under two minutes in playing time takes away from the album. In fact it makes the album that much better and run more smoothly. Many if not all of the tracks featured on this album were created and produced by Dilla while he was in the hospital battling Lupus (that’s true dedication) and it shows just how much of a creative mind and strong work ethic Dilla possessed combined with his love for Hip-Hop. For those who have never heard of J Dilla or realized that one of their favorite songs was produced by him, this album serves as a perfect introduction for them to listen to how great of a music producer he was and understand why such a great individual was taken from us way too early.

This is an album that you can listen to from beginning to end without having to reach for the skip button and sit back to enjoy great music from one of the best that ever did it and touched an MPC. This album is an inspiration for budding music producers to truly take the time to hone their craft and understand that sampling is much more than just looping the first 0:20 of a record and adding some drums. This album is an inspiration to rappers to search for and connection with a producer that’s taking risk and being creative with their beats and not just making another “Southern Banger” or “Club Hit”. J Dilla touched the lives of so many people who realized it or not, and his death just makes us realize how our time here on earth is so valuable and we should do all we can to make the most of it. Do yourself a favor a pick up a copy or two of this album and understand just why Akrobatik rapped, “If Hip Hop is dead it happened the day that Dilla died”.

With The Notorious B.I.G. biographical film Notorious scheduled for release on January 2009, the obvious discussion comes up about what other rappers have big screen worthy life stories. I mean, we kinda had that with 8 Mile & Get Rich Or Die Tryin’. But those movies where loosely based on the lives of 50 Cent & Eminem; that’s also the same case with Krush Groove. I won’t even get into VH1’s Too Legit: The MC Hammer Story. But the thought of what biopics could be made about certain rappers are tempting…

Crank Dat: The Soulja Boy Story (Soulja Boy Tell ‘Em)

Think about it; a Disney backed movie about the kid who made the whole world say “Yoooouuuu!” It’s not as crazy as you think; you could possibly make it a musical and try to get that High School Musical cash: “Watch as DeAndre Ramone Way goes from high school zero to the ‘Superman that hooooooo’” See, it basically writes itself.

Revelations: There’s Light After The Lime (Mase)

Based off the book of the same name, this movie chronicles rapper Ma$e’s transformation to Pastor Mason Betha…then back again to Ma$e….then back again to Pastor. Don’t laugh; this idea isn’t that terrible especially seeing how well the Christian film Fireproof did this year (Budget: $500,000, Earnings: $26,429,043+). Connect Tyler Perry to this project and I hear cash registers from the religious folk. Should they mention the transsexual incident?

Straight Outta Of Compton (Eazy-E & NWA)

After seeing the documentary this year (The World’s Most Dangerous Group), I’m sure that there have been talks about this project. There many subjects to touch on besides the group rise to super stardom (Ice Cube leaving the group, the FBI letters, Suge Knight jacking up Eazy-E, that bullshit about Snoop joining the group, etc). Hey, it’s already been parodied in CB4; might as well make the original.

Kanye (Kanye West)

This one actually has some elements that could be good: Chicago kid has dreams to be the biggest Hip-Hop star in the world, drops out of art school to pursue said dream, struggles at first, moves to New York, gets a little fame, gets in a car wreck, gets more fame…you know the rest. I not even gonna speak on the emotional loses. Who gonna play Kanye? Do you think Kanye West would let anyone else play him? “George doesn’t care about Black people…but he might love this movie”

R (Rakim)

At first I thought this would be a good idea but after thinking more about it, I don’t know. Yeah he raised lyricism in Hip-Hop to a new level but I don’t think his persona will make the best film. Rakim leaves for 5 to 8 years at a time; how do you end that movie? “Rakim dropped an album in 1999, sign with Dr. Dre’s Aftermath, did a few cameos, sat on the sidelines for years waiting, uh, that’s it”.

Killa (Cam’ron)

If anyone says that Killa Season was a biographical film on Cameron Giles, well, that just sad. Let’s just go with the facts: He did have hoop dreams at Manhattan Center High School, that didn’t work out which led him to music that eventually led to the formation of The Diplomats (Maybe we can finally find out what happened between him and Jim Jones). Throw in some cameos from Big L and Murda Mase, and we might have a story.

Walk This Way (Run-D.M.C.)

This won’t be a PG-13 version of the Run-D.M.C. story; we talking about everything here: groupies, drugs, and even the sad murder of Jam Master Jay. They were the first mega superstars of Rap so I know it’s not all clean as Run’s House makes it. Now, if only we can get Rev. Run to sign off on this…

Dilla (J-Dilla)

Even though J-Dilla isn’t a household name, I think that could actually help the movie. I watched plenty of biopics and didn’t necessarily know the whole story and history about the subjects. From working with everybody from Janet Jackson to De La Soul, winning a Grammy, to being Common’s roommate right before dieing of TTP, this movie has a lot to cover. Being that he was a major influence on his peers and that he embodied the neo-soul sound, I’m sure a lot of Hip-Hop heads would love to see this one green-lit.

The Life & Times Of Sean Carter (Jay-Z)

Does anybody remember The Black Book that Jay-Z was supposed to release right around when The Black Album dropped? It was suppose to be a book about his life. I read a few excerpts right before it got canned and they were actually pretty good. I think a lot of people would love a glimpse into the life of one of Hip-Hop’s most successful (and private) stars. We got action (He shot his own brother!), romance (Who’s playing Beyonce?), and betrayal (R-O-C). Maybe it can end with him either getting married or standing on stage with…oh and he did get Nas’ baby mama pregnant; even more drama.

Doggy Dogg World (Snoop Dogg)

Snoop has truly lived the “Hip-Hop” life. After growing up in Long Beach, California, Snoop went from hustling in the hood to being the face of one of the most infamous record labels of all time. We all know about the highs and lows of his life because Snoop has been in the limelight over 15 years and has transformed before us. His story could be a comedy, a drama, and a suspense film all in one. I’m thinking he collaborates with Seth Rogan to make this one. The movie will be a mainstream hit because everyone loves Snoop!

Live 2 Tell (Tupac Shakur)

This one is kinda obvious; after about a million straight-to-DVD movies about the life of one of the generation’s most controversial figures, it seems like he might finally get his turn to the proper Hollywood treatment. Last year it was announced that EverGreen Copyrights has acquired the rights and supposedly are producing a film. Preston Holmes (Hustle & Flow producer) is rumored to be connected so it might be good; if it gets a talented director plus a good actor playing Tupac, I’ll be more optimistic.

He is simply a legend in the game. Tip is one of those guys that just knows how to make good music. From all those years with A Tribe Called Quest (ATCQ), to his solo debut and the little heard jazzy Kamaal The Abstract, its evident that dude just gets it. He’s benefited from always having his own lane so trying to know what to expect is to your detriment. That said, what do we get with his latest offering? Let’s get Wright to it.

1. Johnny Is Dead
Produced by Q-Tip
His debut album came out in 99′, but this sounds like it picks up right where that left. Deep base, infectious dance groove and the light piano playing over the track, this is what Tip does. His delivery is classic Q-Tip on this one, and abstract indeed.

2. Won’t Trade
Produced by Mark Ronson & Q-Tip
Ronson lends his award winning skills to this track and it works out okay. The loop and repeat of this track and the previous track are a bit more noticeable since they are back to back, but they still are okay. Musically, both tracks are pretty cool. Q-Tip playfully weaves metaphors about relationships with sports in this tale with a sample that sings “I wouldn’t trade it for nothing”. This is the quintessential feel good song.

3. Getting’ Up
produced by Q-Tip
Gone but not forgotten…Dilla’s influence is all over this single. The R&B and jazz influence is undeniable as musically, this is probably the deepest track on the album. The feel of this track is a lot like the feeling you got when you heard “Bonita Applebomb” for the first time. Again, lyrically, it fits with all of his previous work and if it ain’t broke, don’t try to fix it.

4. Official
Produced by Q-Tip
After a seamless transition from the previous track and continuation of scratching leads us into “Official”. The music on this track and the last are like, twin siblings as nothing is lost and the groove plays on. Tip finesses this one just as well with lines like “I raise the bar…for that I hit a chin up” and “I feel what the beat does/People fuck with me cause/When the song ends I become what the beat was.” He flips shit like this so effortlessly that most of the new Hip-Hop generation sleep on him hard. I really dig this track.

5. You
Produced by Q-Tip
Ever been in a relationship where you knew they were lying to you, but you couldn’t get away? Here’s is the track for you; it’s you…at the end of it all is you. Tip even cuts a deal with “We’ll make amends if you admit it/We can ascend if you committed” but we all know how that ends. The piano laced track is infused with a rhythmic snare that becomes the heartbeat of this love song when paired with the bass. This is one of my favorite songs on the album.

6. We Fight/We Love
Featuring Raphael Saadiq; Produced by Q-Tip
Just the idea of Deeky and Tip on a track seems right. They are two of the most abstract yet futuristic and pure musicians in their respective fields, neither knowing what it means to drop a bad album. The hook “Fightin’ (just a little bit) Lovin’ (just a little bit) Fightin’ (just a little bit) Lovin’ (just a little bit more)” is infectious and you will find yourself woppin’ and singing along before it’s over. Musically, it sounds like a Michael Jackson sample but I can’t pick up the song right off the bat. It’s well played and the groove factor on this track is high; I expect to hear this one in the grown up circuit quite regularly.

7. Manwomanboogie
Featuring Amanda Diva; Produced by Q-Tip
No doubt, this is a club jam; let the shaking begin. The title is no mistake as this one sounds very “Vibrant Thing” influenced, very uptempo. This song is strictly to make you move your ass, but Tip still finds a way to lace us with some pretty smooth lyrics.

8. Move
Produced by J Dilla
More Jackson influence on this one as Tip gives us another dance track. As with his previous songs, it’s hard to impossible to deny this one. I am not even a real big fan of the track, but the beat is hard to resist. I think the odd scratching and pulling of MJ’s voice throughout the track start to grate my nerves then the song changes. Around the 2:49 mark this song becomes the title track “The Renaissance”. The track is totally different and makes you quickly forget about the music before it. Good save.

9. Dance On Glass
Produced by Q-Tip
Music is art…this is Tip’s painting. Probably one of the hottest intro/lead in flows to any song as Tip rips it acapella for the first minute of this offering. The idea behind the track is stop submitting to the label heads and ringtone rap and be ready for some “real” music that is true to the essence and roots of Hip-Hop. The track is very sparse but it works with the entirety of the song. Get back to the lyrics. MESSAGE.

10. Life Is Better
Featuring Norah Jones; Produced by Q-Tip
Norah Jones has a great voice and Tip makes some great music; this should be good. Her voice lends itself nicely to a boom bap of a Hip-Hop track. Norah may have a great second career singing on the hooks of songs like this if she wants it. The song is about how much better life/Hip-Hop is with the blessings of some musical legends that Tip lists with his signature flow. I guess you can say that this is Tips love letter to Hip-Hop.

11. Believe
Featuring D’Angelo; Produced by Q-Tip
We get another well played collabo as “Soul-Hop” reigns supreme once again. D’s vocals and musical fingerprint are all over this track. I’ve can’t remember hearing one word flipped this many times in a song without getting boring. Tip flexes his lyrical dexterity all over this brisk 2:57 track. It seems a LOT shorter than it is, as 3:00 seems to be about average nowadays.

12. Shaka
produced by Q-Tip
This HAS to be a lost track from the ATCQ days. It fits in perfectly with Low End Theory and is a dope way to end the album. The track dances the line of familiar and futuristic. When you first hear it, it doesn’t seem to work, but as it plays on, you find what Q found when he put it together. Shaka is another dedication track and a well done one at that.

Bottom Line:
This album is a great “follow up” to his debut album and another feather in the cap of one of Hip-Hop’s finest. Tip has perfected his craft and found a way to make his voice become part of the track on anything he touches. He has the ability to make simple dance songs sound like the deepest intellectual song ever made while justifying you giving him a pass on a song that you normally wouldn’t give a spin too. He is one of the purest in the game that has managed to create his own lane effortlessly and managed to make some of the most timeless music period. Essentially, Tip has had 2 music careers from ATCQ to his solo career, and doesn’t seem to be slowing down anytime soon. This is definitely worth a purchase and another offering that makes Hip-Hop cool for older cats too.

Download: Q-Tip – “You”

Since today is Memorial Day, nappyafro wanted to pay tribute to some of OUR fallen soldiers.

The Notorious B.I.G (1972-1997)
2Pac (1971-1996)
Big L (1974-1999)
Big Pun (1971-2000)
Eazy E (1963-1995)
Proof (1973-2006)
Freaky Tah (1971-1999)
Soulja Slim (1977-2003)
Camoflauge (1981-2003)
Stack Bundles (1982-2007)
Jam Master Jay (1965-2002)
Pimp C (1973-2007)
Big Moe (1974-2007)
Mac Dre (1970-2004)
Scott La Rock (1962-1987)
J-Dilla (1974-2006)
Ol’ Dirty Bastard (1968-2004)
Marlon Brando (1979-2001)

If I missed anybody put their name in the comment box.  You are gone but not forgotten. RHYME IN PEACE!