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Review: Q-Tip’s “The Renaissance”

November 14, 2008 2:35 PM

When a revered cultural figure returns to the spotlight after a long period of silence, it’s worthy of notice.  Q-Tip’s last proper record was “Amplified” nine years ago.  In hip-hop terms, nine years is an absolute eternity.  His legacy as one of the most likable, skilled M.C.s in the game, though, kept his career going.  As a member of A Tribe Called Quest, he made genre-defining classics like “The Low End Theory” and “Midnight Marauders.”  Having that level of impact on the hip-hop world meant he never really went away.  Tribe gets more fans every day for good reason.  Along with De La Soul, the Jungle Brothers, Black Sheep and others, they were part of the highly influential Native Tongues clique.  These groups were often as innovative as they were playful.  For the most part, these groups were a more positive-leaning alternative to the rise of the bling-obsessed “gangsta rap” culture.  They still had their raunchy moments (see the aptly-named, more controversial Black Sheep) but everything wasn’t about guns, drugs and jewels.  There was more of a message.

It’s not like Q-Tip didn’t try to release another album between 1999 and now.  In 2002, his album, “Kamaal the Abstract” nearly saw release until his record company decided at the last moment to shelve it because of its experimental nature.  To this day, he is still trying to get that album released.  Hopefully someday he will succeed. 

In addition, Q-Tip through the years made guest appearances on albums by everyone for the Black Eyed Peas, to DJ Shadow, to the Chemical Brothers to R.E.M.  Back in the day, he made his career with guest spots, most notably on De La Soul’s “Buddy” and “Groove is in the Heart” by Deee-lite.

 
The great news is that “The Renaissance” showcases the Q-Tip you remember.  I haven’t been this thoroughly excited about a hip-hop album in years.  Tip is in classic form here.  Unlike most rappers, it is evident when Q-Tip makes a record, he’s making one for the ages.  When most rappers are so focused on image, it has always seemed like he has been focused on the art.  I think it says something that A Tribe Called Quest did not appear on the covers of any of their five studio albums.  (They are, however, on the cover of a label-compiled b-sides collection.) Q-Tip did appear on the cover of the more commercial sounding “Amplified,” but still his respect for the music remained intact.  On the cover of “The Renaissance” his face is covered.  There’s humility there and in the boastful, ego-obsessed hip-hop world, that’s refreshing.

 
“The Renaissance” opens with “Johnny Is Dead.”  Perhaps this title is a reference to his birth-name of John Davis.  In the mid nineties, he changed his name to Kamaal Fareed.  Those fans of late-period Tribe will recognize that clipped note style of the beat.  It’s as if Tip realized he needed to remind people of his legacy.  “It’s up to me to bring back the hope, put feeling in the music that you can quote.” He’s storming the scene with his calm, distinctive smooth delivery.  He’s taking control as only he can.  As a lyricist, Q-Tip is nothing short of captivating.  He spits out words with ease and has you following each and every syllable.  He asks, “What good is an ear if a Q-Tip isn’t in it?” recalling Tribe’s classic question-filled track, “What?”  “The Abstract” is back and this is only the beginning!

“Won’t Trade” is a quick-soul infused flow, which sets itself off with a fake sports-radio announcement about teams trading players.  This jam was meant for a sporting event.  Backed by a sample of Ruby Andrews’ “You Made A Believer Out Of Me,” he declares himself “The division-one leader in the rebound, maneuvering shorties.” He was always known for jazz-infused beats, but this track’s dusty soul feel suits him well.  In fact, this is a real highlight. 

“Gettin’ Up,” the album’s first single sounds like a lost Tribe track. With its memorable piano hook, it brings to mind such classics as “Award Tour” and “Electric Relaxation,” in the way that its persistence sticks with you.  This is a cooled-out party-jam classic waiting to happen.  It’s smooth, slightly chilled and it hits all the right spots. 

“Official” sounds like it could’ve been on “Midnight Marauders,” “Beats, Rhymes and Life” or “The Love Movement.”  You’d think Ali Shaheed Muhammad was still controlling the beat and that any moment Phife Dawg could come through with a verse or two.  A jazzy guitar riff sets the pace with some casual scratch-work, while Tip uses his butter-soft voice to sing the hook.  He then busts into his classic-style flow. 

“You” is a slow jam about a stormy love affair.  Backed by a low-key piano loop, he raps about a girlfriend who is suspicious of him, stresses him out and cheats on him, but he still keeps coming back.  Not every rapper could deliver something as heartfelt, vulnerable and genuine.  Delivered in a very straight-forward way, this track recalls the Tribe classic “Bonita Applebaum.” 

“We Fight/We Love” finds Q-Tip paired with Raphael Saadiq.  In many ways, these two men are old souls with a similar vintage mindset, both trying to bring hip-hop and R&B respectively back to their essences. Back in 1998, the two of them successfully collaborated on the single “Get Involved” from the soundtrack to “The P.J.’s.”  Here, they similarly work together well.  It’s another track about getting to know each other and dealing with relationships riddled with stress and compromises. 

“Manwomanboogie” is a funky, bass-infused number about getting down and standing together to understand each other in these times of socio-political unrest.  The ultimate message is that men and women may not always understand each other, but in these tough times we all should unite and dance.  Guest vocalist, Amanda Diva adds a strange but alluring low vibe to the piece.

Speaking of dancing, next comes the album’s second single, “Move.”  The Jackson 5’s “Dancing Machine” provides the backdrop to this groovy number.  The single is only the first half of the track, however.  Halfway through the song switches up and Tip starts rapping over a subtle whistle-driven beat.  Maybe this should’ve been two separate tracks, but this way it makes for a nice surprise.  It’s a two-for-one bonus, if you will. 

“Dance On Glass” begins with Tip singing without accompaniment, “The people at the labels say they want something to repeat, but all my people really want something for the street.”  He then starts to rap, still without accompaniment.  Only an occasional echo is his backdrop.  At the one-minute mark another “Midnight Marauders”-esque beat comes in, with some cool, wah-wah-style chording.  This is Q-Tip at his best and at his essence.  Suddenly, it’s 1993 again!

Norah Jones pops in for “Life Is Better.”  Q-Tip’s smoothness always gives his songs a rare brand of elegance, but Jones ups the chill factor.  She sings for the first two minutes of the track before Tip comes in with a verse.  It’s another love jam, where Jones sings, “Life is better, now that I found you.”  In his portion, Q-Tip makes it more about celebrating hip-hop, listing his heroes and peers.  He shouts out to everyone from Lil Wayne to his late collaborator J Dilla.  All together, it makes for a nice package.  Jones sounds surprisingly at home backed by a hip-hop, R&B-infused beat, and Tip is as cool as ever. 

D’Angelo, who hasn’t released an album of his own in some time, adds some gospel-driven soul to “Believe.”  Again, this sounds like classic Tribe.  A guitar line gives the track real depth.  Like Common, Q-Tip is a master of the brand of “consciousness-hip-hop.”

The album closes with “Shaka.”  After a strange start, it morphs into a dark, ominous number.  The echo and distortion over Q-Tip’s voice adds some spooky elements to the track.  (Think “Midnight Marauders” combined with the Beastie Boys’ “Ill Communication.”)  He pays tribute to J Dilla and his father before the track ends, effectively ending an album for the ages. 

“The Renaissance” fits a lot into its 43 minutes.  It’s an ambitious record from an ambitious performer.  Not only is it the strongest hip-hop album of the year so far, it’s one of the strongest records of the year, period!  Q-Tip has returned with all his skill intact.  It’s like hearing an old friend.  It better not be another nine years before we hear from him again.  In the meantime, he’s crafted yet another top-notch hip-hop classic. 

November 14, 2008 | Permalink | User Comments (1)

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Posted by: Summer | Nov 17, 2008 1:52:21 AM

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