Undun

by The Roots

Every time I've heard the statement over the last few years that 'hip-hop is dead', I've always thought of the perfect counter-argument, which is The Roots.  This ever-changing group has done more than anyone to advance and evolve the genre of hip-hop, while also transcending it with every new album.  And then they go and release Undun, which has to be considered their masterpiece.

Undun is structured as a concept album, telling the story of Redford Stevens, a small-time crook from a poor neighbourhood.  The character and concept were derived from a Sufjan Stevens song, but the packaging of the story is that of The Roots.  The story unfolds in reverse-chronological order, starting when Redford is already dead, and looking back on the string of choices that he made through his life.  At times the story can be confusing, as Black Thought is joined on the mic by a number of other MCs (including Phonte, Big KRIT, Dice Raw, Truck North, Bilal Oliver, and Greg Porn).

The story is secondary on this album though, because the music is incredible.  The Roots, under the direction of Ahmir ?uestlove Thompson, push themselves to new heights here.  The more straight-forward hip-hop tracks at the beginning of the album are banging, but the disc ends with four classical pieces, which make up the Redford Suite.

Three things come away with me from listening to this.  The first is just how good rapper Black Thought is - he seems to be better with every new album, and he was always very good.  The second thing that I marvel at is how collaborative this whole album feels; I imagine that everyone involved had an equal hand, and that's why the music is just so good.  Finally, I can't believe that this album is actually less than forty minutes long.  Listening to it, I always feel like much more time has passed, since this album is so dense musically, lyrically, and spiritually.  Best of the year, hands down.

Wake Up!

by John Legend and The Roots

I've been giving this a lot of play in the last couple of months.  I love the Roots, and while I've never bought a John Legend album before, I can appreciate his talent.

What I like about this album is that Legend and the Roots have selected a number of older songs they deemed deserving of an update for the 21st century.  They talk in the liner notes about the optimism they felt at the beginning of the Obama administration's tenure in Washington, and while most peoples' (perhaps too lofty) expectations have not exactly been lived up to, there is much of that moment echoed in these songs and tracks.

This is a very soulful and funky disk, and while the title song gets on my nerves a little with its overly-earnest message, the rest of the album is just about perfect.  Few of the songs stand out to me as individual pieces - 'Hard Times', 'I Can't Write Left Handed', and 'Little Ghetto Boy' are favourites - but the overall aesthetic of the album is very effective.  I love the Roots.

Crate Digging: Pick a Bigger Weapon

by The Coup

It's hard for me to believe that it's been four years since this album dropped; I find that it still gets fairly regular play, and many of the tracks on here have places of honour on my ipod.

Pick A Better Weapon is a classic album.  As with their previous offerings, Boots Riley and Pam the Funkstress work to convey complex political and sociological ideas in a manner that is fun and easily accessible, without sacrificing the clarity of their message.  I can think of no one else in hip-hop, and hardly anyone in any other form of media, who are as skilled at taking an idea that could be considered by many to be unpalatable, and turn it into something both thoughtful and entertaining.

Aside from a short intro track, the album begins with 'We Are the Ones', which has Boots rapping in a quicker, slightly hysterical voice, justifying a career in the drug game:  "now philosphically you'd be opposed to one inhaling coke via mouth or the nose, but economically i would propose that you go eat a dick as employment has froze."  From there, we go into 'Laugh/Love/F***', which makes the revolution sound like a lot of fun.

The fourth track, 'My Favorite Mutiny' is one of my all-time favourite songs.  It has appearances by Black Thought and Talib Kweli, although Boots outshines them both.  'Ijuswannalayaroundalldayinbedwithyou' is a lovely song about love, and the ways in which crappy jobs can ruin it.  'Head (of State)' is classic Coup - a bouncy song about the political (and perhaps sexual) relationship between G.W. Bush and Saddam Hussein.  Songs like 'ShoYoAss', 'Get That Monkey Off Your Back', and 'MindF*** (A New Equation)' continue the call for revolution.


A couple of skits and the irritating 'Ass-Breath Killers' weaken things in the middle of the album, but it picks up again with 'I Love Boosters!', Boots's tribute to the urban phenomenon of professional shoplifters.  Leave it to him to see them as soldiers of a Marxist revolution...

'Tiffany Hall' is an important song that examines the consequences of men discussing womens' bodies, told through the story of Tiffany, an activist and intelligent girl who died from complications with liposuction.  'BabyLet'sHaveABabyBeforeBushDoSomethin'Crazy' is a pretty little song sung by Silk E which helps remind us of the uncertainty of the Bush era.

The album finishes with my other favourite Coup song, 'The Stand'.  This is the only track not produced by Boots (instead the beat is done by Organized Elements), but in many ways, I think it offers the best example of his quiet rage and the indignity of being one of the working poor.

Pick A Bigger Weapon is a great album, and I hope that The Coup releases something new soon.  The age of corporate buy-outs and foreclosure needs someone like Boots to help interpret it.

How I Got Over

by The Roots

With How I Got Over, the Roots once again prove that they are on a different level than just about anyone else working in hip-hop.  They are easily the most 'musical' group in the hip-hop world, and their time on the Jimmy Fallon show has clearly helped them to improve their craft and the quality of their jams.

This album finds them in a more thoughtful and contemplative place.  The roots of this (sorry) were seen on Rising Down, their last album, but I feel like they've arrived in a new place with this disk. 

Songs like 'Walk Alone', 'Dear God 2.0', and 'How I Got Over' demonstrate a rare maturity in this genre, and the songs shift seamlessly from one to the other, showing that these guys are making albums, not just a bunch of singles. 

Black Thought demonstrates once again that he is one of the hardest MCs alive, although he never gets recognition for that.  The crew is joined by their usual collaborators Dice Raw, PORN, Peedi Peedi, and Truck North.  Other guests include the Monsters of Folk, Joanna Newsom, STS, and John Legend.  Of special note are the two guest spots each given to Blu and Phonte Coleman (of Little Brother).  These are two rappers I have a lot of respect for, and it's nice to see Blu get the exposure, and it's nice to hear Phonte cut loose over some amazing backing music.

There is hardly a mis-step on the album.  The intro track is easily skipped, and I didn't really feel 'Web 20/20', but the rest of this thing is a monster.  Halfway through 2010, I think I've found my pick for album of the year.

Jay Stay Paid

by J Dilla

I've never been a big fan of projects made up of posthumous work of an artist, especially when those projects were conceived after the artist's death. They too often lack heart, and feel more like a cash-grab than anything else.

This project is different though, and I think that is completely due to the fact that Pete Rock is billed as 'Music Supervisor'. He manages to make sure that the 28 tracks here coordinate with each other, and that they bring honor to Dilla's legacy.

There are a variety of things to be found on this album. Some tracks are brand new Dilla instrumentals, while others feature more familiar Dilla beats, with new vocals laid down by a variety of artists. We get to hear from people who were often associated with Dilla, like Phat Kat, Frank Nitty, and Illa J (although that's a bit of a posthumous association still), but also from artist that we only wish Dilla had had more chances to work with, like Havoc, (MF) Doom, Black Thought, and Raekwon. I'd say the Doom and Black Thought tracks are worth the purchase of this disk alone.

I hope there aren't too many more Dilla projects in the pipe. As much as I respect the man, and miss his music, too much output now will simply water down his memory. This album is a fitting memorial, and works nicely as Dilla's final word.