So I just got my hands on the album. Right off the bat, the album starts with a reinterpretation of Johnny Died, and I've got to admit, it really doesn't pay the original justice. This version has less structure, and is filled with a guitar accompaniment that's distracting and just doesn't fit.
Won't Trade is up next. I'm not a huge fan of the production on this one: it's too reductionistic and repetative. It ends up sounding like a 9th Wonder doo-wop imitation. Still, to his credit Q Tip is able to salvage the track with rhymes that give a supporting cadance to supplement the rhythm section.
Next is Gettin' Up. Love this track, for further reading see the first post
Official is a song that many of you are familiar with if you picked up Q-Tip's solo work: Open or Abstract Innovations. Same great track, and another successful example of Q-Tip's progression to a rock-based hip-hop hybrid. For further reading see: the entire Kamaal The Abstract album.
This is the first time I've heard "You." This really is a perfect balance of vintage Q-Tip and his modern rock base. It's a melancholy sound: really deep, really rich and dark. This is complimented by amazing lyrics by Q, and contrasted by the electric guitar. This one is really going to grow on me.
"We Fight / Love" features Rapheal Saadiq doing accompanying vocals: extending the hook and also blending into main verses. Another down-tempo song, is a great song to groove to (a change of pace from "harder songs.") Saadiqs vocals come in an octave higher than what I'm used to hearing from him, but throughout the song they smooth out, and it really brings the song full circle. You'll really love this song if you liked Electric Relaxation or Stressed Out over Scenario.
Manwomanboogie (feat Amanda Diva) picks the tempo up again. Amanda Diva is singing on this track, and I can't say I'm a big fan...she sounds like a flat Macy Gray. This song is pretty similar to "Won't Trade" in the sense that it's simple production that's meant to feature the lyrics rather than blend, supplement, and support them.
"Move" is hot, and that really goes without saying, since this track was produced by none other than J Dilla. Great beat, tempo, and an awesome use of a Jackson 5 sample. There's actually 2 parts to this song: the second half is flute based, and is a hip hop interpreted melody of songs from the Renaissance era (oh hey!). The song ends with a Little-Brother-Nighttime-Maneuvers-esque faded vocals that adds a haunting sound that adds a nice contrast with the flute and the deeper guitar line.
Dance on Glass starts off as an a capella, and then comes in with a great DJ Premier-sounding beat. This is definitely something to nod your head to.
I was worried to see that "Life is Better" would feature Norah Jones, but as her vocals come in I've got to honestly say that her tone fits with the sound of the album. There's the typical Q-Tip touch on this too, and it's noticable right off the bat. Her vocals match the lower Piano chords, and this progression is given a nice balance with a small amount of electric guitar. Just note that Q-Tip doesn't come in until half-way through the song. All in all, the song features the "fun" sound of Gettin Up, but reinterpreted with a darker tone...try mixing it with your favorite headnotic Nicolay track to get an idea.
The "Believe, feat D'Angelo" isn't the same song that was previously put out on his unreleased albums. This version starts off more R&B based, and the melody is provided by keyboard, and supplimented by electric guitar. Remember that the original version was rock based, and used keyboard chords to comp.
The last track is Shaka. It features a familiar sample, but I just can't place it. I do know that Q-Tip has worked with it before. This has a very vintage ATCQ feel to it (later stuff). That's really the best I can do to describe it.
If I had to describe this album in two words: Midnight Marauders.
This could go down as Q-Tip's best solo work: combining his recent rock n' roll excursions and his signature hip hop/jazz/soul sound. Whether this album really does start a Renaissance for commercial hip hop is doubtful, but I can say that it's great to see legitimate hip hop get their share of the limelight again (like Talib, Common, and Little Brother have done recently), which I'm sure this will do.
I'll be sure to pick up my copy on November 4th.
