The Low End Theory - Tribe Called Quest (A) (CD 1991)

Possibly one of the most influential albums of all hip-hop history, and easily the Tribe's best album, "Low End Theory" is a Hip-Hop masterpiece. Emcees Q-Tip and Phife Dawg are the main features and helped develop the two directions in which hip-hop would go. Phife Dawg flexes the bragadaccio rhymes with the flair that makes you believe everything he says while Q-Tip handles the more introspective rhymes as well as the first "lover-boy" MC voice. They're the old-school Talib Kweli and Mos Def, respectively, and singlehandedly create new worlds of music in their second album.

The first thing clear, in "Excursions," Q-Tip's solo song, is the way that the producers meld jazz and funk into the beat, specifically an african-drum rhythm that goes against the rhythm of the main bassline. Realize that, at the time this album was made, most beats had nothing more than a bassline and vague sample, so the use of such dominant sounds is something revolutionary. This song is setting down the mission of a Tribe Called Quest. As the sample says "time is an inanimate object," so Tip decides to move time using his lyrics. He makes social commentary, saying, "If your sis is a ***** and your brother is a jerk/leave 'em both alone and continue with your work/whatever it may be, in today's society/everything is fair, 'least that's how it seems to me." Simple words, but strangely, nowadays, everyone decides to ignore them in these times and tries to perfect the world via their morals and culturally-specific ethics. Hip-hop is not just party sounds. "Listen to the knowledge that is being dropped over beats."

"Buggin' Out" is another song where the funky, guitar bass sound is dominant, but this time, your ears are shocked by the loud yet cool sound of Phife Dawg's voice. "I never walk the streets thinking it's all about me/Even though deep in my heart, it really could be." This track is lighthearted, joking, and scattered with a few punchlines, but still manages some thought. This time, Q-Tip drops the "abstract poet" cover and starts taking shots at things like RnB. Already, true hip-hoppers were hating RnB and the commercialism of it. Hip-Hop is "Ab-stract. O-riginal/You can't get your own, and thats.. pitiful." The hook is a sample of a computerized-sounding voice saying "buggin' out, ya buggin' out" repeatedly, plus timely cymbals, adding to the "bump-a-bility" of the track.

"Rap Promoter" is another Q-Tip solo song that he calls "a fly love song." He discusses rap's commercial value and how it has become more of a show. He still has a strong love for the music however, and drops small gems of common sense, witty rhymes, and thoughtful lines here and there. The end of the rhyme has him doing the madlib "dang diggy dang" vocal beat that has become famous as a hip-hop only-asset.

"Butter" is musically "smooth like butter" with the use of tamberines, piano keys, and a guitar bass. Phife Dawg appears again, solo this time, rapping about the metaphorical female "Flow," almost like a prelogue to Common's later "I Used To Love H.E.R." He declares how he loves her, because she has that special something. However, she leaves 'em eventually, for another(a sad thing to predict). The rest of the song has him criticizing women for their single-mindedness, shallowness, and obsession with physical image. Clearly, he has some intelligence as well in this veritable accusation, yet he fails to disappoint the lovers of his witty flow by ending the song with "I got game like Parker Brothers/Plus I'm smooth like butter." Tip handles the hook, using that provocative voice of his to get the attention of the ladies that might be sleeping on the meaning of the track.

"Verses From The Abstract" is another Q-tip solo with Vinja Mojica on the hook, soft guitar plucks riding throughout. He tackles a lot of topics, as abstract as the song is, giving it a freestyle feeling. The following famous lines, well symbolize the flow of the track: "Women love the voice/Brothers dig the lyrics/Quest's the people's choice/we drivin' for the spirit." Materialism, hardships in life, sexism, and human progression are all things the microphone buhdda touches.

The two get serious on "Show Business" talking about the perils of rap, parts of their coming-up stories, rejection, and lyrically weak emcees. The track is uptempo and features such modern-day undergrounders as Diamond D, Lord Jamar and Sadat X. Simply put, as Phife says, "Like Chuck D, I got so much trouble on my mind/'bout these no-talent artists gettin' signed, they can't rhyme." Tell me about it.

Next, "Vibes and Stuff" is laid back track with an elevator-bell that interrupts the precussion-only beat every 8 seconds or so. Phife and Tip talk about how rappers, as well as people in general should unite under a common purpose, in order to fight the tragedies of everyday life. The whole "hip-hop across the world" theme is the central point of this track. Reminiscent of Afrika Bambataa. It's quite a heartfelt rhyme, and at the end, Q-tip dedicates the track to all the dead hip-hoppers including MC Trouble, Trouble T Roy, Scott La Rock, and Cowboy, as well as some family members and friends. "Ya just gotta keep it happy, and keep the vibes goin'." Where's this type of message in modern rap?

The "Infamous Date Rape" covers more topics of sexuality, specifically date rape in itself. As Q-Tip says directly and Phife Dawg says via storytelling, guys need to respect the needs of women, no matter what. One of the great topic-oriented conscious tracks of our time. Soft sounds roll in the background, giving more importance to the lyrics.

"Check the Rhime" is possibly the Tribe's most famous rhyme. It features blazing horns with both bragging about their lyrical ability. Phife clearly outshines Q-Tip on this track, taking most of it. However, Tip drops his most famous lines ever on here. "Industry rule number four thousand and eighty/Record company people are sha-dy." Well said, Q-Tip, well said.

Next, "Everything Is Fair"[when you're living in the city] says just that. Tip describes how urban life depends on the survival of the fittest, telling a story about a woman, violence, and treachery. "She will never stop/ until she reach the top". The beat is uptempo with strong drum rhythm and a piano looped that seems a lot like what world-famous DJ Premier would later use and make his signature sound in city-oriented beats such as Nas's "N.Y. State of Mind" and Rakim's "Waiting For The World To End".

"Jazz" is what we would today call a cliche RnB/hip-hop fusion, except it's jazz being used, it's not cliche because it's the first time, and it's bangin'. Realize that the cliches of today were made by A Tribe Called Quest. They were original then.

"Skypager" is pretty funny and musically interesting as a pager's tone and phone sounds are used in the hook. Flutes and scratching run rampid all over the track. The lyrics are handled mostly by Phife, and, while without much depth, do well to make the track whole. This track is a definite club-banger... at least back in the day.

"What?," copied by Common and Mos Def later in "Questions" has Q dropping random questions that range from interestingly profound to hilariously witty. The beat is uptempo and terse with a bouncy rhythm that will guide you through the song quickly before it gets too repititive.

"Scenario" is the best sounding song on the album and has a truck load of emcees all doing the braggadaccio thing, tearing the beat apart and setting the remains on fire using five gallons of gasoline. Phife clearly is a bright star on here, but the others don't even come close to coming weak. "The Leaders of the New School" bring in Charlie Brown, Dinco D, Milo, and a then-young-guy named Busta Rhymes dropping his signature style for the first time. This track bangs infinitely, no matter what era you play it in.

You cannot understand the perfection that is this album unless you listen to it. It truly is the first flawless album that can be listened to from start to end without skipping. If you don't have this album, you don't know what hip-hop is.