From a student of the game with humble beginnings at Rawkus Records in the late 90s to the birth of the classic Black Star to being a boss now within the BlackSmith movement, Talib Kweli (neé Talib Kweli Greene) has managed to stay above tumultuous waters in this game we call Hip-Hop. Many may have been first introduced to Talib from the commercially successful track, “Get By,” produced by Kanye West. Others may have been with Kweli since his Hi-Tek/Reflection Eternal days when his rawness and story-telling ability on tracks such as “Too Late” ft. Res and “Good Mourning” were highly regarded on the critically acclaimed album, “Train of Thought.” A few may jest at the rest as they contend that their first sound of Talib came during the Lyrcist Lounge days when he dropped songs like “Fortified Live” and “The Manifesto.” Whatever the case may be, this 10 year veteran of the game has seen the ebb and flow of success and refuses to be knocked down. Fresh off of a 3 year hiatus that saw the end of his partnership with Rawkus Records and a lack of mainstream appeal for the heavily bootlegged “The Beautiful Struggle,”Talib is back with his latest effort entitled, “EarDrum.” Follow me as I go through the album with my thoughts, concerns, and praises:
“EarDrum”
1. Talib opens the album with a little bit of spoken-word in “Everything Man” (Madlib production). Ironically enough the first line was, “I don’t remember the first time I heard Kweli.” I say it’s ironic because, in my opinion, Kweli career has had a somewhat forgettable factor about it. Some may dispute the last statement but Kweli has always been raw, always been a true lyricist and a student of the game, but he never really had a real persona about him…To me, there was never that “It” factor. Many knew him and respected his style cause he repped Brooklyn hard, he was underground, and he teamed with Mighty Mos Def, but in a way, there wasn’t much else. In 98/99, we had cats like Jay-Z, DMX, Puffy and ems that were doing their thing and it seemed like there wasn’t much space in the limelight for Kweli. However, when Mos Def dropped “Black on Both Sides,” it seemed like Kweli was then again…..Forgotten! But, I digress…..”Everything Man” continues with people speaking on the first time they heard of Kweli and how much they need his voice in the game. Kweli raps for about one minute speaking about the fact that he can’t please everyone and that he’s not going anywhere…..Hmmm…we’ll see.
2. “NY Weather Report” (Nick Speed production)-Kweli raps about his struggle and his ability to stay true despite his “blood, sweat, tears, years, struggle, love, hate, fear” and the fact that he came prepared for any weather in the game. He speaks on various issues like fake cats in the game to absent fathers and cats who’d rather share blunts than share responsibility of raising a child. He also speaks on how people are confused by the meaning of success and that there’s a tendency to equate success through the eyes of white people. Like almost 92% of Kweli tracks, this is not one of those club bangas that you can just memorize the hook and you’ll be straight. I found myself rewinding the track back several times to get his meaning and punchlines and to really understand his whole message. He is one artist that truly takes time to make a point. This will be a great track for those who really enjoy lyrics with a message. This will go over the heads of cats who are pop, lock, & droppin it!- 4/5
3. “Hostile Gospel Pt. 1″/ “Deliver Us” (Just Blaaaaaaze)- Another track where Talib speaks and reports on troubled times in the world and how backwards society is at times and how we all need to be delivered from the madness that’s pervading the music industry to people’s complex when it comes to their skin color. He also bashes Rawkus and their inability to market him. yada, yada, yada Talib preaches. His flow was straight on this and the message was potent. Nothing we don’t expect from Talib. This isn’t a track that you’ll find in the club at all but if you’re ever feeling like you want to protest, this might be a good track to get you revved up! 4/5
4. “Say Something” ft. Jean Grae (Will.I.Am production)- He’s comin at dudes necks hard on this track. He’s sayin he’s a forced to be reckoned with and if ya’ll don’t let him in, he’s gonna kick the door down and holla at your eardrum. I could hear the hunger and wordplay in Talib’s voice. I absolutely love the fact that Talib is taking Jean under his wing. Every song he does, he makes it a point to hold Jean down and give her a quick 16 and some adlibs. Being that it’s so hard for femcees to make noise in the game, I think it’s smart to create alliances. With Mos Def out the radar could Talib and Jean be BlackStar 07? That’d be an ill combo….I was feeling a lot of lines. Kweli and Jean come real gritty on this track and you can feel the real essence and energy all ova this. Jean Grae- “past due, Jean and Kwa the last two action heros. Actually have the capacity to be the ones in a class of zeros.” Talib- “It’s deep, go ahead and sleep, they know in the street Kwa gon’ flow on the beat propa composin complete operas”- 5/5
5. “Country Cousins” ft. UGK & Raheem DeVaughn (AKidCalledRoots and Sha-La Shakier production)- This track has an Earth, Wind, & Fire feel to it and Raheem DeVaughn’s vocals mesh perfectly ova the track. Talib’s flow on this is ridiculous. He really shined on this track and repped NY slang and swag! This is a track that really appreciates different flavas and different styles from the East Coast to the Down South and I think it’s good to see both styles on a track since there’s so many cats sayin that the South is really fuckin shyt up in the game. lol. I could see this track being a nice single for Kweli. As long as there’s no accompanying dance or lil jig i’m str8. 5/5
6. “Holy Moly” (Pete Rock production)- First & foremost, Legendary Pete Rock all ova the track. The beat is crazy and is definitely a head knocka…Play this in the whip and let Kweli’s words roll across the dash! Kweli goes hard at fakas in the game callin’em “baby jay-z’s with the knock off scott storch beat you are not Short…..you’re not a player or a pimp money stop that” Holy Moly Kweli!!! He goes on to say that Hip-Hop back in the day was about creativity and progress but now cats are settlin’ Kweli shined on this and I cannot take anything away from it. - 5/5
7. “Eat To Live” (Madlib production)- Kweli exits the punchline/wordplay stage and takes us into a storytellin’ set with vivid images. His ghetto-prayer is potent and shows us the life of a young dude who is struggling with fights @ school and comes home to an empty fridge filled with nuthin but 40s. One of my fav lines is, “grandma say jesus will be here any day. Good, cause with nothin to eat its gettin hard to pray.” Something about that line just takes me back to when I used to be in the supermarket in the late 80s pickin up no frills cereal boxes and shyt wonderin why mom dukes couldn’t buy the frosted flakes. The production on this is very nostalgic and smooth. The hook on the track says it all, “In order to receive you know we need to give, we gotta feed the kids, we gotta eat to live.”- 5/5
8. “In The Mood” (Kanye West production)- This is an undeniable track with magic from Kanye to da! As soon as the song opens up Kweli comes with an ill swag on the track talkin about what he wants to do with a certain female yet keepin it real street! Kanye comes with his usual dose of reality/comedic/poignant rhyme-flow….One cant help but laugh when he’s talkin about ole girl in the club with a silicone booty and what happened to real girls like Rudy with real titties like Tootie. lol….Although I appreciate what Kweli was sayin on the 3rd verse, I think he shoulda stayed away from the battle-type/raw lyrics and stay on the sexiness that the track resonates.. The third verse took away from the feel that the first and second verse established- 4.5/5
9. “Soon The New Day” ft. Norah Jones (Madlib/Eric Krasno production)- Very mellow track with beautiful/soulful vocals from Norah Jones. Different type track for Kweli where he story tells about a situation where he scoops a chick from the club who appears to be hot girl on the surface but is also going through some internal issues about chasing the paper and living the fast life. Something about this track brings back feelings that songs like “Black Girl Pain” and Nas’ “Black Girl Lost” seemed to radiate. You won’t appreciate this track unless you really listen to it. People looking for instant gratification in a club banga will most likely skip this track but people who are meticulous enough will appreciate this track.- 4/5
10. “Give’m Hell” ft. Lyfe Jennings & Coi Mattison (Terrace Martin & Battlecat production)- Kweli analyzes the difference b/w spirituality and religion and discusses various aspects about Heaven & Hell. Discusses the misconception in society about Muslims. Yada yada……the vocals dont do much for me and Lyfe Jennings voice bothers me…Not a bad track though. 3.75/5
11. “More or Less” ft. Dion (Hi-Tek production)- Kweli goes through various topics and what we need more in society/music industry like voting to dealing with real issues to Beyonce to victory to uprising to enterprising to building, etc…less biting off pac & big, less Britney, less prisons, etc…It’s good hearing Talib ova a Hi-Tek track again. Kweli always seems to sound really comfortable ova Hi-Tek production and Hi-Tek neva fails. This is definitely a must appreciate track. Very positive. The third verse was insane with lines such as, “Lets put more depth in our verses till they’re left on the surface while we stomp thru the underground” Kweli shines on this indeed. He brings that Reflection rawness back! 4.5/5
12. “Stay Around” (Pete Rock production)- Kweli comes on the first verse spittin about the comments and criticisms that he’s received thus far in his career from people saying that he should stick wit Hi-Tek to why he flows the way he does, etc…I liked the way he addressed all the critics and kept his flow smooth and in tact with the beat. Kweli comes on subsequent verses with nothin but the rawness and wordplay as always. He spits that hot fiyah but sometimes it can really go ova people’s heads and get annoyin after a while. The production is real smooth and Kweli, at times, takes the energy to another level. Sometimes he puts too many words in one bar for the sake of being complex but sometimes songs such as these doesnt need that much lyricism. lol. 4/5
13. “Hot Thing” ft. Will.I.Am (Will.I.Am production)- Kweli finally comes with a track for the ladies that gets his grown and sexy on. The ladies and mature gentlemen can appreciate this. This was a cool single when it dropped but it didn’t really make a lot of noise on the charts. This would be a nice track at the lounge/club and I see myself two-steppin to this. It’s nice to see Kweli switch it up and not get so raw and complex on this type of feel. “All i see is a hot thing” catchy!!!- 4/5
14. “The Perfect Beat” ft. KRS-One (Swiff D production)- Brooklyn/Bronx connection wit Talib and the Teacher blazin that real crack on the track. Third verse saw KRS and Talib goin back and forth with that fast flow that was impeccable! Not a club banga but the type you throw in ya whip and just head knock…Hope you have a good system in your car for this cause the bass is serious! 4/5
15. “Oh My Stars” ft. Musiq Soulchild (Dj Khalil production)- Nice and smooth lean song where Talib talks about love and family and his kids with lines like, “i dont love you to death, i love you to life” This is a beautifully written track. I respect that. Positive indeed where Talib’s kids opened the track with a lil rhyme! haha….4/5
16. “Listen” (Kwame production)- Usual Kweli bringing the raw bangin on your eardrum. Cool track but after a while we wanna hear something different from Kweli. 3.75/5
17. “Go With Us” ft. Strong Arm Steady (E. Jones production)- Kweli introduces his crew under BlackSmith to drop some lines. It was good hearing someone other than Kweli, trust! But verse two was a lil wack…how ole boi gon say “hoe” and Kweli sayin we gotta start using less misogynistic lyrics. lol. Beat’s propa doe! Why I thought this track was by Rich Harrison? lol. 3.5/5
18. “Hostile Gospel Pt. 2″/”Deliver Me” ft. Sizzla (Dj Khalil production)- Nice continuation where Talib is talkin to God to deliverhim from evil ways and temptation. The reggae/Sizzla heads will appreciate this track. Somebody pass da blizz. lol. 3.9/5
19. “The Nature” ft. Justin Timberlake (Justin Timberlake, Eric Krasno, Adam Deitch production)- Kweli ends the cd with speaking on the issues and the “nature of the world today.” Umm…Justin adds a nice pop feel to the track. Kweli educates us as always and it’s good to hear someone conscious and speaking real rap amidst the pimps, chains, and Akon/T-Pain and ems….Positive track…feel good music. 4/5
To be honest with you, i’m extremely tired. This is probably one of the longest reviews I’ve ever had to do. Kweli made a long ass album and I truly feel that it could have been seriously condensed to maybe 14 tracks, at most…I still think Kweli is an ill artist and truly a speaker to the times in our generation but I think he will never be where artists such as Kanye and Jay-Z will be. Maybe he doesn’t want that kind of appeal. He’s managed to stay true to who he is and I think no one can fault him for that. I do think, however, that while his music and message is needed in the game, he needs to find new ways/outlets of being unique and find that “it” factor. “EarDrum” is a good cd but nothing that will catapult his career per se. It sought to prove one thing that the Hip-Hop community has always known about Kweli- he’s a true lyrist. Aside from that, I haven’t seen a lot of growth since “The Beautiful Struggle.” Out of the 20 tracks, about 7-10 really do it for me.
Average Rating- 3.93/5 (Average calculation of ratings based on 18 out of 20 tracks. One track not rated was an interlude. Another track not rated was the intro track)
Thesis’ final rating for “EarDrum”- 3.95/5
~Thesis
P.S: Can’t Wait for “Prom Night” Jean….
P.P.S: Whatever happened to the “Dilla Intro” track Kweli put out earlier this year? It’s a shame that it didn’t make the album. It was an insane track!
Reecie
thehonorable
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