Rising Down The Roots Rarlab
It's gotten to the point where I can't even imagine the Roots being soft anymore. Not to be dismissive of their first few albums, which were thoughtful without being mushy or maudlin, but their three recent records-- the underrated/overhated alleged-sellout The Tipping Point, the Def Jam-released tightly knit return to rawness Game Theory, and now Rising Down-- are so singularly focused on a kind of distilled, uninhibited force that it's now difficult to think of the Roots as anything but intelligently aggressive firebrands.
You don't throw on these albums if you want to chill out, and Rising Down does more than any of them to express, precisely and without compromise, a specifically African-American but increasingly universal strain of anxiety and frustration. A lot of Rising Down's urgency and immediacy owes to the massive guest roster. The Roots' Philly core of affiliates-- vets Dice Raw, Peedi Peedi, and Truck North, former member Malik B., and relative newcomer/search engine nightmare P.O.R.N.-- appear on more than half the record's songs, and they help give the record a sense of a communal strength in numbers; their appearances on vicious throwdown 'Get Busy' (with the some deft cuts from Philly's legendary DJ Jazzy Jeff) and a stretch of tracks in the middle ('I Will Not Apologize', 'I Can't Help It', and 'Singing Man') feel like the spiritual and lyrical core of the album. The guests from outside Philly work just as well: Talib Kweli spits with an atypically growly delivery on the anti-defeatist anthem 'Lost Desire', Common displays glimpses of his late-1990s shine ruminating over tour fatigue on 'The Show', Wale kills it with some so-corny-they're-great metaphors ('good rappers ain't eatin', they Olsen twinnin') on 'Rising Up', and Saigon's final verse on 'Criminal' is the fierce peak of a three-MC slow lyrical burn.
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Download Crack Camfrog Pro Terbaru. And while Styles P's turn on the title track works well enough (it's something to hear the dude behind 'Good Times [I Get High]' go after the pharmaceutical industry), Mos Def's verse-- the first one on the whole record-- is one of the best he's ever done, and probably the best guest spot on Rising Down: 'Identities in crisis and conflict diamonds/ Blindin', staring at lights till they cryin'/ Bone gristle popping from continuous grindin'.' But despite the massive ensemble cast, Black Thought is still the core of the record and the well-worn accusations of him being anti-charismatic feel largely false here. Most of his great moments come on tracks which feature a lot of other MCs' great moments, and after getting overshadowed on 'Rising Down' (can any MC make the subject of global warming into a dope lyric?) he comes out swinging for the rest of the record. On 'Singing Man', even with P.O.R.N. Portraying himself as a vividly realized school shooter and Truck North putting together a disturbingly evocative characterization of a suicide bomber, Black Thought's depiction of an African child soldier justifying his violence ('13 year-old killer, he look 35/ He changed his name to Little No Man Survive') is both sharply written and unsettling. His delivery is a bit more varied than you might expect, too, particularly when he's rapping about getting underpaid like he's got a clenched jaw in 'I Will Not Apologize' or sweating his way through a pills-and-stress panic attack on 'I Can't Help It'. And when he's turned loose on a hookless lyrical exhibition, Black Thought is nearly unstoppable; it's scary the way he blazes through the one-take assault of '75 Bars (Black's Reconstruction)', throwing out endless Big Daddy Kane-level proclamations of untouchability ('My hustle is long, my muscle is strong, my man put the paper in the duffel I'm gone/ Y'all still a light year from the level I'm on/ Just a pawn stepping right into the head of the storm').