- Reflection Eternal Train Of Thought
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INTRODUCTION Two years after releasing the classic Mos Def & Talib Kweli are Black Star album (which I reviewed ) with, um, Mos Def, Talib Kweli teamed up with my all-time favorite producer, Hi-Tek, to form the group Reflection Eternal and release Train of Thought, an album that I actually consider to better than Kweli's effort as a member of Black Star. Train of Thought is extremely similar in sound to Mos Def & Talib Kweli are Black Star, and that is to be expected given that Hi-Tek did plenty of production on Black Star's project. However, I feel that, due to the fact that Talib had grown as a rapper during that two-year hiatus, the Reflection Eternal record is legitimately superior. I realize that may be seen as blasphemy in many circles, but what can I say?
It's my opinion. Train of Thought is easily one of the most deep and soulful hip-hop albums you will ever have the pleasure of hearing, containing unbelievably mellow production and incredible rapping from Talib Kweli and the numerous guest artists that make appearances on the record. It is also one of the first rap albums I had ever heard in its entirety, so maybe that's why I am a bit biased toward it.
The album spans 20 tracks, although only 15 of those are full-length songs. Still, even the the shorter cuts sound so good that they will manage to find a place in this review, as Train of Thought is so flawless that depriving it of any of its parts would be a travesty in the truest sense of the word.
With that said, here is the lovefest that is my review of Reflection Eternal's debut album. TRACK-BY-TRACK 1.
Experience Dedication This is an album intro, but it runs for nearly two-and-a-half minutes and Hi-Tek's beat is so effective that I felt I just had to review it. Basically, 'Experience Dedication' just consists of Talib Kweli prepping you for the album, and if the instrumental here is any indication, you should be ready for a classic. Move Somethin' The first actual song on Train of Thought was also the album's first single, and with good reason, because it is a banger, as Hi-Tek's production is extremely hard-hitting, and Talib sounds fantastic over it.
I can guarantee you that you will be nodding your head to the beat the minute it hits. Some Kind Of Wonderful Hi-Tek's production on this cut is much more relaxed than on the previous one, and it works well.
I won't say this is one of my favorite songs off of the album or anything, as I feel the beat kind of overpowers Kweli's vocals, but 'Some Kind Of Wonderful' is still fairly effective, nonetheless. The Blast Train of Thought's second single, and it is nothing short of incredible. 'The Blast' contains what is easily the album's most soulful production so far, as Hi-Tek's instrumental will undoubtedly make you stop and think. Hi-Tek also raps on this, too, and damn.he actually sounds pretty damn good. As a matter of fact, his verse was actually better than Talib Kweli's. Yeah; I went there. To top everything off, Vinia Mojica's vocals toward the end of the record really make it that much better.
This is one of my favorite songs of all-time. This Means You Hi-Tek lays out another sick beat for Talib, and Mos Def stops by to aid his Black Star partner on the track.
Both artists kill this, as the instrumental couldn't have been any more suitable for the two emcees. The best part of 'This Means You,' though, is how the instrumental changes during the hook. Too Late My goodness.Hi-Tek did it again. His production on 'Too Late' is unreal, consisting of a constant vocal sample (one that actually has a middle-eastern flavor) and some ill drums on top of it. Talib Kweli's subject matter is pretty tried, as he questions whether or not it's too late to save hip-hop, but nevertheless, this record is just great.
One of the best songs on Train of Thought. Memories Live And the ridiculously good tracks keep coming.
'Memories Live' is a popular choice for best track off of the album (it isn't my personal favorite, but it's certainly up there), as Hi-Tek's thought-provoking instrumental makes the song's title seem that much more meaningful. Talib rips off three outstanding verses on this cut, as he sounds spectacularly inspired on the mic. What a record. Africa Dream 'Africa Dream' is a weird track, as it begins with a drum-driven instrumental for the first one minute and forty seconds, and then the beat changes into something of a banger and Talib Kweli kills it for the next minute.
Then, the remainder of the song, which covers a minute-and-a-half, consists of the same beat that Kweli spit over. All of that said, this sounded really good. I just wish Talib would have utilized Hi-Tek's production more and rapped more than just one quick verse. Down For The Count That brings us to the best track on the album. The effing best. Hi-Tek's beat is nails, and Talib Kweli and guest artists Rah Digga and Xzibit absolutely murder it.
Of those three rappers, though, Xzibit drops the best verse. I mean, how raw is this line: 'Hardcore, 'til somebody put me under the ground, with a dick in your ear, still couldn't fuck with my sound.' On another note, it's impossible for me to listen to 'Down For The Count' without thinking of Madden 2002, because I remember that the instrumental was on the game's soundtrack.
Name Of The Game This record is under two minutes long, but it is an actual song. Hi-Tek's instrumental is magnificent in every sense of the word, and Talib's delivery over it is just terrific. Ghetto Afterlife 'Ghetto Afterlife' is the first song on Train of Thought that I'm going to give a 'meh' to.
The beat just sounds sloppy, and not even a Kool G Rap feature can save it. On My Way This is just an instrumental with some vocals from Kendra Ross, Tiye Phoenix, and Vinia Mojica, and it clocks one minute and nine seconds. Why am I reviewing it then, you ask? Because Hi-Tek's production is so damn smooth that you will want to replay 'On My Way' over and over. Love Language I love this. As per the title, Kweli raps about finding your significant other over an incredibly soulful beat by Hi-Tek, and the French female R&B duo Les Nubians aids Talib by crooning the hook (in French).
There aren't many hip-hop songs you can seriously share and enjoy with your girl, but 'Love Language' is one of the few. Talib Kweli's 'some don't love themselves, so their perception is tainted' line really hits home, too. Love Speakeasy 'Love Speakeasy' is just an instrumental.
No raps, no adlibs; nothing but a jazzy, introspective beat by Hi-Tek that 'Love Language' leads perfectly into. Soul Rebels De La Soul makes a feature on 'Soul Rebels,' a jazzy number that Talib and the aforementioned legendary group rip to shreds. Hi-Tek's instrumental sounds like a much better version of 'Ghetto Afterlife.' Songs like this make me wonder why Kweli and De La Soul haven't done more collaborations. Eternalists Yet another tremendous cut. What's most impressive about 'Eternalists' is Talib Kweli's flawless flow, as he rides Hi-Tek's sick production without skipping a beat.
I hate the fact that I'm running out of things to say as Train of Thought draws to a close, but because I pretty much love every song equally on here, what else is there to remark on? Big Del From Da Natti This cut is only a minute and fifteen seconds long and Talib isn't even on this (Big Del drops a very short verse, and that's it), but, much like 'On My Way,' Hi-Tek's beat will force you to enjoy it. Touch You The beat on this will put you in a zone, and Kweli obliges with a great performance.
Reflection Eternal Train Of Thought
Piakhan and Supa Dave West make guest appearances on this, as Piakhan drops a verse and Supa Dave West sings the hook. That's really all I have to say. Good Mourning 'Good Mourning' represents one of Talib Kweli's most impressive lyrical forays, and his subject matter is so deep that I'm not even going to try to explain it. If this doesn't make you stop and think, then I don't know what will. Hi-Tek's somber beat fits the mood perfectly. Expansion Outro Hi-Tek's instrumental on this is phenomenal, and Talib drops a few great verses about the pain and strife that women must go through, telling the stories of four different females (which is way Kweli references the track 'Four Women' by Nina Simone at the beginning). The only negative about 'Expansion Outro' is that it's eight minutes long, and I don't have the patience to put an eight-minute song on repeat.
FINAL THOUGHTS In my mind, Train of Thought is, without a doubt, one of the best hip-hop albums of all-time. I love almost every track on the record, as Talib Kweli's incredible rapping backed by Hi-Tek's extraordinary producing ability makes the project a ridiculously consistent listen from start-to-finish.
What's best about Train of Thought is that there is no filler, as even the short songs (and I generally don't like short songs because I have always felt that they're sort of pointless) have their place. The choice of features was also great, as each guest artist (especially Xzibit on 'Down For The Count') comes through with admirable performances on their respective tracks. It is absolutely amazing that an album can be 20 cuts long and remain this steady throughout. The fact that there is nary a dull moment on Train of Thought is a testament to how outstanding of a producer Hi-Tek is and how engaging of a rapper Talib Kweli is. The two artists complement each other to a T. The preceding paragraph is precisely the reason why I feel that Reflection Eternal's debut record is better than that of Black Star's. Mos Def & Talib Kweli are Black Star was only 13 tracks in length, and while nearly every one of those tracks were terrific, Train of Thought had seven more, and not one of its 20 records felt forced (except for maybe 'Ghetto Afterlife').
Talib Kweli established himself as one of the game's most talented rappers on Train of Thought, and Hi-Tek did the same as a producer. This album will always be one of my favorites. TOP FIVE TRACKS 1. Down For The Count 2.
Memories Live 5. This Means You SKIPPABLE TRACKS Ghetto Afterlife.
Talib Kweli 1999 The late musician played the keys on the album's opening song, 'Astronomy,' which interprets the word 'black' in a positive way, and contains similes such as 'Black, like my baby girl's hair'. The next song, and first single, ', is a stern response to hip hop's fascination with death, and a dedication to slain emcees and. As the chorus goes, 'One two three/ and /We came to rock it on to the tip top/Best alliance in hip hop, Y-O/I said, one two three/It's kinda dangerous to be a MC/They shot 2Pac and Biggie/Too much violence in hip hop, Y-O'.
The chorus is also a play on ' anti-gun song ', as well as 'Remix For P Is Free' from their album. ' is a re-imagined version of 's original, which features Mos Def cautioning overly materialistic pursuits. Generic hierarchical file system software. 'Brown-Skin Lady' is an affectionate tribute to brown-skinned women. The song encourages black and brown women to be proud of their hair and complexion, and to not be influenced by Western beauty standards.
Kweli rhymes, 'We're not dealin' with the European standard of beauty tonight/Turn off the TV and put the magazine away/Look in the mirror tell me what you see/I see the evidence of divine presence.' Mos Def 1999 'Thieves in the Night' was inspired by author 's novel. In the album's liner notes, Kweli explains that the paragraph 'struck me as one of the truest critiques of our society, and I read that in high school when I was 15 years old. I think it is especially true in the world of hip hop, because we get blinded by these illusions.' The excerpt interpolated in the song is as follows: 'And fantasy it was, for we were not strong, only aggressive; we were not free, merely licensed; we were not compassionate, we were polite; not good but well-behaved. We courted death in order to call ourselves brave, and hid like thieves from life.' And the version on the track: 'Not strong, only aggressive/Not free, we only licensed/Not compassionate, only polite (now who the nicest?)/Not good but well-behaved/Chasin' after death so we could call ourselves brave, still livin' like mental slaves/Hiding like thieves in the night from life/Illusions of oasis making you look twice.'
Critical reception Professional ratings Review scores Source Rating A− 8/10 3.5/5 10/10 A− Black Star was voted the 24th best album of 1998 in the, a poll of American critics nationwide published annually by., the poll's creator, wrote in a contemporary review that Mos Def and Talib Kweli 'devise a hip hop imaginary where hater players lose their girls-not-bitches to MCs so disinterested they give 'em right back. The rhymes are the selling point. But the subculture that cares most about these words is what you'll come back to.'
According to writer, the album abandoned 'the negativity of ' in favor of 'a highly intelligent and searching examination of black culture, harking back to the classic era of rap epitomized by and. The album's sparse, hard-hitting rhythms were also in marked comparison to the overblown productions of, which dominated the rap mainstream.' Track listing # Title Producer(s) Performer(s) (in order of appearance) Length 1 'Intro'; co-produced by.Interlude. 1:11 2 'Astronomy (8th Light)' Talib Kweli, 3:23 3 ' Mos Def, Talib Kweli 3:26 4 'Re: Definition' Hi-Tek Talib Kweli, Mos Def 3:02 5 'Children's Story' Shawn J. Period Mos Def 3:32 6 'Brown Skin Lady ' Talib Kweli, Mos Def 5:46 7 'B Boys Will B Boys' Ge-ology Mos Def, Talib Kweli 2:36 8 'K.O.S. (Determination)' Hi-Tek Talib Kweli, 4:49 9 'Hater Players' Shawn J. Period Talib Kweli, Mos Def 4:08 10 'Yo Yeah' J.
Reflection Eternal Train Of Thought Free Download
Retrieved 11 February 2017. Pias Recordings (rough trade).
1 September 2001. Retrieved 11 February 2017. Moon, Tom. Workman Publishing Company. Retrieved September 26, 2011. Kaufman, Jason.
Retrieved September 27, 2011. (5th concise ed.). Diehl, Matt (October 23, 1998).
Retrieved September 27, 2011. McPhail, Pete (November 1998). 'Blackstar: Blackstar (Rawkus)'. London (42): 83. Crysell, Andy (October 19, 1998). Archived from on August 17, 2000. Retrieved January 17, 2018.
(October 7, 1998). Archived from on April 1, 2008. Retrieved April 9, 2016.
Relic, Peter (2004). In Brackett, Nathan; Hoard, Christian.
Retrieved September 27, 2011. 'Black Star: Mos Def & Talib Kweli Are Black Star'. New York (110): 198. November 1998. (August 2009). Retrieved April 9, 2016. ^ (November 3, 1998).
Retrieved September 27, 2011. March 2, 1999.
Retrieved September 27, 2011. External links. at (list of releases).
Here's one of those albums that it took me forever to actually find the patience to sit through. You shouldn't take that last statement as an automatic dismissal of Reflection Eternal's, though: I'm just not the biggest fan of emcee Talib Kweli. My perception of the man is that he was the obvious weaker half of Black Star, which makes the fact that I have reviewed nearly every one of his partner Mos Def's projects even more apparent now, doesn't it?
But I try to have an open mind whenever I write, so I'll attempt to look forward to this revisitation. Reflection Eternal is made up of the aforementioned Kweli and his producer friend Hi-Tek, who first met up in Cincinnatti, Ohio. Hi-Tek was working with his crew Mood and allowed Kweli to guest on a track: ever since then, they've called themselves Reflection Eternal, even when they're not directly working together. After signing with the once-mighty Rawkus Records, they quickly rushed out a twelve-inch single, 'Fortified Live' (which also featured future Black Star mate Mos Def and Mr. Man from Da Bush Babees), with '2000 Seasons' as its B-side: both tracks found their way to the first Soundbombing compilation, with each track helping Reflection Eternal gain a cult following, not unlike opening an independent flick in twelve theaters in New York before slowly spreading out to the rest of the country. Kweli and Hi-Tek's team took a brief hiatus when Talib and Mos Def banded together to create Black Star.
Reflection Eternal Train Of Thought Zip
On their critically acclaimed project Mos Def & Talib Kweli Are Black Star (named as such because they legally couldn't actually call themselves Black Star), Hi-Tek handled the production on nearly half of the album, including the first single 'Definition'. After that disc dropped in 1998, Kweli and Mos immediately set about working on their separate projects, with Dante's Black On Both Sides winning the race, hitting store shelves the following year. Kweli took his time, crafting Reflection Eternal's debut album for an eventual release date in 2000. Was supposed to be seen as a soulful excursion through New York, as experienced through the eyes of a neo-soul poet in the vein of The Roots, except Kweli didn't have his own drummer following him around.
Kweli's rhyme skill had not yet reached his potential, but he decided to fill the album with twenty tracks regardless, since this was essentially his solo debut. (Hi-Tek stays mainly behind the boards, but he does manage to sneak in a verse as practice for his own eventual solo efforts, which I hope to get to later.) Predictably, Talib Kweli utilizes this opportunity to complain about the current state of hip hop (as most underground rappers are wont to do) while positioning himself as the next big thing. The first single, 'The Express', failed to set expectations as high as Kweli had hoped, and the fact that it was later dropped from the project completely for unknown reasons (my guess: sample wars) didn't help matters much.
As such, was met with a surprising amount of unfavorable reviews, surprising only because everybody who loved the Black Star album was expecting this to be a natural continuation. So it wasn't really much of a shock that Kweli and Hi-Tek broke up the band after was completed, not because Reflection Eternal was no more, but more so that both members could further explore their roles in our chosen genre. Hi-Tek's production work went in a much different direction than anybody had anticipated (he produced for the fucking G-Unit, for God's sake!), while Kweli continued to hone his craft, admittedly becoming more interesting behind the mic.
But yeah, this review is about. EXPERIENCE DEDICATION (FEAT DAVE CHAPPELLE) After a brief but unusually bizarre intro by Dave Chappelle (who plays the role of Nelson Mandela), Kweli chimes in with your typical rap album intro bullshit that still manages to thank the fans who have followed Reflection Eternal thus far. Which was nice of him. MOVE SOMETHIN' (FEAT NONYE) Hi-Tek provides an instrumental that effectively wakes listeners up, informing them of the true beginning of. Talib does his best to adopt an aggressive tone (even exclaiming “Shut the fuck up!” at one point), but he doesn't sound comfortable behind the mic just yet: already, he comes off as if he hasn't learned anything from the Black Star project. It's time to move somethin', all right: move on, as in on to the next one. SOME KIND OF WONDERFUL As this song borrows its title from a John Hughes-produced film which only exists because fans of Pretty In Pink (another Hughes-scripted flick) didn't care for the fact that Molly Ringwald made the (obvious, at least to me) decision to not hook up with Duckie (although the lost original ending of the movie does, in fact, have the characters doing just that), my expectations were already pretty low, as if Kweli wrote the track just to offset criticisms for “Move Somethin'”.
Well, that experiment doesn't work: Hi-Tek's beat is a roaring thunderclap of dullness, and Talib sounds boring by proxy. THE BLAST (FEAT VINIA MOJICA) Kweli and Hi-Tek trade verses over this soulful beat, which is more in the vein of the Black Star album than the previous two tracks, even though this is easily the most commercial song on thus far.
But this shit is enjoyable as hell, so I'm not complaining. Even the vocals fit in well, without turning “The Blast” into R&B-lite. THIS MEANS YOU (FEAT MOS DEF) Mos Def's “Know That”, which appeared on Black On Both Sides, set the bar for Dante/Kweli collaborations (those that weren't technically Black Star songs, anyway), and “This Means You” comes nowhere close to that song's level. This shit sucks.
As I choose to ignore this track entirely (okay, one last comment: I hate the chorus), I'm going to instead ponder the fact that nothing on sounds as lo-fi as Reflection Eternal's much-beloved “Fortified Live”, which also featured The Mighty Mos. I realize that is a much older track, and I shouldn't try to compare this album to the duo's early work, but they could have tacked that song on as a bonus or something. TOO LATE (FEAT RES) Kweli has always taken himself a bit too seriously.
I mean, hell, his hook on here includes the phrase “Where were you the day hip hop died?”. But still, I kind of dug this track. Hi-Tek provides a rolling instrumental throughout, punctuated with some disembodied vocals (from Res, who would later partner up with Kweli on his Idle Warship side project), that helps build Talib's verses into a modest ranch-style home with three bedrooms, a solarium, and a panic room. Also, historians, please take note that Talib Kweli trumped Nas in referring to our chosen genre as deceased already. MEMORIES LIVE (FEAT BIG DEL & DONTE) I've always found this song conducive to enjoying reflections on your past life. Frozen full movie in hindi.
Hi-Tek's musical backdrop is peaceful, and Kweli, for the first time on the album, sounds completely comfortable behind the mic, as if, yes, this is what the man should be doing with his life. Oddly, when Talib, dives into a brief history of his career, he mentions his work with the Cincinnati group Mood, but neglects Black Star entirely. I did like how the end of this song segues into the next track seamlessly. And also how Hi-Tek found some work for his buddy from Mood, Donte.
AFRICA DREAM Kweli and Weldon Irvine actually man the boards on this track (Hi-Tek receives only a co-producer credit). And they don't do a bad job of it at all: the song is only considered a bit of a mess thanks to Kweli's tendency to cram as many syllables as he can into a single bar, rhythm be damned. DOWN FOR THE COUNT (FEAT RAH DIGGA & XZIBIT) Oddly sequenced into, but to be fair, there is really no place where this song would fit coherently. This is probably the track that most hip hop heads gravitated toward immediately upon this album's release, as Hi-Tek switches his style just slightly (prior to his overall extreme makeover as a gangsta rap producer for Curtis Jackson and his buffoons) to make the guests feel at home, and they return the favor with entertaining verses. Kweli even sounds at ease on this collaboration, but it should also be noted that a version of this song (released as a B-side to one of their singles) that features him all by his lonesome is also readily available on the Interweb, and it's equally as interesting. Nice work, guys. NAME OF THE GAME This one-verse wonder from Kweli is more of an incomplete thought than an actual song, ad a forgettable one, at that.
GHETTO AFTERLIFE (FEAT KOOL G RAP) Hi-Tek custom-builds an instrumental for Kool G Rap and completely forgets that his boy Kweli is supposed to share the beat: as a result, Talib sounds almost laughable with his constant threats. (I will admit that he could probably sound credible today, but not ten years ago.) Oh well. ON MY WAY (FEAT KENDRA ROSS, VINIA MOJICA, & TIYE PHOENIX) This is just an interlude. LOVE LANGUAGE (FEAT LES NUBIANS) “Love ain't nothing but a word / A chicken ain't nothing but a bird”? Talib Kweli doesn't seem to understand the concept of the love rap, if he's so willing to dismiss the feeling as, well, nothing.
Which makes this a difficult song to listen to, since you are unable to take our host seriously. Also, the vocals grate on the ears.
LOVE SPEAKEASY You could also look at this as “Love Language (Reprise)”. No, really, you could: you have my permission and everything. SOUL REBELS (FEAT DE LA SOUL) I've always liked the guitar sample on this track, but I don't really like the song as a whole.
It's almost as if Kweli hadn't yet earned the right to rhyme alongside De La Soul at this point in his career. (This theory, admittedly, has some holes in it, as Kweli has sounded fine alongside Mos Def, Common, and Xzibit, all of whom are technically more relevant than De La Soul right now.) I suppose this is proof that one needs more than a funky guitar sample to make a rap song: the lyrics also have to be somewhat interesting. ETERNALISTS Meh. Yeah, I just wrote “ meh”. Deal with it. BIG DEL FROM THE NATTI (FEAT BIG DEL) This would be hilarious if it wasn't true: for this interlude featuring a half-assed verse from his invited guest, Hi-Tek provides a much better instrumental than he has for his Reflection Eternal partner for the entire fucking album. How fair is that?
TOUCH YOU (FEAT DAVE CHAPPELLE, PIAKHAN, & SUPA DAVE WEST) Dave Chappelle briefly returns to, this time portraying Rick James, three years before he immortalized his imitation on Chappelle's Show. (I wish I could write that the catchphrase “I'm Rick James, bitch!” originated here, because that would be funny, but alas, Dave only appears for, like, four seconds at the beginning.) His presence is the only halfway interesting element to this wack-ass song, though.
GOOD MOURNING On here, Talib Kweli outshines Hi-Tek's beat (even with a horrible chorus) with verses that detail his perspective with perfect clarity. I think it's time to discuss the unthinkable: Hi-Tek is a good producer, Kweli has (some) skills behind the mic, and whenever the two get together, there is a bit of chemistry (and hip hop heads tend to get riled up with excitement). But I don't personally believe, based on all of, that Reflection Eternal should exclusively work together for another album. Hopefully their new project features some outside production work, because otherwise, I fear it will be more of the same.
EXPANSION OUTRO And with that, we're done. Oh shit, wait, no we aren't. The following song immediately follows “Expansion Outro” on the same track.
FOR WOMEN Runs a bit too long, but “For Women” is easily the most interesting track on the entire second half of (and not only because it's considered a bonus track, but full credits for the song are seen within the album booklet). The beat, co-produced between Hi-Tek and Kweli, utilizes a simple drumbeat paired up with a melody (as most songs do, I know: I realize that description isn't vague enough), and yet the track sounds fairly grand in scope. Kweli spits four verses (one for each woman, as the title is inspired by Nina Simone's “Four Women”) that all sound accomplished, leaving this as the best way possible to end this album. I wonder why it was categorized as a bonus, though: this could have easily been worked into the sequence. FINAL THOUGHTS: comes with the promise of talent from Reflection Eternal members Talib Kweli and Hi-Tek, but listeners will be let down severely. While Mos Def took his charismatic persona and attempted to show his many facets on his Black On Both Sides (regardless of what I've written about it not holding up, I still admit that Mos Def is a man of many talents), Kweli merely relies on workmanlike lyrics, resting on laurels that he hasn't garnered yet.
Nothing on is challenging in the least, whether you're looking at it from a lyrical perspective or a musical one. Hi-Tek's beats are alright, and some of these songs are really good, but there isn't anything on here that suggests that Reflection Eternal should jump back onto this anytime soon. A disappointment, and a mostly dull one, at that. I would burn this one. Kweli wasn't on Mos Def's level at this point: the man was not capable of handling an entire full-length album by himself. I'm sure that Kweli's fans will have something to say about that, but I don't give a fuck: this album is awfully boring. It is what it is.
BEST TRACKS: “Memories Live”; “Down For The Count”; “The Blast” -Max RELATED POSTS. I can get into the great tracks, but the other filler was just that.filler. He really wasn't that much of a great rapper back in the day, and while he still has his fleeting moments of brilliance, it isn't enough to condone a buy of this album.
It was boring as fuck, and I consider Black Star & Black on Both Sides as classics. Instead of asking what shit in Max's cornflakes, my question is why is it that a bitch like you got to catch feelings? You mad that somebody doesn't like your boy toy Kweli? Get over yourselves. Anonymous Dude, this is by far, the weakest Review i've ever read!!
Do you have any clue of Hiphop Music at all?! I really really wonder, how you consider yourself to be into Rapmusic at all, reading your statements!! Talib ist one of the best Mcs on Earth, and this LP is a Materpiece, and absolut Blast, one of the best of all time!!
I personally like this LP way more than the blackstar stuff, and think MosDef may have a huuuge talent, skills and tries to innovate his styles, but I really don't feel him that much the last years!! After black on both sides, i mainly was disappointed by his releases, while Talib always suprised me in a positive way!! I would recommend to do your job better next time, its really unbelievable what kind of people think they have a clue of something when they don't!! All content is Copyright © 2007-2017.
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Here's the tracklist: 1. RPM’s 1:06 02.
City Playgrounds 4:43 03. Back Again (ft.
Res) 3:26 04. Strangers (Paranoid) (ft. Bun B) 2:51 05. In This World 3:30 06. Got Work 4:16 07. Midnight Hour (ft. Estelle) 4:39 08.
LiftingOff 5:22 09. In The Red 3:00 10. Black Gold Intro 0:17 11.
Ballad Of The Black Gold 5:33 12. Just Begun (ft. Jay Electronica, J Cole And Mos Def) 3:36 13.
Long Hot Summer 2:22 14. Get Loose (ft.
Chester French) 5:33 15. So Good 3:32 16. Bilal) 3:22 17. My Life (Outro) 3:27 by: 12:55pm On May 19, 2010.