The Roots
Phrenology
[Okayplayer/MCA; 2002]
Rating: 8.1
When they first stepped out in the mid-90s, The Roots were regarded by many as an interesting
but quaint novelty act. Although other hip-hop groups had used live instrumentation, The Roots
were the first well-publicized, full-fledged hip-hop band, thus providing fans with a comeback
when our culturally obtuse friends or relatives would say "rap isn't music." The Roots were also
one of the first acts to speak out against the hip-hop tendency toward hyper-capitalism, a
criticism which reached its zenith in the hilarious video for "What They Do". But, to paraphrase
Biggie, things done changed in the hip-hop game. Now live musical accompaniment is becoming
increasingly prevalent-- The Neptunes donned a backing band for N*E*R*D-- and while political
consciousness is still an important component of hip-hop, it's hardly unique, and no longer
en vogue in an increasingly conservative cultural climate.
So what are the pioneers to do when they find that their style has been played to the extreme by
half-assed imitators? What any true artists would: Submerge themselves in the lab for three years
and come out with a new, airtight sound, awash with challenging-- but not too challenging--
deviations from their formula. For Phrenology, The Roots supplement their trademark loose
and light jazz palate with harder, more aggressive tones, eschewing their "organic" sound and using
the studio as an instrument. On "Rock You", The Roots open with a snarl, as a jagged and spare
arrangement backs Black Thought's aggressive flow. As with many songs on Phrenology, "Rock
You" is accented by decidedly inorganic electro flourishes, with a noticeable absence of the smooth
jazz keys that made hippie hip-hop headz cream their collective jeans back in the mid-to-late-90s.
Unfortunately, the track contains album's weakest hook, with Black Thought screaming, "We will rock
you/ Rock You!/ ROCK YOU!" Which is exactly what they do on the acerbic, 24-second Bad Brains
knock-off "!!!!!!", a straight-up, raw-as-fuck punk track which I respect for its sheer boldness,
even if that it had me covering my ears.
In sharp contrast, "Water" clocks in at well over ten minutes, and is perhaps the first clear cut
example of mainstream prog-hop. For hip-hop purists, it's easy to dismiss this song-- which deals
with former band member Malik B's struggle with addiction-- as needlessly bloated, but given its
personal subject matter, it's understandable why ?uest and crew indulged themselves in a dark,
expressionistic foray into the mindset of a drug addict. We can only hope that Malik gets the
message.
But despite these two extremes, Phrenology can't be boiled down simply to superfluous
experimentalism or a complete abjuration of their previous work. It manages to incorporate
all the elements that have characterized The Roots' sound; they revisit the old-skool hip-hop
template on the "apache"-laced "Thought @ Work", where Black Thought approximates the
rapid-fire cadence of Kool G. Rap (one of many examples on Phrenology that have Thought
switching up his flow to compensate for the loss of Malik B). For "WAOK (Ay) Rollcall", The
Roots once again enlist Ursula Rucker to give a brief spoken word piece, in which she namechecks
the architects of hip-hop culture. However, there's also the overtly political number, "Pussy
Galore", which may be one of the most vapid, boring examples of political consciousness ever
recorded by a major hip-hop group, and the weakest spot on the album by a long shot. Hopefully,
it won't become another source of ammunition in Coca-Cola's campaign to represent/co-opt "real"
hip-hop.
Structurally, there's the now-expected spoken word bit at the end (this time performed by the
esteemed and controversial poet Amiri Baraka), and a hidden track featuring Talib Kweli.
It's preceded by two red herrings, twenty-second-long tracks of silence, and followed
by a brief techno burn that's sure to have fans scratching their heads. Like "What They Do"
from Illadelph Halflife and "You Got Me" from Things Fall Apart, the current
single, "Break You Off", is an obligatory three-word R&B; crossover number, replete with guest
vocalist Musiq's nu-soul crooning, four cellists, a noir concept video, and a $300,000 budget.
Despite the obvious radio pandering, it's a beautifully smooth and melodic song, featuring
some of their warmest production ever.
To The Roots' credit, they utilize their guest appearances better than on any of their other
previous efforts. "Seed (2.0)", a cover of a track from L.A. crooner Cody Chesnutt's recent
Headphone Masterpiece, is the most immediately satisfying track on the album-- which
is surprising, since it's an orgiastic garage funk number with a blazing guitar riff that
feels lifted from Sticky Fingers-era Stones.
Regardless of how you feel about The Roots' aesthetic-- I tend to gravitate toward the traditional
two turntables and a microphone hip-hop paradigm-- you have to give these guys credit for making
an album that so successfully combines ambition and experimentation with accessibility.
Phrenology completely realizes The Roots' talents and potential, maintaining its
cohesiveness despite its many disparate elements. It's a stark rebuke to those who say hip-hop
artists can't turn out solid full-lengths: For its few negligible missteps, Phrenology
has more than enough momentum to sustain an uninterrupted listen.
-Sam Chennault, January 29th, 2003