3 Feet High And Rising > Low End Theory

noted

correct

Midnight Marouders > 3 feet high and rising > low end theory

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*clears throat*

>>75033755
Correct

truth

De La is fucking boring as fuck tho
They got some jams but any album is just a task

>>75033755
Blowout Comb >>>> Midnight marauders > other jazz rap

Buhloone Mind State >>> 3 Feet High and Rising > anything by Tribe

Ready to Die >>> everything in this thread

3 Feet High > 6 Feet Deep

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>>75034450
Reachin > Blowout Comb.

>>75034601
this is the brainlet take

>>75034601
yes

Yeah of course...do people really think otherwise?

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People's Instinctive Travels and the Paths of Rhythm [Jive, 1990]
Not Afrocentric enough to hear this indubitably progressive pastiche as a groove album, I cut-by-cutted it, and I'm glad I did. Though most of the second "side" remains subtler than is by any means necessary, it has more good songs on it than any neutral observer will believe without trying: the Afrogallic "Luck of Lucien," the slumming "After Hours," the cholesterol-conscious "Ham 'n' Eggs," the lustful "Bonita Appleburn," the safe-sex "Pubic Enemy." Which latter, let me cavil, adheres to the rap convention by sticking to gonorrhea, thus rendering AIDS Other-by-omission once again. Onward. B+

The Low End Theory [Jive, 1991]
dope jazzbeats and goofball rhymes from the well-meaning middle class ("Check the Rhime," "Buggin' Out") ***

Midnight Marauders [Jive, 1993]
Like so many "beats," Low End Theory's Ron Carter bass was really a glorified sound effect--what excited its admirers wasn't its thrust, or even the thrill of the sound itself, so much as the classiness it signified. Kicking off with a disembodied computer voice promising "presentation precise, bass-heavy, and just right," this follow-up makes that bass rock the house, literally, and never contents itself with concept. Right, they "kick more game than a crackhead from Hempstead." But rather than "kick a rhyme over ill drumrolls," as I don't doubt they can, they construct horn hooks I love better than I understand. A-

3 Feet High and Rising [Tommy Boy, 1989]
An inevitable development in the class history of rap, they're new wave to Public Enemy's punk, and also "pop" rather than pop, as self-consciously cute and intricate as Shoes or Let's Active. Their music is maddeningly disjunct, and a few of the 24-cuts-in-67-minutes (too long for vinyl) are self-indulgent, arch. But their music is also radically unlike any rap you or anybody else has ever heard--inspirations include the Jarmels and a learn-it-yourself French record. And for all their kiddie consciousness, junk-culture arcana, and suburban in-jokes, they're in the new tradition--you can dance to them, which counts for plenty when disjunction is your problem. A-

De La Soul Is Dead [Tommy Boy, 1991]
studio obscurantism as street credibility ("Millie Pulled a Pistol on Santa," "Fanatic of the B Word," "Keepin' the Faith") ***

Buhloone Mindstate [Tommy Boy, 1993]
They emerge from their dark night as funny and unpredictable as when they were kids, and a lot looser. With grease from Maceo and friends, the mostly jazzy beats have penetrated like liniment--for all its quick turns and fancy wordplay, at bottom this feels like a groove record. Guest MCs SDP and Tagaki Kan take pig latin to the land of the ideogram, and battling sexism is De La's own Ladybug, the effervescent (and short) Shortie No Mass. Inspirational Credo Sure To Be Quoted in Non-Family Newspapers Everywhere: "Fuck being hard, Posdnous is complicated." A

>>75034745
wtf I hate Christgau now

>>75034781
>Like so many "beats," Low End Theory's Ron Carter bass was really a glorified sound effect--what excited its admirers wasn't its thrust, or even the thrill of the sound itself, so much as the classiness it signified.
this part is actually very true

>>75034601
reachin has some real good tracks but blowout comb is infintiely better