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The Low End Theory is the second album by American hip hop group A Tribe Called Quest. Released on September 24, 1991 through Jive Records, the album produced three singles; "Check the Rhime", "Jazz (We've Got)", and "Scenario".
After A Tribe Called Quest's debut album, People's Instinctive Travels and the Paths of Rhythm (1990), Jarobi White left the group to study culinary art. Phife Dawg learned that he was diabetic a month after the album's release and after a discussion with fellow member Q-Tip Read Full BioThe Low End Theory is the second album by American hip hop group A Tribe Called Quest. Released on September 24, 1991 through Jive Records, the album produced three singles; "Check the Rhime", "Jazz (We've Got)", and "Scenario".
After A Tribe Called Quest's debut album, People's Instinctive Travels and the Paths of Rhythm (1990), Jarobi White left the group to study culinary art. Phife Dawg learned that he was diabetic a month after the album's release and after a discussion with fellow member Q-Tip, they agreed to increase his participation on their second album and to "step it up in general as a group."Q-Tip credited N.W.A's album Straight Outta Compton (1988) as an inspiration for the record. The group hired double bassist Ron Carter on the track "Verses from the Abstract". Q-Tip stated, "We wanted that straight bass sound, and Ron Carter is one of the premier bassists of the century." Carter agreed to record tracks on the condition that the group avoid profanity, to which Q-tip assured they were addressing "real issues".
The Low End Theory is stylistically reminiscent of mid-1980s hip hop. Producer Ali Shaheed Muhammad and rappers Q-Tip and Phife Dawg showcase how rap was done before commercial success influenced many rappers' creativity. The album's minimalist sound is "stripped to the essentials: vocals, drums, and bass." The bass drum and vocals emphasize the downbeat on every track.
The Low End Theory helped shape alternative hip hop in the 1990s. It established the musical, cultural, and historical link between hip hop and jazz. Writer Oliver Wang called the album "a consummate link between generations", which took the essence of jazz and hip hop, and "showing they originated from the same black center." The group's "mellow innovations" helped jazz rap gain significant exposure from 1992 to 1993. Rolling Stone ranked the album at number 154 in "The 500 Greatest Albums of All Time", stating that "people connected the dots between hip-hop and jazz -- both were revolutionary forms of black music based in improvisation and flow -- but A Tribe Called Quest's second album drew the entire picture."
In Time magazine's "ALL-TIME 100" albums, Josh Tyrangiel called the record an exception to jazz rap often being "wishful thinking on the part of critics". He described the album as "socially conscious without being dull" and likened a few tracks to "smoky rooms where cool guys ... say cool things."Pitchfork Media listed the album at number fifty-six in its "Top 100 Albums of the 1990s". The Low End Theory was voted at number thirty-two in The Village Voice's 1991 Pazz & Jop critics poll. Allmusic writer John Bush, who declared it "the most consistent and flowing hip-hop album ever recorded", summed up the record as "an unqualified success, the perfect marriage of intelligent, flowing raps to nuanced, groove-centered productions." On February 1, 1995, the Recording Industry Association of America (RIAA) certified the album platinum.
After A Tribe Called Quest's debut album, People's Instinctive Travels and the Paths of Rhythm (1990), Jarobi White left the group to study culinary art. Phife Dawg learned that he was diabetic a month after the album's release and after a discussion with fellow member Q-Tip Read Full BioThe Low End Theory is the second album by American hip hop group A Tribe Called Quest. Released on September 24, 1991 through Jive Records, the album produced three singles; "Check the Rhime", "Jazz (We've Got)", and "Scenario".
After A Tribe Called Quest's debut album, People's Instinctive Travels and the Paths of Rhythm (1990), Jarobi White left the group to study culinary art. Phife Dawg learned that he was diabetic a month after the album's release and after a discussion with fellow member Q-Tip, they agreed to increase his participation on their second album and to "step it up in general as a group."Q-Tip credited N.W.A's album Straight Outta Compton (1988) as an inspiration for the record. The group hired double bassist Ron Carter on the track "Verses from the Abstract". Q-Tip stated, "We wanted that straight bass sound, and Ron Carter is one of the premier bassists of the century." Carter agreed to record tracks on the condition that the group avoid profanity, to which Q-tip assured they were addressing "real issues".
The Low End Theory is stylistically reminiscent of mid-1980s hip hop. Producer Ali Shaheed Muhammad and rappers Q-Tip and Phife Dawg showcase how rap was done before commercial success influenced many rappers' creativity. The album's minimalist sound is "stripped to the essentials: vocals, drums, and bass." The bass drum and vocals emphasize the downbeat on every track.
The Low End Theory helped shape alternative hip hop in the 1990s. It established the musical, cultural, and historical link between hip hop and jazz. Writer Oliver Wang called the album "a consummate link between generations", which took the essence of jazz and hip hop, and "showing they originated from the same black center." The group's "mellow innovations" helped jazz rap gain significant exposure from 1992 to 1993. Rolling Stone ranked the album at number 154 in "The 500 Greatest Albums of All Time", stating that "people connected the dots between hip-hop and jazz -- both were revolutionary forms of black music based in improvisation and flow -- but A Tribe Called Quest's second album drew the entire picture."
In Time magazine's "ALL-TIME 100" albums, Josh Tyrangiel called the record an exception to jazz rap often being "wishful thinking on the part of critics". He described the album as "socially conscious without being dull" and likened a few tracks to "smoky rooms where cool guys ... say cool things."Pitchfork Media listed the album at number fifty-six in its "Top 100 Albums of the 1990s". The Low End Theory was voted at number thirty-two in The Village Voice's 1991 Pazz & Jop critics poll. Allmusic writer John Bush, who declared it "the most consistent and flowing hip-hop album ever recorded", summed up the record as "an unqualified success, the perfect marriage of intelligent, flowing raps to nuanced, groove-centered productions." On February 1, 1995, the Recording Industry Association of America (RIAA) certified the album platinum.
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Excursions
by A Tribe Called Quest
Back in the days when I was a teenager
Before I had status and before I had a pager
You could find the Abstract listening to hip hop
My pops used to say, it reminded him of be-bop
I said, well daddy don't you know that things go in cycles
The way that Bobby Brown is just ampin' like Michael
Its all expected, things are for the looking
If you got the money, Quest is for the booking
Come on everybody, let's get with the fly modes
Still got room on the truck, load the back boom
Listen to the rhymes, to get a mental picture
Of this black man, black woman venture
Why do I say that, 'cause I gotta speak the truth man
Doing what we feel for the music is the proof and
Planted on the ground, the act is so together
Bonafied strong, you need leverage to sever
The unit, yes, the unit, yes, the unit called the jazz is
We deliver it each year on the street for the beat 'cause
You can find it on the rack in your record store(store)
If you get the record, then your thoughts are adored and appreciated
Cause we're ever so glad we made it
We work hard, so we gotta thank God
Dishing out the plastic, do the dance till you spastic
If you dis, it gets drastic
Listen to the rhymes, 'cause its time to make gravy
If it moves your booty, then shake, shake it baby
All the way to Africa a.k.a. The Motherland (uh)
Stick out the left, then I'll ask for the other hand
That's the right hand, Black Man (man)
Only if you was noted as my man (man)
If I get the credit, then I'll think I deserve it
If you fake moves, don't fix your mouth to word it
Get in the zone of positivity, not negativity
'cause we gotta strive for longevity
If you botch up, what's in that (ass) (what?)
A pair of Nikes, size ten-and-a-half (come on, come on)
We gotta make moves
Never, ever, ever could we fake moves (come on, come on)
We gotta make moves
Never, ever, ever could we fake moves (come on, come on)
We gotta make moves
Never, ever, ever could we fake moves (come on, come on)
We gotta make moves
Never, ever, ever could we fake moves (come on, come on)
You gotta be a winner all the time
Can't fall prey to a hip hop crime
With the dope raps and dope tracks for you for blocks
From the fly girlies to the hardest of the rocks
Musically the Quest, is on the rise
We on these Excursions so you must realize
Hip hop continually, about the Zulu
If you don't like it, get off the Zulu tip
So what could you do in the times which exist
You can't fake moves on your brother or your sis
But if your sis is a (bitch), brother is a jerk
Leave 'em both alone and continue with your work
Whatever it may be into this society
Everything is fair, at least that how it seems to me
You must be honest and true to the next
Don't be phony and expect one not to flex
Especially if you rhyme, you have to live by the pen
Your man is your man, then treat him like your friend
All it is, is the code of the streets
So listen to the knowledge being dropped over beats
Beats that are hard, beats that are funky
It could get you hooked like a crackhead junkie
What you gotta do to is know that the Tribe's in this sphere
The Abstract Poet, prominent like Shakespeare
We gotta make moves
Never, ever, ever could we fake moves (come on, come on)
We gotta make moves
Never, ever, ever could we fake moves (come on, come on)
We gotta make moves
Never, ever, ever could we fake moves (come on, come on)
We gotta make moves
Never, ever, ever could we fake moves (come on, come on)
Lyrics © Universal Music Publishing Group
Written by: ALI SHAHEED JONES-MUHAMMAD, MALIK IZAAK TAYLOR, KAMAAL IBN JOHN FAREED
Lyrics Licensed & Provided by LyricFind
by A Tribe Called Quest
Back in the days when I was a teenager
Before I had status and before I had a pager
You could find the Abstract listening to hip hop
My pops used to say, it reminded him of be-bop
I said, well daddy don't you know that things go in cycles
The way that Bobby Brown is just ampin' like Michael
Its all expected, things are for the looking
If you got the money, Quest is for the booking
Come on everybody, let's get with the fly modes
Still got room on the truck, load the back boom
Listen to the rhymes, to get a mental picture
Of this black man, black woman venture
Why do I say that, 'cause I gotta speak the truth man
Doing what we feel for the music is the proof and
Planted on the ground, the act is so together
Bonafied strong, you need leverage to sever
The unit, yes, the unit, yes, the unit called the jazz is
We deliver it each year on the street for the beat 'cause
You can find it on the rack in your record store(store)
If you get the record, then your thoughts are adored and appreciated
Cause we're ever so glad we made it
We work hard, so we gotta thank God
Dishing out the plastic, do the dance till you spastic
If you dis, it gets drastic
Listen to the rhymes, 'cause its time to make gravy
If it moves your booty, then shake, shake it baby
All the way to Africa a.k.a. The Motherland (uh)
Stick out the left, then I'll ask for the other hand
That's the right hand, Black Man (man)
Only if you was noted as my man (man)
If I get the credit, then I'll think I deserve it
If you fake moves, don't fix your mouth to word it
Get in the zone of positivity, not negativity
'cause we gotta strive for longevity
If you botch up, what's in that (ass) (what?)
A pair of Nikes, size ten-and-a-half (come on, come on)
We gotta make moves
Never, ever, ever could we fake moves (come on, come on)
We gotta make moves
Never, ever, ever could we fake moves (come on, come on)
We gotta make moves
Never, ever, ever could we fake moves (come on, come on)
We gotta make moves
Never, ever, ever could we fake moves (come on, come on)
You gotta be a winner all the time
Can't fall prey to a hip hop crime
With the dope raps and dope tracks for you for blocks
From the fly girlies to the hardest of the rocks
Musically the Quest, is on the rise
We on these Excursions so you must realize
Hip hop continually, about the Zulu
If you don't like it, get off the Zulu tip
So what could you do in the times which exist
You can't fake moves on your brother or your sis
But if your sis is a (bitch), brother is a jerk
Leave 'em both alone and continue with your work
Whatever it may be into this society
Everything is fair, at least that how it seems to me
You must be honest and true to the next
Don't be phony and expect one not to flex
Especially if you rhyme, you have to live by the pen
Your man is your man, then treat him like your friend
All it is, is the code of the streets
So listen to the knowledge being dropped over beats
Beats that are hard, beats that are funky
It could get you hooked like a crackhead junkie
What you gotta do to is know that the Tribe's in this sphere
The Abstract Poet, prominent like Shakespeare
We gotta make moves
Never, ever, ever could we fake moves (come on, come on)
We gotta make moves
Never, ever, ever could we fake moves (come on, come on)
We gotta make moves
Never, ever, ever could we fake moves (come on, come on)
We gotta make moves
Never, ever, ever could we fake moves (come on, come on)
Lyrics © Universal Music Publishing Group
Written by: ALI SHAHEED JONES-MUHAMMAD, MALIK IZAAK TAYLOR, KAMAAL IBN JOHN FAREED
Lyrics Licensed & Provided by LyricFind
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