A Tribe Called Quest
We Got it from Here... Thank You 4 Your Service 

Album Release Date: November 11th, 2016

For me, this is quite simply the best album of the year. As a teenager, A Tribe Called Quest was my favourite music group. Not just my favourite HipHop group, but my favourite band, period. What makes this a great album is not just the creative content, but also the time and circumstances surrounding its recording and release, and its place in relation to Tribe's position in HipHop history, as their final work.

From the late 1980s to the mid-'90s—an era in HipHop now referred to as its “golden age”—HipHop culture expanded to encompass a diverse spectrum of styles and values, securing its place on the world stage as a profound movement of art and politics. As an integral part of the Native Tongue Family—a HipHop collective that included fellow New York City groups Jungle Brothers, De La Soul, and Black Sheep—Tribe significantly contributed to this broadening of HipHop’s sound and principles, emerging to become one of the genre's most renowned creative forces.

In the late '80s, HipHop was dominated by rappers like KRS-One, Public Enemy, N.W.A., and Ice-T—unapologetically radical artists shaking Reagan-era America with hard-edged street morals and antiestablishment, revolutionary rhymes. But with Jungle Brothers' debut album in 1988, De La Soul's in 1989, and Tribe's in 1990, a new variety of HipHop was presented. With a lively, lighthearted demeanour and Afrocentric, Bohemian inclinations, Tribe's engaging rhymes were complemented by innovative beat composition, employing unique samples from obscure records and introducing an often jazz-based, unconventional sound. Tribe were from a relatively middle class neighbourhood in Queens, NY, compared to the impoverished South Bronx neighbourhoods where HipHop originated, so maybe this was a factor in their "lighter" approach to HipHop compared to some of their contemporaries. In any case, Tribe's musical ingenuity led to crossover appeal; among few groups to successfully open underground HipHop to wider audiences despite never selling out their creative vision. Their 2nd and 3rd albums in particular—The Low End Theory (1991) and Midnight Marauders (1993)—are masterpieces regarded as among the best HipHop albums ever made. But their energy and creativity diminished with subsequent releases, and the group broke up following their 5th album The Love Movement in 1998.

By the end of the 1990s HipHop’s golden age was in decline, Tribe had disbanded, 2Pac was dead, and the American music scene was seemingly taken over by a slew of corporate radio, fly-by-night pop rappers. Q-Tip and Phife Dawg (the two MCs who fronted the crew, completed by DJ Ali Shaheed Muhammad and one-time member Jarobi) released solo LPs at the turn of the millennium, then soon faded into relative obscurity. For years after, rumours abounded of their reunion—but such talk was mostly derived from hopeful fans rather than legitimate evidence. They did briefly reunite for a few festival performances, but not for any prolonged period. By the twenty-teens A Tribe Called Quest seemed to most certainly be a group of the past, one of the best HipHop acts in history whose influence on current artists was forever solidified. Their rise and fall is well-covered in the documentary film Beats, Rhymes & Life: The Travels of a Tribe Called Quest (2011).

Then, in November 2015, Tribe appeared on The Tonight Show—their first televised appearance together in 18 years—to perform their classic song "Can I Kick It?" The performance recaptured the energy they were always known for, with spirited interplay between Phife and Tip. It was enjoyed by fans as a bit of nostalgia, but there was still no promise for an official reunion. Then, on March 22nd, 2016, Phife died from complications related to diabetes, at 45-years-old. It was well-known that he'd struggled with health issues for years—one of his aliases being "The Funky Diabetic"—and he'd received a kidney transplant from his wife in 2008. But the public was unaware of the extent of his deteriorating health, and news of his death came as a shock for fans of the beloved group. Amongst a number of major music celebrity deaths in 2016—David Bowie, Prince, Leonard Cohen—Phife's passing resonated widely for HipHop fans who came of age in the 1990s. It was a sad indication of the definitive end of simpler times, and a certain assurance that a Tribe reunion was now impossible.

But, amazingly, in late October 2016 Q-Tip announced that indeed a final album of brand new Tribe material was soon to be released. How could this be? Phife had died over six months earlier and surely word of a new album would've surfaced by now. As the story goes, Tribe were so invigorated by the rekindled energy of their 2015 television appearance that they immediately went into the studio and began recording in secrecy. And they managed to keep news of the album quiet throughout the publicity of Phife's death, only announcing it days before its release. Q-Tip said Phife's verses were all new, recorded in his last months, that he'd been fully involved in the album and his rhymes weren't just mixed-in excerpts as happens often in posthumous releases. This was uplifting news for fans, a dose of much needed positivity as the album came out just three days after Donald Trump "won" the U.S. presidential election. It was also announced that Tribe was to be the musical guest on Saturday Night Live the day after the album's release, with another fan favourite from past times—comedian Dave Chappelle—slated to host.

And so the album, entitled We Got it from Here... Thank You 4 Your Service, was met with excited anticipation from many albeit with a degree of scepticism from others that it wouldn't measure up to Tribe's past best work. But it does measure up, exceeding the expectations of doubters as not only a relevant work comparable to HipHop of today, but also as a throwback to HipHop’s golden age when genuine creativity superseded desire for record sales or pop stardom. It showcases all of Tribe's signature elements; witty wordplay between the MCs who deliver their trademark brand of captivating rap, unique in their own styles yet complementary to one another as they bounce back and forth with poetic vibrancy to compelling beats composed from an eclectic mix of samples.

Reminding us of why we loved them way back when, it's at once a great reunion album, a warmhearted tribute to Phife, and an entertaining collection of HipHop songs in its own right. And it's also, intriguingly yet appropriately, the group's most political album to date. It's not extremely loud and angry, because that's never been Tribe's forte, but many songs, most notably "We the People...", reflect pointedly political sentiments and a sometimes darkly satirical tone. This makes sense given the heightened political state of America, and considering that the artists are mature fortysomethings now with substantial things to say.

Much of the lyrical content resonates as urgent commentary on America's polarized climate in these politically charged times. The first lines of opening track "The Space Program" are "It's time to go left and not right / Gotta get it together forever / Gotta get it together for brothers / Gotta get it together for sisters / For mothers and fathers and dead n-----". The space program is used here as an allegory for Trump's racist rhetoric surrounding America's minority groups, as he's called Mexicans rapists, sworn to deport illegal immigrants, to refuse Muslims entry into the U.S., and incited violence at his rallies. Jarobi—making his return since departing the group after their first album—addresses this in his verse: "Mass un-blackening, it's happening, you feel it y'all? / Rather see we in a three-by-three structure with many bars / Leave us where we are so they can play among the stars / They taking off to Mars / Got the space vessels overflowing / What, you think they want us there? / All us n----- not going". The song employs a funky jazz organ loop, a vocal choral sample for its hook of "Move on to the stars", and an excerpt of the late Gene Wilder as Willy Wonka from 1971's Willy Wonka and the Chocolate Factory, ending with a clip of the film's Oompa-Loompa song. And so, in the first (nearly 6-minute-long) track, the stage is set for what proves to be an outstanding final effort from the revered group, rockin' inventive rhymes, creative beat composition, and thematic righteousness with all their idiosyncratic flair.

The hour-long collection of 16 songs range through uptempo bumpin' jams, head-noddin' ditties, and mellow, smooth jazz groovers, featuring an array of typical and unexpected artists. The more conventional guests are Outkast's André 3000, Talib Kweli, and Tribe comrades Busta Rhymes and Consequence. Some newer generation HipHop artists fit the bill, too, such as Anderson Paak. and Kendrick Lamar. The more surprising guests are Jack White and Elton John, both of whom appear on "Solid Wall of Sound" which samples Elton's "Bennie and the Jets". Elton plays piano and sings here, with White on guitar, as Busta Rhymes, Tip, and Phife flow back and forth over jazzy piano loops before an ethereal synth groove rides out the song's last minute. Despite a guest on all but three tracks, the album doesn't feel bogged down with mailed-in celebrity appearances, but rather enhanced by authentic collaborations. The visiting artists' contributions are used sparingly but effectively to round out the texture of the album and help furnish the feeling of it being a tribute, a coda to the career of this great group.

Phife's presence on the album is, understandably, less than it likely would've been had he lived to help oversee its completion. Though Q-Tip was always the frontman, Phife was an effective foil, an energetic sidekick whose down-to-earth rhymes contrasted Tip's more eccentric, distinctly stylized approach. Each MC made the other better, and that chemistry is reignited here despite Phife only appearing on half of the tracks. But this results in deeper appreciation of Phife's verses, spotlighted with the knowledge that they're among the last rhymes we'll ever hear from him (although there's word he was also working on a solo album at the time of his death, so we're—fortunately—likely to hear a few more songs by the ill MC). Fourth man Jarobi, while an original founding member, only ever appeared on Tribe's first album in spoken word interludes, never rapping. Tribe continued to reference him on subsequent albums, but he wasn't on any other tracks and his role in the group was never really made clear. But now he's back, full on rapping and definitely holding his own. Only one track doesn't feature Q-Tip: "Conrad Tokyo", which is presumably alluding to the Conrad Hotel chain and offers an international perspective of America. The song references both Trump and Obama, as Phife and Kendrick Lamar serve up more thoughts of a political nature.

Another highlight in the social commentary vein comes with "Dis Generation", a midtempo groove that uses beat samples from bands as divergent as Musical Youth and Can. Its title is a play on words, as the track defends younger generations against the tendency of elders to complain about the youth, with lyrics like "You can't define us / X, Y or Z us / You generational elitists / Have your chi in virtual thinkpieces". With a range of both current and outdated references, such as "Blu-ray, wave file, or a Beta", Bruce Lee, UFC, USB, and Magic Mike, the song examines links between the Baby Boomer generation of HipHop originators and newer Millennial artists. As Generation Xers who straddled this old school and new school gap in HipHop, Tribe are the appropriate artists to comment on such generational divides. In a similar thread, "Kids" features André 3000 and Tip trading bars about childhood. "Ego" again features Jack White, ripping it on electric guitar as Tip goes off about that part of the mind that the title refers to, especially when inflated. And "Enough!!" has Tip kicking naughty sex rhymes over a smooth beat that utilizes the same sample as Tribe's classic "Bonita Applebum". As such, it's Tribe's most topical album, deviating somewhat from their previous works which were generally more free flowing celebrations of HipHop. Though there's still lots of that, too.

But "We the People...", the album's most political track, is the one. The refrain is from the perspective of a white supremacist à la Trump: "All you black folks, you must go / All you Mexicans, you must go / And all you poor folks, you must go / Muslims and gays / Boy, we hate your ways / So all you bad folks, you must go". The song also addresses Trump-like misogyny as Phife raps "We got your missy smitten / Rubbin' on her little kitten / Dreamin' of a world that's equal for women with no division / Boy, I tell you that's vision". It has a raw, hype beat, comprised primarily of an electric guitar sample taken from Black Sabbath's "Behind the Wall of Sound", drums, bass, a light keyboard riff, and air raid sirens sporadically going off in the background. The satirical tone makes for cynical yet ultimately positive commentary, with forthright political sentiments anchored by the group's innate charm and matter-of-fact sensibility, and a title invoking a unity-in-diversity theme. It's also just a straight up bangin', ill-as-fuck HipHop joint.

The album's last track, 5½-minute-long "The Donald", is all about Phife. It has a dope bouncy beat, a wicked Caribbean patois dancehall reggae verse by Busta Rhymes, a verse from Tip bigging up his partner in rhyme, and a sick braggadocio verse from Phife himself who also flexes the patois at times (reflective of his Trinidadian heritage). But it's a bit perplexing in its metaphorical application of Donald Trump as a badass figure not to be fucked with. "The Donald" of the title is Phife, who says "Phife Dawg, legend / You could call me Don Juice / I'm the shit right now / What, you need to see proof?" Though recorded before Trump was elected, the song employs his rise as an analogy for Phife's lyrical unfuckwithableness. There's an implicit hint of satirical intent, but this isn't fully capitalized on as most of the lyrics are genuinely in the boasting tradition of classic old school rap. If Phife's first-person verse more overtly exaggerated egotistical qualities then the song would more clearly resonate as satire—of Trump's arrogance and of many MCs' tendencies to brag. But as is it plays as an homage to Phife's skills on the mic, yet the group clearly aren't fans of the president-elect—as evidenced in "We the People"—so it's a somewhat confusing song and a bit of a weird way to end the otherwise great album.

The title We Got it from Here... Thank You 4 Your Service was reportedly suggested by Phife. And it's indeed a suitable title that underscores a farewell vibe, since his death guarantees it to be the group's final excursion together. The album reached #1 on the Billboard music chart within a week of its release, only the second Tribe album to do so—1996's Beats, Rhymes & Life was the first. The 20-year gap between #1 albums by the same artist is the longest ever in HipHop history. Despite many songs manifesting the playful tone of previous Tribe albums, there's also sadness, with the knowledge that Phife has passed on to another realm. This makes us contemplate an alternate future in which Phife still lived, in which this might've been the beginning of more Tribe albums and tours. Indeed, a welcome return that would've been, to an industry and culture that many say has for years been threatened by too many corporate rappers and throwaway singles. But it's a thoroughly welcome return nonetheless, and knowing it's Tribe's last ever album is part of what makes it so special. Regardless of the sadness surrounding Phife's tragic early passing, this album is largely a celebration of life in the spirit of all that's positive about HipHop. On November 19th, 2016—eight days after the album's release—a street was named after Phife. The block of Linden Boulevard and 192nd St. in Queens, New York, in the neighbourhood where Phife and other Tribe members grew up, is now named "Malik 'Phife Dawg' Taylor Way".

We Got It From Here... Thank You 4 Your Service is both an effective demonstration of Tribe's past best qualities and a display of a new aspect to their repertoire with the decisively political, satirical edge. And it's all ultimately centered in a message of love and unity as we're once again shown that Tribe's love for beats, rhymes, and life will never expire, even after its members physically die. It's evidence of the strong chemistry that they had all those years ago, even if bitter sentiments and battling egos—not atypical of any band—led to their breakup. In the end, this work is proof that love conquers hate. While "We the People..." is perhaps the album's only instant classic, there's no filler as each song resonates with some dimension of Tribe's multifaceted creativity. This is quite incredible considering that their return to the studio, after nearly two decades, was a virtually impromptu decision. And all the more potent because they reunited to record most of the album in the four months prior to Phife's death, as if destined, as if the cosmos aligned to make it happen because the fans needed it, because Tribe needed it, because HipHop needed it, because the world needed it. Indeed, on "We the People...", Phife raps "The fog and the smog of news media that logs / False narratives of gods that came up against the odds / We're not just rappers with the bars / It's kismet that we're cosmic with the stars". Rest in peace to Malik Izaak Taylor, A.K.A. The Five-foot Assassin, A.K.A. The Funky Diabetic, A.K.A. The Trini-Gladiator, A.K.A. Phife Dawg.
• Nik Dobrinsky / Boy Drinks Ink
November 29th, 2016