Tracing Some Roots

Today is Martin Luther King Day. A day that most of us just look at as part of a 3-day weekend, but that in truth has far more significance than any of us could honestly appreciate. Dr. King was one of those rare individuals that gave so much to the world, and had such a huge impact on society, that it is truly hard to grasp how much he actually accomplished, and how much he changed the course of history.



I have an infinite amount of respect for Dr. King. I think most people do. He had a way about him that was just… I don’t even know. We watched many of his speeches in my communications classes in college, and it’s hard not to be moved, or simply blown away, when you actually watch and listen to how this man was able to speak and lead. He has inspired millions throughout the years. And of course, his messages – and the themes of the civil rights movement in general – helped shape the music of that era, albeit indirectly.

However, I’m not going to get into the immense amount of social activist music that came from that period. Instead, when thinking about Dr. King today, I was drawn to the question of: Who is singing about this kind of stuff today? More specifically, I took a look at hip-hop, and tried to figure out which of these icons of the African-American community was rapping about an actual message. We have Soulja Boy, and Flo Rida, and Young Jeezy, and T-Pain rapping and singing about… well whatever it is they rap and sing about… but really, who is rapping about social awareness anymore?

To be fair, we do get some good messages from stars like Kanye West, and Nas, and Jay-Z, and Eminem, and others, but not really on a consistent basis. For a while I, like many others, was championing Talib Kweli as the next great hope for rap music. But of course, as he has grown in popularity, he seems to have become slightly less focused on the issues, and more focused on the marketability of his sound (don’t get me wrong, I still love Talib, and I think he is one of the best in the business). There are also the traditional greats like Public Enemy and A Tribe Called Quest, as well as countless unknown underground artists. But I’m talking about the current mainstream. Who in the hip-hop game, already having the fame and credibility, is at the forefront of rapping about the real issues these days?

My answer? Philly’s finest. The Roots. As far as I’m concerned they’re in a class of their own. Nobody can touch them because, quite frankly, nobody plays what they play.



First off, they’re an actual band! An African-American, hip-hop band! That’s simply unheard of nowadays. And they’re amazing to boot! Six guys (MC, drummer, bass, guitar, keyboards, and percussion) who get on stage and actually play great hip-hop music that talks about something other than buying people a “drank” (whatever a “drank” is… honestly, how unbelievably stupid is that?).

I admit my bias here. I love these guys. They’re one of my favorites. I own a lot of their music, and have seen them live four times. But trust me, they are as legit as it gets. Each band member is a seriously talented musician and can play the hell out of his instrument (*note: they’ve changed lineups a ton throughout the years, but that has never seemed to affect the sound). The ability to actually play and improvise the sounds you hear in your head, as opposed to having them manufactured by a machine, changes the entire dynamic of that sound. For example, in college I saw Common live, and he used a DJ… he was great, but… the energy and musical stylings were lacking… it’s a guy spinning records of already recorded music… not much you can do with that (NO disrespect to DJ’s by the way). A few months later I saw the Roots for the first time. A group of guys making music, not re-playing it. You have drum solos, improvisation on the keyboard, rhythmic popping and slapping by the bass player… it creates an entirely different feel. And they were simply electric. If you haven’t seen them, I recommend that you do.



Which brings me to another point. These guys tour constantly. It’s what they’re best known for. They get out on the road hundreds of nights a year, and play complex and provocative music, making sure that they get their message out to as many people, in as many places, as they can. It’s inspiring and, in a way, reminiscent of Dr. King. They don’t sit back once the studio work is done, just like Dr. King didn’t just sit at home and hope people heard about him. Both entities got out there and made sure people heard their voice. For The Roots, they hit the road and tour like crazy to get real hip-hop music out there for people. You have to respect that. Not to mention, you get your money’s worth, because they are an absolute killer show.

But of course, it’s not just about playing an instrument or putting on a good show. As I mentioned earlier, I decided to write about The Roots because of the message and the meaning in their songs. For that we have Black Thought to thank. Black Thought (real name Tariq Trotter) is the MC, and frontman/leader of The Roots. He may very well be the best rapper in the industry. I am not exaggerating, the guy is flawless. His phrasing, his rhyme schemes, his speed, his improv, his melodic ability, his stage presence, and of course his actual words. He is absolutely ridiculous. I am convinced he can dominate pretty much anyone out there.



And not only does he possess all of these musical gifts, but he speaks about serious social issues in a manner that is purely astounding. I find myself very often rewinding songs so that I can try to catch all the incredible ideas that he has packed into his verses. A small sample (from the song “Star/Pointro” from the album The Tipping Point):

When that adrenaline get in they system,
It get 'em out on a quest for stardom,
Could be a motherf***in problem,
In Philly, Cincinatti, Los Angeles or Harlem,
Kids call theyself killers let they hammers do the talkin’,
Don't even know the meaning of life, ain't seen a thing,
And you dream of floodin the scenery with,
Llello and greenery,
But for now, you stickin her with the heavy machinery,
Wonder how, you lift it up, be only 17 and like,
E'rybody he wanna shine, young brothers on the grind,
Holdin’ somethin’ in they spine, "Bowling for Columbine",
Stressin’ to me how it's all about a dollar sign,
Dig the way you out of line, out of sight and out of mind.

Transcribing the lyrics hardly does him justice, but you can still get the idea. He’s unbelievably talented, and he has the ability to use that talent not only for entertainment, but for speaking about something that really matters. Hip-hop music, and society in general, would be far better served if we had more rappers like Black Thought.

But alas, today’s hip-hop is what it is. It’s pointless to hate on everything, so instead I choose to focus on the few acts out there, like The Roots, who are really making an effort to talk about the things that need to be talked about. That’s the way it goes I guess. Dr. King certainly wasn’t in the majority either. He stood up and spoke about the things he did because not enough others were. And for that reason, we honor him. Do I dare minimize his contributions by comparing him to a musical group? Certainly not. I just think that in some very modest way The Roots are pioneers and visionaries in their own right. Also, they’re just really, really good. So give a listen, or go catch a show. I doubt you will be disappointed.

Song(s) For The Week: “The Next Movement” from Things Fall Apart, “Guns Are Drawn” from The Tipping Point, and “Game Theory” from Game Theory. Three different songs, from three different albums, reflecting three different styles. “The Next Movement” is from 1999, when The Roots were playing a very jazz-oriented style of music. It’s light and funky, yet a little bit dark. Note the extensive use of the keyboards, played, on this album, by now-famous producer Scott Storch. “Guns Are Drawn” is from 2004, and it shows the R&B and soul side of the band. The track is dominated by the guitar and drums, both played in a very simple and straightforward manner, reminiscent of the soul classics of the ‘60’s and ‘70’s. Black Thought’s genius is complimented here by the soul crooning of Aaron Livingston. “Game Theory”, from 2006, shows the band’s harder/edgier side, as well as their forays into rock-infused rap music. I love this song. It’s aggressive and powerful, yet very complex and aesthetically pleasing. The bassline is groovy; the electric guitar riff is a welcome change of pace; the keys add punch; the beat is tight; and the use of the sampled vocalist adds an element of old-school. Check them out and enjoy!