Talib Kweli tickles eardrums

By Lucian Tucker
Collegian Editor
September 12, 2007

Talib Kweli’s latest album Eardrum begins with some spoken-word poetry: “I don’t remember the first time I heard Kweli.” African drums fade in as the poet starts to praise Kweli for his lyrical finesse. One-third of the way through the track Kweli walks in: “What becomes of a dream deferred that never makes it to the world to be seen or heard.”

Even 19 tracks later, Kweli is spitting lyrics just as thoughtful: “I know a city that’s surrounded by a beautiful beach/The economy boosted by the drugs they move in the street/The water clearer than the crystal sky, blue as the beast/But the people ain’t got shoes for they feet, or food to eat.”

It’s the songs between these two soulful tracks that are questionable at first. That isn’t to say that all of Kweli’s songs have to be meaningful for them to be good.

For example, “Country Cousins,” featuring UGK & Raheem DeVaughn, is a great “chill” track utilizing a relaxing sample. A few songs later, “In the Mood,” featuring jazz vibraphone player Roy Ayers and producer Kanye West, who also does a verse. It’s definitely not soulful: “I got you in the mood, for an interlude/Raw like in the nude, I hope this ain’t considered rude/But let’s stop talkin, cause it’s feelin like an interview/I know you into me, so, let me get into you.”

And then there’s “Hot Thing,” Kweli’s second single off the album. Arguably the best track in the mix, Will.i.am features and produces. What makes “Hot Thing,” and the whole album, so great are the lyrics. “Your body like a flick/It got surprisin’ twists/I write the script/The main character—your thighs and hips/Award for best supporting role go to your eyes and lips/The way you move your body got ‘em stiff like a hieroglyph.”

Kweli is the poet laureate of rap, but that doesn’t mean every piece of his is a masterpiece. “Say Something,” featuring female rapper Jean Grae, is an example. There are some great lines—and fans shouldn’t expect anything less—but the song just falls short of satisfactory. “It’s deep, go ahead and sleep, they know in the street/Kwe’ gon’ flow on the beat proper composin’ complete operas.”

Grae, who’s probably the best female rapper at the moment, does not properly represent her skills on this track either. “Past due, Jean and Kwe’ the last two action heroes/Actually had the capacity, to be the ones in a class of zeroes.”

Besides the previously mentioned, Norah Jones, KRS-One and Justin Timberlake appear on the album, among others. Producers include Timberlake, Pete Rock and Just Blaze.

With 20 tracks, Kweli failed to make every song excellent, but did not fail to make an excellent album. Probability-wise, it’s hard for any artist to compile 20 first-rate songs. Kweli should have followed in Common’s footsteps and limited his album to 13 tracks or less.

However, since Eardrum is selling for the same price as Common’s album, and there are at least 13 quality tracks, Kweli has made this reviewer happy.

tuckerl1@lasalle.edu