A Tribe Called Quest Low End Theory CD

A Tribe Called Quest: Q-Tip, Phife (vocals); Ali Shaheed Muhammed (DJ).
Additional personnel includes: Ms. Vinia, Diamond D., Busta Rhymes, Charlie Brown, Brand Nubian, Lord Jammar, Sadat X (vocals); Ron Carter (bass).
Producers: Skeff Anselm, A Tribe Called Quest.
Engineers include: Bob Power, A Tribe Called Quest, Pete Christensen.
Recorded at Greene Street Studios and Soundtrack Studios, New York, New York.
Personnel: Phife Dawg, Q-Tip (vocals).
DJ: Ali Shaheed Muhammad.
Audio Mixers: A Tribe Called Quest; Bob Power.
Recording information: Battery Studios; Greene Street Studios; Soundtrack Studios.
Photographer: Joe Grant .
Unknown Contributor Roles: Diamond D; Dinco D.; Lord Jamar; Sadat X; Busta Rhymes; Charlie Brown .
Arranger: A Tribe Called Quest.
While most of the players in the jazz-rap movement never quite escaped the pasted-on qualities of their vintage samples, with The Low End Theory, A Tribe Called Quest created one of the closest and most brilliant fusions of jazz atmosphere and hip-hop attitude ever recorded. The rapping by Q-Tip and Phife Dawg could be the smoothest of any rap record ever heard; the pair are so in tune with each other, they sound like flip sides of the same personality, fluidly trading off on rhymes, with the former earning his nickname (the Abstract) and Phife concerning himself with the more concrete issues of being young, gifted, and black. The trio also takes on the rap game with a pair of hard-hitting tracks: "Rap Promoter" and "Show Business," the latter a lyrical soundclash with Q-Tip and Phife plus Brand Nubian's Diamond D, Lord Jamar, and Sadat X. The woman problem gets investigated as well, on two realistic yet sensitive tracks, "Butter" and "The Infamous Date Rape." The productions behind these tracks aren't quite skeletal, but they're certainly not complex. Instead, Tribe weaves little more than a stand-up bass (sampled or, on one track, jazz luminary Ron Carter) and crisp, live-sounding drum programs with a few deftly placed samples or electric keyboards. It's a tribute to their unerring production sense that, with just those few tools, Tribe produced one of the best hip-hop albums in history, a record that sounds better with each listen. The Low End Theory is an unqualified success, the perfect marriage of intelligent, flowing raps to nuanced, groove-centered productions. ~ John Bush
With their second album in 1991, they became serious contenders for Public Enemy's (until then) undisputed crown as hip-hop's cultural leaders. However, where their debut was propelled by a disparate array of samples, The Low-End Theory was built on a stricter musical doctrine - its spine provided by bebop jazz. Though jazz-rap crossover would become a staple of popular music in the mid-90s (Gang Starr, Jazzmatazz, etc.), this album played a substantial part in breaking down barriers between genres. Phife Dog and Q-Tip are on great form too, making the most of Quest's energetic production with cool asides and insightful observations ('The Infamous Date Rape', 'Showbusiness').Rolling Stone (5/13/99, p.70) - Included in Rolling Stone's "Essential Recordings of the 90's."
Rolling Stone (12/11/03, p.131) - Ranked #154 in Rolling Stone's "500 Greatest Albums Of All Time" - "Each time Q-Tip rhymes over Carter's bass lines, the groove just gets deeper."
Spin (9/99, p.136) - Ranked #32 in Spin Magazine's "90 Greatest Albums of the '90s."
Vibe (12/99, p.160) - Included in Vibe's 100 Essential Albums of the 20th Century