Lupe Fiasco's The Cool CD

Personnel: Chris Goss, Josh Homme (guitar); Philip Shepherd (cello, electric cello); Richard File (piano, organ, synthesizer, programming); Cosmic (keyboards); James Book (bass guitar, programming); Dave Henderson (drums); Pablo Clements (programming, background vocals); Chris Allen (programming); Aidan Lavelle, James Lavelle, Soul Children of Chicago (background vocals).
Additional personnel: Graham Burris (vocals); Sarah Green, Matthew Santos, Gemstones, Bishop G, Nikki Jean, Pooh Bear, Snoop Dogg, UNKLE.
Building on the success of his acclaimed debut, FOOD & LIQUOR, Chi-town representative Lupe Fiasco returns with a concept-themed record, THE COOL. Evenly balancing intelligent lyricism, poetic symbolism, and catchy pop-themed production, Lupe's sophomore effort partially follows the story of the ghetto Everyman, the Cool, in his ever-changing relationship with the Streets and the Game. Still, it's not all high-concept here. Lupe also celebrates the spoils of superstar glamour on the catchy single, "Superstar," and the travel-fantasy track, "Paris, Tokyo," and enters more experimental territory with the help of British trip-hop act, U.N.K.L.E. on "Hello/Goodbye (Uncool)." THE COOL features production work from Soundtrakk, Chris & Drop, Patrick Stump, and Chris Goss, among others, as well as guest appearances by Sarah Green, GemStones, Pooh Bear, Nikki Jean, Bishop G, Graham Burris, Unkle, Matthew Santos, and Snoop Dogg.
Fully understanding the details of the concept spread across The Cool, first introduced on Food and Liquor's "He Say/She Say" and "The Cool," may only happen after pointing a Lupe Fiasco decoder ring toward Chicago during the vernal equinox, but the synopsis is simple: a fatherless boy is raised by supernatural characterizations of the streets (named the Streets, not to be confused with Mike Skinner) and the game (named the Game, not to be confused with Jayceon Taylor), squanders his potential, becomes motivated by greed, turns to dealing drugs, gets caught up on a few levels. A key piece to understanding the details is "Pills," an "I Gotcha" B-side that can also be found on some non-U.S. copies of Food and Liquor and the MTV2 My Block: Chicago compilation. Coming from an ambitious MC who is only on album two and considering retirement due to various forms of dissatisfaction -- including what the actual streets and the actual game have done to hip-hop -- The Cool has a kind of set-up that may provoke some involuntary tedium preparedness. Lupe incorporates the hyper-expressive, pincushion-sensitive male rock voice wherever it is feasible. (The appearances that come from female voices are much more affecting.) Ditto modern quasi-symphonic soft rock, sometimes toughened up by pensive, churning guitars. Ditto dramatics laid on so thickly that they tend to take a turn toward the acutely melodramatic -- and on this album, strings and other drama signifiers are nearly as integral as the beats beneath them. Even considering the over-abundance of elaboration on all fronts, it's a credit to Lupe that he has made an album that cannot be processed after one or two listens, and if you have the time, its inscrutability turns into mere complexity. (And it turns out that, at the very most, only a third of the album is conceptual, even though it looks and initially sounds like it.) He is one of the most clever artists around, and as far as telling stories with rhymes goes, he's way up there, best exemplified by "Hip-Hop Saved My Life" (a gripping story about a struggling rapper) and "Gotta Eat" (where Lupe's inspiration for metaphors is a cheeseburger, yet it is no more corny than Main Source's classic "Just a Friendly Game of Baseball"). For anyone opposed to their own perception of Lupe Fiasco -- the always-thinking, always-plotting, uptight moralist brainiac, for instance -- The Cool will sound like meandering, overblown prog-rap that is far less tolerable than Food and Liquor. For anyone sick of hearing MCs who bRolling Stone (p.62) - 4 stars out of 5 -- "THE COOL goes for softer, jazzier R&B hooks, yet the lyrics are even tougher in their street-level attack on hip-hop materialism."
Spin (p.105) - 3.5 stars out of 5 -- "The beats pulsate rather than bang, Lupe's voice dances in and out of shadows..."
Entertainment Weekly (p.75) - "Fiasco's wide-ranging pop instincts rarely fail him....It turns out randomness makes for a surprisingly unifying concept." -- Grade: A-
Q (Magazine) (p.103) - 4 stars out of 5 -- "[T]his doesn't disappoint, adding emotional depth to his complex rhyming and heft to the productions..."