THE ROOTS
The Roots Come Alive
(MCA) ****
There's a reason why hiphop artists don't release live albums. In modern day hiphop, studio artistry doesn't necessarily translate to onstage showmanship. Rappers scream incomprehensible lyrics into their mics in competition with eardrum-shattering, pre-recorded beats, complain about how fucked-up the sound system is, and -- in an act of shameless posse promotion -- bring out an endless stream of spin-off groups no one in the audience really cares about. And who wants to hear all that nonsense recorded on CD?
Such poor showmanship is antithetical to hiphop's roots. As Rakim succinctly pointed out, MC means "move the crowd." Aided by his DJ, a rapper is supposed to get fans nodding their heads, waving their hands in the air, and collectively shouting back choruses. A hiphop show, in the old school sense of the word, is supposed to be a party. And like any party, hearing about it secondhand just isn't the same as being there.
Enter hiphop anomaly the Roots. Dispensing with D.A.T.S. and turntables in favor of real drums, bass, keyboards, and human beatboxing, the Roots serve up a jazzy, organic sound both in the studio and on stage. More revered for their concerts than their albums, they've wowed millions of fans at thousands of gigs across the globe, and are considered by many critics and rappers alike to be the best live hiphop act on the planet. This makes their new disc of live material a bit of a litmus test for live hiphop recordings in general. If they can't pull it off, no one can.
Recorded at different shows in Zurich, France, New York, and their hometown of Philadelphia, the songs on Come Alive segue seamlessly, creating the illusion of a single live set. The sound is obviously less polished, but tracks like "Next Movement" are recreated faithfully, while lead rapper Black Thought delivers his alternately witty and thought-provoking lyrics with the finesse that has branded him as one of the best MCs in the game.
There's an emphasis on newer material -- about half the disc covers their latest and most commercially successful release, Things Fall Apart -- but Black Thought alters his pitch, changes up his pace, and adds spontaneous singing and scatting to make each cut fresh. Meanwhile, the turntable, drum, and bass vocal sound effects by beatboxers Rahzal and Scratch become all the more impressive when you know they were recorded on the spot, without production tricks or multiple takes.
Playing call-and-response games with the crowd, ebbing and flowing with their energy, Thought's voice drops to a whisper on the more politically charged rhymes of "Step into the Relm," then booms thunderously as he rouses the house with the chorus. The hijinx on "Esaywhuman?!?!!!" illustrates how much fun the band is having.
The one conspicuously absent aspect to Come Alive is the "Hiphop 101" segment of the Roots' live show -- a medley of crowd-hyping, old school classics that reflects the borrow-cut-and-paste aesthetic at the foundation of hiphop. Who knows why they left out this tremendously popular cornerstone. Perhaps publishing clearances were cost prohibitive, perhaps the spontaneous party vibe was impossible to recreate, perhaps they just didn't want to shoot their entire live wad on wax. DAVID WOLLOCK
THE CHARLATANS U.K.
Us and Us Only (Universal)
***
Many dismiss the Charlatans U.K. as a bad Stone Roses copy. Others deride the Northwich U.K. band as being hopelessly outdated, a band plagued by bad luck and happenstance (keyboard player Rob Collins was first jailed for armed robbery, then killed in a car crash; and recently the band's accountant was jailed for embezzling close to $1 million from the band's funds). In truth, they are neither. The Charlatans moved on years ago from their baggy dance-floor infatuations to such a degree that on this, their sixth album, singer Tim Burgess occasionally sounds oddly Dylan-esque. And as for their having bad luck... yes and no. After all, the Charlatans are the only rock band in the '90s to have topped the U.K. album charts four times. Hardly the action of losers.
Us and Us Only is a bloody-minded, occasionally magnificent, brooding album. It mixes in the classic Americana country imagery of old school rock bands like Little Feat and Canned Heat with thudding, dance floor-filling beats. It features solemn instrumentals and unashamed stadium-fillers. Melodica seasons the mix, as do the swirling, church-like organ fills from new Irish gypsy keyboardist, Tim Rodgers. Us and Us Only is, unashamedly, the Charlatans U.K. in all their bloodied, graceless finery. And for that, their fans will be grateful. EVERETT TRUE
In Stores Dec 7
Notorious B.I.G., Born Again (Bad Boy/Arista) Full of guest shots by the hiphop glitterati, because they have to ration out Biggie's unreleased recordings since HE'S STILL DEAD.
Methods of Mayhem, Methods of Mayhem (MCA) Full of guest shots from rap-rock's glitterati, since TOMMY LEE IS ALMOST 40.
Sheryl Crow, Live (A&M/Interscope) Full of guest appearances from adult contemporary's glitterati, since SHE'S BORING LIVE.
Cypress Hill, Los Grandes Exitos En Español (Columbia) An all-Spanish album featuring Latino hiphop glitterati Control Machete, SINCE THEY'RE TOO HIGH TO TRANSLATE TO ENGLISH.
Juvenile, Tha G Code (Cash Money/Universal) Probably full of guest shots by the Cash Money crew, but Juvenile has proved he can hold it down on his own with "Back That Thing Up," his ode to big, fine women. This is the jewel of this week's new releases, SINCE HE'S OFF THE HOOK!
