The Renaissance is just Q-Tip’s second album in the ten years since A Tribe Called Quest called it quits. Q-Tip handled the production duties himself, and this lean.

Finally, The Renaissance has arrived, and it has definatley worth the long, long wait. This album has finally restored my faith in hip-hop music, plus the excellent production from the late, great J-Dilla (RIP), and of course from Q-tip himself, help make this album a winner. This album is not for those, who are looking for crunk-y club stuff, but for those, who just want to chill to the jazzy, soulful vibes, and of course, the mellow mc-ing of Q-tip himself, totally free of all that violent, sexist crap that plagues mainstream rap.

Nov 18, 2008 Official video for Q-Tip's 'Renaissance Rap'. The Renaissance is just Q-Tip’s second album in the ten years since A Tribe Called Quest called it quits. Q-Tip handled the production duties himself, and this lean. The Renaissance is the second studio album by American hip hop artist Q-Tip, released November 4, 2008, on Universal Motown Records. The follow-up to his solo debut.

I would also reccomend Q-tip's unreleased 'Kamaal The Abstract' album, which is incredibly original and awesome, but that is more Jazz-Rock-Funk-Soul-Fusion, than Jazzy-Soulful-Hip-Hop.

When the best rapper/producer in hip-hop history spends almost a decade without a record on the shelves (despite his best efforts), it has to be considered a crime -- if not a tragedy. Difficult to tell, though, is why was bounced to five different labels within six years. He never pronounced himself angry about the situation, saying only that he continued to work, reportedly recording three full albums that were never released. (At least one of those, 2003's, was a reality, since it was only denied a release after promos were sent out.) His long-awaited return on is no disappointment, offering more of the same understated, aqueous grooves and fluid rapping that has built his peerless career on. Although it has a few more message songs than his dance-heavy debut from 1999 (), many of these tracks are club grooves painted with the same production touches as ten years earlier; his work is still excellent 20 years after his career began, but he seems less interested in spinning four minutes of fluent rap for each track. (Granted, he's carrying this show alone, with no to take every other verse. Pop Rocks Font Free. ) Some of the songs are built with a live group (including guitarist ), although they usually sound programmed.

One thing is for sure: is still a master of pacing and atmosphere, structuring the first half of the record so smoothly that listeners may not notice a transition until the sixth track, 'We Fight/We Love,' which contrasts the perspective of a man in the middle of war with a woman left alone. The closer, 'Shaka,' got the most attention leading up to release, since an early version sampled (perhaps coincidentally, was originally scheduled to be released on Election Day). Sounding like a latter-day and, and very similar to the unreleased, is a worthy comeback for the man who's arguably done more to make hip-hop enjoyable than any other figure.