4. Jealousy

There's gotta be something about you, when accomplished A Tribe Called Quest drop their style of music, to pick up yours. When real musicians like Ahmir of the legendary Roots crew, step outta their way, to give you props like whoa. When your record creates a buzz, before it is even officially released, and the demand is supplied by bootleggers, because the label politicks is messing things up again. And as cool this might be for JayDee, as cool T'3 and Baatin Melchizedek might be with the attention this attracts to their record, at times they still have to feel reduced to just being the dudes that rhyme over Jay's beats. But it was their chance to teach the world better, as they had all of "Fantastic Volume II" to show the doubters how nice they are. And it's almost funny, how desperately they fail.

But let's not cut the chase, and start where the album picks up, with the "Intro". After the alarm clock woke up everybody in front of a speaker, the organ rolls along the crisp drum, and humming bass. The bass is also what makes "Conant Gardens" appealing. The whole bareness of this is allowing much room for the rappers, who use it to sound like masturbating Cru members, or a bizarro mirror reflection of the creativity that went into the beat. Throughout the whole album, the beats are always appealing, while the lyrics slack so bad, you are tempted to return to the store and ask for an instrumental version of this. On "I Don't Know", things get very club friendly, but in a jazzy and musical way. Speaking of jazzy, Jazzy Jeff is featured on this track, lending his still impressive turntable wizardry to the mix. Showing that Jay Dee is part of the Ummah, or how much of the Ummah sound is actually just Jay Dee, "Jealousy" sounds like much from the two latest Tribe albums. Funnily enough, as it's now not a Tribe track, it's really dope. But would it be a Tribe track, it still would be disappointing.

The next sex you up track is called "Climax (Girl Shit)". You'll be hard tempted to find anything worth quoting, as this is on some strictly "but I ain't never fucked wit' a menage a trois / it's three like the stripes on the Adidas / getting live like we at the Mardi Gras". The beat, or better music is on a whole 'nother level though, with super smooth organs, a well fitting female singing the hook. Very beautiful. The warmth is further displayed on "Hold Tighhht" featuring Q-Tip, that seems to borrow some ideas from a Roots track, while still sounding real nice. The guests keep on coming in, as D'Angelo lends his voice to "Tell Me", Busta Rhymes to "What's It All About" and Kurupt to "Fourth And Back". The beats remain in the same ballpark, but each inning has it's own character, moving from more smoothness to intelligently trying to get you dancing.

"Untitled (Fantastic)" also opts for an organ sound and voice echoed throughout the track (another Jay Dee special feature), before "Fall-N-Love" moves further in smoothness, with well fitting singing, a vinyl rustling in the back, echo put to the drum kick. This really should be listened to in an instrumental environment, this asks for a glass of red wine, beige colors and appreciative had nodding. And it's magical how Jay manages to get a certain westcoast thump into "Get Dis Money", how to make a track with such a stupid name be appealing. But when he goes for some mid 80s synthesizer bubble something on "Raise It Up", things not only change in vibe, but also in appeal. Things now match the lyrics, them being weak, but it's not like this is progress. "CB4" also falls short to repeat some of the beauty already showcased on this record, what leaves us with progressing to "Once Upon A Time" feat. Pete Rock.

Back on the right track, Jay progresses with another summer night vibe with "Players", before he reaches for the funk on "Eyes Up". The Slum does the best Fred Wesley impersonation, while on "2 U 4 U", the strangle rambling can't make sense in a lyrical way, but more in a random uttering way, as T'3 goes "don't need a chick / to be my chick / if you gon' be my chick / then be my chick / don't talk no shhh (talk no shhh) / who you with? (who you with?) / oh, you with him? (oh, you with him?) / then pack your shhh (then pack your shhh) / I guess it's meant / for us to split / it must be meant / for us to split / I'll be the man (I'll be the man) / to understand (to understand) / I'll understand (I'll understand) / I'll be the man (I'll be the man) / see, what you do / it's up to you / it's up to you / what you do".

"Go Ladies", that starts out being a complete Tribe TV dinner, changes into a handclap tune, that's okay, but not able to end this album on a good foot (beware of the hidden outro though). It allows us to rightfully say, that while this got the handicap of being 2 years plus old, it still pleases us excessively at times, while at times going on our nerves sufficiently. And that's just talking about the beats. With the lyrics, this is on a lower level. If this is meant to be random rambling like a jazz cat does a times, or like funk people do to complement their tracks, then it's okay. But if this is meant as lyricism, as anything remotely related to emceeing, then it's straight up ridiculous. As said, it might be better demanding an instrumental copy of this. And if again the business is not able to provide this, then you have to walk over to the bootlegger, just like it's all the same all over again.