Tipping Point’ edgy and intense
The Roots
“The Tipping Point” (Geffen) ““““
Change is constant with The Roots, and “The Tipping Point” once again finds the adventurous hip-hop band moving in a different direction. The group’s follow-up to the Grammy-winning “Phrenology” is sonically edgy and intense, much like its dynamic concerts.
The title refers to Malcolm Gladwell’s book about critical moments that touch off social phenomena, and the album certainly conveys a sense of urgency. Between the riveting beats and frontman Tariq “Black Thought” Trotter’s razor-sharp lyrics about a range of social ills, it’s almost impossible to turn away.
Rapper Skillz joins ODB and comedian David Chappelle on the rambunctious “The Mic,” while “Boom” pays homage to old-school hip-hop stars Kool G Rap and Big Daddy Kane with Black Thought’s dead-on imitations of both.
While “Phrenology” was more ambitious and experimental, the stripped-down simplicity of “The Tipping Point” gives its music and messages a raw energy.
— Steve Jones, USA Today
Various artists
“Music From and Inspired by ‘Spider-Man 2’ ” (Columbia) ““ 1/2
Unlike the treacherous tentacles of Spidey nemesis Doc Ock, the songs linked to “Spider-Man 2” aren’t far-flung; they’re typecast. The pompously earnest “Vindicated” by emo king Dashboard Confessional and the wooden “Ordinary” by Train are more like star Tobey Maguire’s Peter Parker than his superelastic superhero.
That said, some of 2004’s alt-stars try to fly. Hoobastank creates metal filled with angst on “Did You,” power-punk Yellowcard trades its happy sociopolitical lyrics for chirpy romanticism, and Jet and Maroon 5 deliver midtempo soul songs just right for the big makeout scenes.
— Aine Ardron-Doley, Philadelphia Inquirer
The Polyphonic Spree
“Together We’re Heavy” (Hollywood) “““ 1/2
The opening song, “We Sound Amazed,” speaks of a “new religion.” The next one, “Hold Me Now,” mentions a “new age.” And there are numerous references to sunshine and light.
If Tim Delaughter wants to deflect suggestions that there’s something cultish and hippielike about his two-dozen-strong band/chamber orchestra/choir, well, this won’t do it. But if he wanted to channel the spirit of the robed ensemble’s colorful concerts into a strong, inspiring album, he’s done a terrific job.
The giddiness of the band’s spirited chorus and mix of orchestral and rock instruments is focused into an appealingly professional package. Such highlights as “Two Thousand Places at Once,” about keeping your head in stressful times, aren’t so much songs as patchworks of hooks and choruses, but they’re killer hooks and choruses.
Spree fans will find much cause to rejoice.
— Steve Hochman, Los Angeles Times