Yet, no album can be immaculate. While the rap verses on “Country Cousins” featuring UGK and Raheem DeVaughn were great and exemplified the diversity of the album, the chorus on the song sounded more like a ploy to reach into his Southern base rather than a genuine effort. (I’m sure that wasn’t the intention, but that’s how it came out.) Also, the chorus for “Give ‘Em Hell” was lacking despite having singers Coi Matteson and Lyfe Jennings on deck. The album ends with “The Nature” featuring and produced by Justin Timberlake; a part of me wishes it hadn’t. It was an awkward and unnecessary ending to an otherwise impressive album. I would have liked to see "Listen," the first of many singles that weren't singles, be his last song, which might have made for a more appropriate ending. Outside of those little bumps, the road down this album is rather scenic and avant-garde.
In Talib Kweli’s career, he’s been known to experiment with flows, beats he rhymes on, and artists he works with. This album still incorporates that feeling, yet he also reminds people why his fans regard him so highly; he truly is an artist with his words and his music represents a hope for balance in the hip-hop community. With other features like Norah Jones, Strong Arm Steady, KRS-One, and Sa-Ra, and production from Just Blaze, KWAME, Pete Rock, and Hi-Tek, one could only wonder if this album would be much too overcrowded to have any album continuity.
Fortunately, it has that continuity, and then some. Kweli has proven that he can hold down an album all his own, but having this collection of talent makes this album all the more potent. In other words, go get that.
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