A Pre-Nursing major with a minor in Psychology, Savannah Hare, from Blanchard, Oklahoma, wrote this essay for Timothy Bradford’s “Spirituals to Hip-Hop” class.
It’s a late evening in September 2022, and I am driving my roommate to Texas for my first OU vs. Texas game. One thing I enjoyed so much about my roommate Gabby was our shared love for music, specifically hip-hop. We bonded over our favorite artists such as Drake, J. Cole, and Tyler, The Creator, and we always took turns on the AUX on long rides. “Check the Rhime” was the first song from A Tribe Called Quest that really caught my attention. When I heard the 8-count drum hit, alternating with a catchy “uh” from Q-Tip, I was instantly intrigued, and this Tribe classic quickly became our song. I would turn to her and say, “You on point, Phife?” and she would finish the line, “All the time, Tip.”
This snappy hook features the distinct horns from a 1976 jazz track by Average White Band (“Check the Rhime”). The art of sampling in hip-hop is something I have always taken time to investigate, and A Tribe Called Quest was well known for this, especially with jazz records. Their unique use of sampling in early hip-hop and the huge success of A Tribe Called Quest informs much of modern day hip-hop. Many hip-hop artists of the 21st century can credit much of their style and many of their techniques to A Tribe Called Quest, and although people of my current generation are not particularly familiar with them, their alternative sound made a huge impact on hip-hop. With hip-hop taking America by storm in the 90s, a different approaches to this genre made certain artists stand out more than others, and a A Tribe Called Quest definitely made their mark, despite the constant shift in musical trends and the overshadowing of gangster rap.
First off, let me introduce this group properly. A Tribe Called Quest is a hip-hop group created in 1985, straight out of Queens, New York. Composed of four artists– Q-Tip, Phife Dawg, Ali Shaheed Muhammad, and Jarobi White, all New York natives. Originally called “Quest” (being formed from The Jungle Brothers and Q-Tip), this name was changed while Q-Tip was recording an album for their project “Straight Out The Jungle,” where he introduced his verse with “I’m from a band called Quest.” Jungle Brothers member Afrika Baby Bambaataa was working with the group at the time and made a suggestion–“say something like, ‘I’m from A Tribe Called Quest,'” and the name stuck from there (Rapaport).
This idea of calling themselves a “Tribe” fit their longstanding beliefs around African American heritage. In Michael Rapaport’s documentary, Q-Tip and Phife Dawg tell their stories on how this group came to be. Growing up in Queens, these members had a shared love for their surroundings and familiar backgrounds. Member Q-Tip had a very close relationship with Phife Dawg, as they attended the same church as children, becoming close friends at two years old (Rapaport). Q-Tip had an early love for music; he and Phife Dawg started playfully rhyming and rapping at just age nine (Rapaport). They later met Jarobi, who introduced Phife and Tip to Ali, and from then on, it was history. Sharing ideas and like-minded views on positive lyrics and never putting on a facade or playing a tough role, this group formed a deep connection at a young age, which aided in their 17-year-long run.
Being so close in relationship and location, there is a personal connection apparent in their music. Tricia Rose, sociologist and New York native herself, states “hip-hop is deeply rooted in the specific, local experience” (“All Aboard” 33). This common experience among members formed a safe space for them to creatively express themselves. Being from an area that produced musical legends, A Tribe Called Quest was influenced greatly by Run-D.M.C and LL Cool J (Rapaport). These New York hip-hop artists had a huge impact on the hip-hop movement in the early 80s, bringing it to the media spotlight (Shekell). Mesmerized by hip-hop everywhere, listening to the block parties down the street, and beatboxing at the lunch table, Q-Tip and Phife Dawg had a yearning for this sound (Rapaport). Their upbringing and shared interest in music formulated their strong passion for the art that was to come.
The first album released by A Tribe Called Quest in 1990 was titled People’s Instinctive Travels and the Paths of Rhythm, which was full of playful, light-hearted lyrics, and a strong sense of afrocentrism. As members of the Native Tongues Posse, the members of Tribe were promoters of the Afrocentricity movement (Larkin). Afrocentrism is defined as “focusing on the history of people from African descent” (“Afrocentric”). Embracing this meant that Black heritage became a major theme in A Tribe Called Quest’s music. Being placed in a similar sound and category as hip-hop group De La Soul at the time, the exuberant, humorous approach to hip-hop in this album was the debut of the Tribe’s successful formula. This album had a proud Black sound and a complex rhyming technique some could not decipher (Williams 54). This style put Tribe in a more artistic light, with a conscious approach to hip-hop, and this album widened hip-hop’s vocabulary, building new music from preexisting tracks, creating something sonically unheard of. And while People’s Instinctive Travels and the Paths of Rhythm was not necessarily an extreme change in current sounds from East Coast hip-hop, there was definitely something new about this album (Abdurraqib). The production styles were advanced, but more innovation was in the works as Tribe approached their next albums.
As we all know, jazz is a notable form of African American music, and it started making its way into the hip-hop genre in the early 90s. This new style of hip-hop received mixed opinions at the time, but Tribe took a risk with this somewhat unusual approach. A Tribe Called Quest soon became the face of this new subgenre of music, called “jazz-rap.” For many, A Tribe Called Quest introduced listeners to jazz. Many artists were familiar with older forms of African American music through their parents, and jazz records were readily available to be sampled and mixed into tracks (Williams 53). Q-Tip had an avid love for vinyl records and was always seeking new sounds to sample (Rapaport). Musician Questlove shares his take on this idea when he states “The canvas they used [A Tribe Called Quest] was a bunch of records that were in our parents’ collection that we didn’t bother to notice” (Rapaport). Q-Tip focused on incorporating many elements of jazz in the production, with samples from Stevie Wonder and Earth, Wind and Fire, as well as bass lines performed by jazz bassist Ron Carter, on “Verses from the Abstract” on The Low End Theory (Larkin). Tribe brought significant exposure to jazz-rap and influenced the lyrical and production styles of many twenty-first century hip-hop and R&B artists. Bridging the gap between jazz and hip-hop was genius, and was exemplified perfectly in The Low End Theory. The musical ancestry of hip-hop and jazz made it easy for the two genres to be combined, especially with A Tribe Called Quest originating in New York, a place many famous jazz artists call home.
The Low End Theory helped solidify the idea of jazz-rap, featuring laid-back instrumentals paired with rhythmically intricate lyrics. In addition, focusing on sampling tracks was customary for Q-Tip and Ali when producing this album. Q-Tip was invested in jazz; while constantly conceptualizing and organizing sounds in his head but being unable to play any instruments, he turned to record sampling (Wheeler). Taking parts of the sounds he was searching for from records, he pieced them together to create unique beats, such as “Jazz (We’ve Got).” This track samples saxophonist Lucky Thompson’s first four measures from a jazz standard track (Williams 56). Using numerous samples on many tracks revealed the creative mind of Q-Tip coming to life, sampling and scratching each record till the desired sound was put together. This sampling technology was a major innovation for hip-hop. Using multiple tracks for drums, rhythms, or vocals was a clever way to lay a quality, technologically advanced foundation for elaborate lyrics (Rose, “All Aboard” 55). Tribe utilizes this sampling technology throughout their music; a staple in each album, it has become a crucial piece in hip-hop today.
Many modern-day artists can attribute their sounds, sampling techniques, and lyric content to A Tribe Called Quest. Although Tribe did not invent sampling, they definitely popularized it. Producer and artist Pharrell Williams shared his fond adoration of Tribe in the Beats Rhymes & Life: The Travels of A Tribe Called Quest documentary. “Bonita Applebum” was a major step towards a slowed-down, alternative type of hip-hop song in Tribe’s discography, and Pharrell states that he was immediately obsessed with the track: it had a sound that he had never heard before (Rapaport). Sampling up to four soul, jazz, and rock songs, ranging from jazz producer Roy Ayers to soul artist Eugene Daniels, the combination of these sounds created something unique (“Bonita Applebum”). Pharrell emphasizes how he changed his style of producing completely, from just wanting to create “hot beats” to really considering the elements Tribe was using (Rapaport). The visionary character of Q-Tip and Ali paved the way for modern-day artists today; think of Kanye West, Tyler, The Creator, J. Cole, Kendrick Lamar and many more. However, the layers of samples and using numerous tracks per song in the sampling world during the earlier period of hip-hop was coming to an end. As it became more popular, lawyers got involved, and lawsuits started to limit the use of sample technology. Today, samples must be legally approved before being published, so there is a difference here. Even so, there are many layers of sound to Tribe’s music; aside from the production, the lyricism often has a deeper-than-surface-level meaning.
Present in A Tribe Called Quest’s albums is an undeniably addictive flavor: an Afrodiasporic theme running throughout their lyrics, beats, and stories. Afrodiasporic relates to the people of Africa, with cultural expressions becoming common themes and influencing style in hip-hop musical compositions (Rose, The Hip Hop Wars). Member Ali Muhammad states in the documentary titled Beats Rhymes & Life: The Travels of A Tribe Called Quest that when first arriving on the scene, people were questioning their style: “Who are these nerdy guys?” Through their appearance and proud representation of their culture, A Tribe Called Quest spread afrocentricity throughout New York and to their listeners, inspiring others to display their natural afros and kente cloth (Neblett). Tribe representing this in their style was important for Black culture, and beneficial for the growth of Black success. On their third album, Midnight Marauders, they named a track “Steve Biko” after the progressive Black South African activist who died in law enforcement’s custody, bringing more political issues to the table, while also having a sound steeped in Blackness (Neblett). Considering the painful history African Americans have endured, it was valuable for emerging Black artists to succor listeners who were seeking their identity.
I had always wondered why people my age were not familiar with A Tribe Called Quest, but could name many Ice Cube, Snoop Dogg or Dr. Dre tracks. It became apparent to me that West Coast gangster rap was predominant during the 90s, and East Coast artists such as A Tribe Called Quest and De La Soul were still well-known, but not typically as identifiable. In the 1980s, hip-hop had started solidifying its public view in America. By the 90s, West Coast hip-hop was at the top of the charts, putting East Coast hip-hop (New York- the birthplace of hip-hop) in a major rut (Wheeler). Gangster rap pushed this idea of gangstas, hustlers, and hoes into the commercial mainstream of hip-hop. The original creative storytelling and visualization of meaningful themes was now challenged by a more tough, “thuggin’ and pimpin’” trend, stemming largely from West Coast gangster rap (Rose, The Hip Hop Wars). West Coast artists, such as N.W.A and Dr. Dre, are some examples of this trend, capitalizing on a more gangster lifestyle, which many believe is centered around violent, vulgar themes.
By the 1990s, the conscious, vibrant, culture-stimulating core of hip-hop previously seen from East Coast artists had taken an alternate turn, becoming very commercialized in the West, and this was the new image of mainstream hip-hop (Rose, The Hip Hop Wars). Even so, Tribe recognized the importance of Black culture, with Afrocentrism as the heart of their style, welcoming the Black community to their world of music. This was a very different approach to Black empowerment compared to many West Coast artists. N.W.A (composed of well-known hip-hop artists Ice Cube, Dr. Dre, Eazy-E, DJ Yella, and MC Ren) stood their ground for young Black people by releasing “Fuck The Police,” speaking against the police brutality happening in the area they grew up in. In the fallout, they received letters from the distressed FBI, as well as faced gangster rap bans and protests. This shifted the essence of hip-hop. However, Tribe kept advocating their beliefs consciously and smoothly (Abdurraqib). Singer/songwriter John Bush even stated that Tribe led and perfected the hip-hop alternative to gangsta rap (Williams 64). Though this made them stand out, they were unapologetically Black, and not profit-oriented or publicized in a dramatic way. Tribe is still well recognized by other musicians and hip-hop historians for their contributions to hip-hop and methods of blending sensitive topics with alternative sounds for listeners to indulge in.
Tribe’s Afrocentric focus on African American culture has influenced twenty-first-century rap lyrics. Kendrick Lamar, for example, uses storytelling elements similar to Tribe, such as lyrically complex verses about his upbringings, beliefs, and the overall experience of being a young Black person from Compton. J. Cole attributes much of his style to Tribe as well. As a producer, J. Cole utilizes sampling very consistently. In “Forbidden Fruit”, a track off his 2013 album Born Sinner, he samples A Tribe Called Quest’s track “Electric Relaxation” from Midnight Marauders. “Electric Relaxation” also samples a jazz track from the early 70s, called “Mystic Brew” by Ronnie Foster (“J.Cole”). Cole also incorporates many alternative jazz styles into his recent music, consistently altering the sounds and rhythms of each album, something Tribe pioneered. With “Forbidden Fruit” being one of my favorite J.Cole tracks, I especially loved when towards the end of the track, he shouts out Tribe: “Word to Phife, Q-Tip, Ali, and Jarobi, What up Queens” (“J. Cole”). J. Cole shows Tribe’s influence as he expresses his life stories and artistic ideas in his music, whether in a fun, playful way or a more serious tone, and he openly acknowledges this influence too.
With many new forms of hip-hop coming into the picture as we move from decade to decade, young rap fans tend to lose the idea of genuine hip-hop and its origins, especially when many contemporary artists shift their purpose for radio plays and media attention. However, with each new track being put out, Tribe stayed loyal to Tribe, not basing their sound on what was “cool” at the time (Wheeler). The door Tribe opened to jazz, eccentric beats, and clever rhymes showed that they embodied the idea of “real hip-hop,” without artificial filler tracks or lousy efforts in their words, which made them authentically themselves. Rap groups are still emerging, such as Migos and A$AP Mob, but none will come close to the legendary A Tribe Called Quest (Abdurraqib). They succeeded as a Tribe, no one else.
Continuing the sense of keeping hip-hop “real” is not as uncommon as you may think. There are many artists in this decade who are comparable to Tribe. Twenty-first-century hip-hop artist Anderson Paak exemplifies elements of authentic hip-hop (Abdurraqib). Paak even joined A Tribe Called Quest on stage for their 2017 Grammys performance, performing confidently with his idols (Abdurraqib). From working together on Tribe’s final studio album, We Got It from Here… Thank You 4 Your Service, to incorporating jazz elements into his music similarly to Tribe’s techniques, Paak shows much adoration towards the group. A few of my favorites, Joey Bada$$, Isaiah Rashad, and Denzel Curry, are also great examples of the closest and most current forms of “real” hip-hop before us. All these examples of conscious hip-hop, a subgenre of hip-hop, are not presenting a picture-perfect sonic surface, but are digging deep into meaningful topics and emotions. The shared theme among all these rappers is that they are producing auditory visuals of what they genuinely love in their music, and bringing their creativity to life through their work.
The undeniable impact A Tribe Called Quest had on the music of their time extends deeply into rappers of the twenty-first century, even with the huge demand and commerciality being centralized around West Coast gangster rap. Their improvisation and musical fruition were legendary. By incorporating underground jazz and soul tracks into each album, all while keeping hip-hop fans listening and constantly on their toes, A Tribe Called Quest took over East Coast hip-hop. With West Coast hip-hop capitalizing on a fearless, slightly aggressive attitude, Tribe was in their own lane, profiting off what they love. Though they differed from the overall idea of hip-hop, they provided a refreshing, welcoming atmosphere, staying true to their roots and heritage. Their influence and open-minded character created a discography of revolutionary music, which gave hip-hop listeners a new eye, a new way of seeing things. A Tribe Called Quest taught their audience and disciples many things about music, but more importantly, one thing about life–be yourself no matter the circumstance.
Works Cited
Abdurraqib, Hanif. Go Ahead in the Rain: Notes to a Tribe Called Quest, Melville House UK, 2019. ProQuest Ebook Central, https://ebookcentral-proquestcom.ezproxy.lib.ou.edu/lib/ou/detail.action?docID=5968851.
“Afrocentric.” Merriam-Webster.com Dictionary, Merriam-Webster, https://www.merriam-webster.com/dictionary/Afrocentric. Accessed 4 Apr. 2023.
“Bonita Applebum.” Genius, genius.com/A-tribe-called-quest-bonitaapplebum-lyrics. Accessed 7 May 2023.
“Check the Rhime.” Genius, genius.com/A-tribe-called-quest-check-the-rhime-lyrics.
“Forbidden Fruit.” Genius, genius.com/J-cole-forbidden-fruit-lyrics.
Larkin, Colin. “A Tribe Called Quest” The Encyclopedia of Popular Music, 4 ed., 2009, https://www-oxfordreference-com.ezproxy.lib.ou.edu/display/10.1093/acref/9780195313
Neblett, Touré. “The Legacy of A Tribe Called Quest.” The New York Times, The New York Times, 24 Mar. 2016, https://www.nytimes.com/2016/03/25/opinion/the-legacy-of-a-tribe-called-quest.html. Accessed 10 March 2023.
Rose, Tricia. “All Aboard the Night Train.” Black Noise: Rap Music and Black Culture in Contemporary America. Wesleyan University Press, 1994.
—. The Hip Hop Wars: What We Talk about When We Talk about Hip Hop–and Why It Matters. Civitas Books, 2008.
Rapaport, Michael. “Beats Rhymes & Life: The Travels of A Tribe Called Quest.” Sony Classics, Sony Pictures Classics, 8 July 2011, www.sonyclassics.com/beatsrhymesandlife/. Accessed 10 March 2023.
Shekell, Dustin. LL Cool J. Infobase Publishing, 2007.https://books.google.com/books?id=E7gpA25iaD8C&lpg=PA5&dq=ll%20cool%20j%20and%20run%20dmc&lr&pg=PA5#v=onepage&q=ll%20cool%20j%20and%20run%20dmc&f=false. Accessed 7 May, 2023.
Wheeler, Darby, director. Hip Hop Evolution: Do the Knowledge. Banger Films, 19 Oct. 2018, www.netflix.com/watch/80190201?trackId=155573558.
Williams, Justin A. “The Construction of Jazz Rap as High Art in Hip-Hop Music.” Rhymin’ and Stealin’: Musical Borrowing in Hip-Hop. University of Michigan Press, 2013, pp. 47–72. JSTOR, http://www.jstor.org/stable/10.3998/mpub.3480627.6 Accessed 10 Apr. 2023.