DeLaWho? DeLaWhat? DeLaWhere?

I promised that I would post a review of Talib Kweli's new album "The Beautiful Struggle", but I never said it would be mine. After reading my friend, Dave Berman's (a fellow Denison student) review in the Denisonian, I have decided to post his unique and expressive review. My former prospective host shares very similar musical tastes and he has a way of expressing his opinions and takes on music in a clear and concise fashion. Check out his fledgling blog Always Outnumbered, Never Outgunned. To the review...

Dear Talib Kweli,
I was really feeling your work with Mos Def and Hi-Tek on the Black Star and Reflection Eternal albums, respectively.
I was confused by your direction on your first solo album, Quality, but I was still with you and curious where you would go next.
I am writing this letter because I am worried about your latest project, The Beautiful Struggle.
You have created an album that is so at odds with itself, I can't help but wonder if you made two different albums and put the best tracks from each on a single disc.
It is, at once, a masterpiece and a disaster. It's a disasterpiece.
All I can figure is that one of these two albums was for the true hip hop heads and the other was for the easily impressed teenybopper set.
I understand Talib, you gotta get paid.
But did you have to ruin what could have been a stellar album with club-ready tracks that any wet-behind-the-ears-Chingy-type cat could rip?
Where do I begin?
Well, there's "Back Up Offa Me," produced by the hit-or-miss Hi-Tek who laced you beautifully on the Reflection Eternal album.
You say on the song "radio suckers never play me 'cause I don't let 'em."
Don't be too sure Talub. When radio programmers hear this track, which is equally catchy and void of meaning, they might just latch onto it.
Then there's "A Game," which has a beat that even G-Unit might have rejected for its wackness.
See the thing is Talib, part of what has always made you one of my favorite emcees was how musical your music was.
Now you're jumping on these Casio-made pieces of garbage just as quick as my least favorite emcees do.
But just when I think you've lost your way the album keeps playing and the Kweli I used to know shows up to party.
Your track with John Legend called "Around My Way," now that's what I'm talking about.
It has you waxing poetic on religion and kids following their dreams. All of this is on top of a beautiful piano-driven instrumental (complete with a Police sample).
Then, with the final four tracks, you completely save the album and in turn, your place as one of my fave's.
With some help from one of my other favorites, Common, you make "Ghetto Show" an optimistic ode to those living the beautiful struggle.
Your verse packs a lot of punch, especially when you put a spin on the line Jay-Z spit on The Black Album that was a homage to you.
Classic stuff, Talib, classic.
The album's best track is "Black Girl's Pain," on which you and my favorite female emcee Jean Grae drop advice and support for young black women.
You are one of the few rappers that takes time to elevate women rather than degrade them and that's why you are so important.
A couple more heartfelt tracks fill out the album and as it comes to a close, I smile.
Sorry I doubted you Talib.

Your Fan,
David Berman


I spoke to Dave after this review was printed. Both he and I, agree that the album is growing on us. He was just his frustration with a rapper who we all know can do so much better. This is not to say that this album is bad....in fact, it is a solid, quality album that is worth more than a couple listens.