The late '90s ushered in a second golden age of progressive hip-hop, as a group of ambitious young lions rose from the underground to redefine the art of lyrical technique and revive the idea that hip-hop had relevant statements to make. With their 2000 debut album, Blackalicious established themselves as one of the West Coast's top outfits in this vein, and while it was very good, their follow-up, Blazing Arrow, is simply fantastic, vaulting the duo to the forefront of the progressive hip-hop pack. Much of Blazing Arrow retains NIA's airy, laconic feel, but the group's sense of craft has improved to a startling degree; the hooks are sharper and more plentiful, Gift of Gab's rhymes are denser, Chief Xcel's production is more breathtakingly lush, and his arrangements more sophisticated. What's more, the tracks draw from a rich sonic palette -- not just the expected jazz-funk and old-school influences, but straight pop (check the Nilsson sample on the title track) and smooth soul (particularly the Philly variety, but also the contemporary neo-soul revival) in particular. In spite of the duo's intellectual bent, the grooves on Blazing Arrow exude a tremendous warmth that's only complemented by the positivity of their messages. And if Gift of Gab wasn't recognized among hip-hop's premier lyricists before, he certainly ought to be now; his raps are jam-packed with internal rhymes, allusions, metaphors, ten-cent words, and amazing tongue-twisting feats of skill. Guests include members of Jurassic 5, Dilated Peoples, and Latyrx (all worthy company), not to mention singer/songwriter Ben Harper, Zack de la Rocha (Rage Against the Machine), and the legendary Gil Scott-Heron. All the pieces add up to not just one of the best rap albums of 2002, but one of the richest, most captivating albums to emerge from hip-hop's artsy new underground. ~ Steve Huey, All Music Guide
Cut Chemist (Producer), Oliver Charles (Clarinet), Robert Russell Bennett (Management), Chris Gehringer (Mastering), DJ Shadow (Mixing), Xavier Mosley (Executive Producer), Vincent Segal (Percussion), Vincent Segal (Strings), Money Mark (Organ), Karl Denson (Flute), DJ Babu (Cut), DJ Shadow (Producer), Lateef the Truth Speaker (Vocals), Gift of Gab (Vocals), Harley White (Keyboards), Anthony Coleman (Trumpet), Ben Kenney (Bass), Cut Chemist (Scratching), De La Soul (Performer), James Poyser (Keyboards), Mario Caldato, Jr. (Engineer), Kevin Guarnieri (Engineer), Ahmir Khalib Thompson (Drums), Cut Chemist (Cut), Chali 2na (Vocals), Chief Xcel (Composer), Chief Xcel (Producer), Seth "Slim" Zwerling (Trumpet), Linda Parker (Vocals), Vincent Segal (Cello), Chief Xcel (Arranger), Kimberly Bilbrew (Project Coordinator), Jaguar Wright (Vocals), Tom Sarig (A&R), Money Mark (Piano), Omar Edwards (Keyboards), Hi-Tek (Engineer), Harley White (Bass), Vincent Segal (Electric Cello), Jose Espinoza (Sax (Alto)), Steve Mandell (Engineer), Tracey Moore (Vocals), Paul Humphrey (Drums), Russell Elevado (Mixing), Leon Mobley (Percussion), Joyo Velarde (Vocals), Saul Williams (Vocals), Timothy Parker (Executive Producer), Juan Nelson (Bass), Lyrics Born (Vocals), Chief Xcel (Engineer), Rail Jon Rogut (Engineer), Gil Scott-Heron (Vocals), Brian Cross (Photography), Syble Scovell (Vocals), Oliver Charles (Fender Rhodes), Jose Espinoza (Sax (Tenor)), Hi-Tek (Producer), Ben Harper (Producer), Gil Scott (Vocals), Rakaa-Iriscience (Vocals), Chief Xcel (Mixing), KeKe Wyatt (Vocals), Alfred Ortiz (Percussion), Chief Xcel (Cut), Jeanne Venton (Project Coordinator), Rakaa-Iriscience (Performer), Innocent Criminals (Producer), Jose Espinoza (Sax (Baritone)), Zack de la Rocha (Vocals), Erinn Anova (Vocals), Ben Harper (Vocals), Ben Harper (Guitar)
The album was generally received well by critics, with Allmusic writer Steve Huey praising Gift of Gab's performance:[1]
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In spite of the duo's intellectual bent, the grooves on Blazing Arrow exude a tremendous warmth that's only complemented by the positivity of their messages. And if Gift of Gab wasn't recognized among hip-hop's premier lyricists before, he certainly ought to be now; his raps are jam-packed with internal rhymes, allusions, metaphors, ten-cent words, and amazing tongue-twisting feats of skill.
He and Xcel have the stage, and all they want to do is share it. It's as if the scope of this album-- the stylistic diversity, the guest artists, the sincere, ecstatic rhymes-- doesn't come from ambition or creativity for its own sake, but out of a need to include everyone they know and everything they see around them. Not since Car Wash has there been such a celebration of diversity and hot fun in the summertime.