The delivery of any new Roots album is rarely talked or written about without the words "highly" and "anticipated," and The Tipping Point is no exception. Besides the usual expectation for the band's superior lyrical skills and attention to detail, there's the previously announced concept that The Tipping Point would be recorded through free-spirited jams that would later be edited down. Sounds like a don't-care-about-the-final-package, music-for-music's-sake release, but the album is a well-constructed ride from start to finish that's perfect for a headphones-on, lights-out evening and a gift to fans who found 2002's Phrenology a bit mannered and forced. To paraphrase the album's "Pointro," the tracks here are mostly warm and organic "life music" that "thrusts its branches from the muck of wackness" without any overly calculated "hypnotic donkey rhythms." The ghost of Sly & the Family Stone is summoned for the opening "Star," an exuberant soul rocker that creeps along with a Timbaland-style beat, only it's live. On the other hand, there's the perfect for popping, locking, and robot-dancing "Don't Say Nuthin'" with its solid electro and Black Thought's quirky mumbled verse. The shifting from the sticky, stately reggae of "Guns Are Drawn" to the Cohiba-puffing swagger of "Stay Cool" is just one example of how the album overcomes its noncommitment to any particular groove by giving the listener nothing but fully formed, inspired tracks. The band's renewed love of head-bobbing jams also helps keep it together although the album's long stretches of rap-less jamming might alienate those just here for the message. For them there's the lyric-filled "Boom!," which may not be enough. Take off your academic backpack for a change and bask in an album that's comfortably loose and ends with an over-the-top, celebratory cover of George Kranz's "Din Daa Daa" that's unnecessary but extra fun. The Tipping Point is too modest to be the "idea that spreads like a virus" that's explored in the Malcolm Gladwell book the collection cops it title from. What the album lacks in ambition and social commentary, it makes up for with deep soul. That should be enough to make whatever this group does next "highly anticipated." [The Tipping Point was also made available in a clean version, with all explicit material removed.] ~ David Jeffries, All Music Guide
Kamal (Keyboards), ?uestlove (Producer), Martin Luther (Group Member), Frank Walker (Group Member), Richard Nichols (A&R), ?uestlove (Group Member), Jahaun Johnson (A&R), Hub (Bass), Black Thought (Vocals), Bob Powers (Mixing), Michael Lewis (Producer), Russell Elevado (Mixing), Tahir Jamal (Producer), Zoukhan (Producer), Scott Storch (Producer), Richard Nichols (Executive Producer), Tom Coyne (Mastering), Frank Walker (Producer), Jon Smeltz (Engineer), Karl Jenkins (A&R), Kevin Hanson (Group Member), ?uestlove (Drums), Mauricio Iragorri (Mixing), Alicia Graham (A&R), Jimmy Douglas (Mixing), Hub (Group Member), Robert "LB" Dorsey (Producer), Omar Edwards (Group Member), Richard Nichols (Producer), Anthony Tidd (Group Member), Kamal (Group Member), Adam Blackstone (Group Member), Black Thought (Group Member), Kirk Douglass (Group Member), Wayne Allison (Engineer), Anthony Tidd (Producer)
![Tipping Point [Clean]](http://content.answers.com/main/content/img/amg/pop_albums/cov200/drg300/g397/g39733zhy8t.jpg)
