Before their triumphant return with the critically acclaimed We got it from Here… Thank You 4 Your service in 2016, A Tribe Called Quest seemingly concluded their legendary run with 1998’s The Love Movement. For many fans, this album felt like a subdued farewell, a whisper rather than the resounding bang expected from such an iconic group. However, on the 20th anniversary of The Love Movement, it’s time to revisit and truly appreciate this often-overlooked album, recognizing its unique place in Tribe’s discography and hip-hop history.
While The Love Movement may not be universally hailed as A Tribe Called Quest’s finest work, its position as their supposed swan song before a long hiatus adds layers of complexity and intrigue. It’s an album that emerged from internal strife and uncertainty, yet paradoxically centered on the concept of “love.” This juxtaposition alone makes it a fascinating study, deserving of more than just a cursory listen. Often ranked lower in A Tribe Called Quest’s impressive catalog, The Love Movement consistently receives moderate praise, typically around a 7 out of 10 rating from critics. However, this lukewarm reception within their otherwise stellar discography has led to it being unfairly cast aside. Some critics were even harsher, with Rolling Stone describing it as a “constant bombardment of the not particularly noticeable,” and lacking in enjoyment.
Adding to the album’s complicated narrative is the candid perspective of the late Phife Dawg. In Michael Rapaport’s 2011 documentary Beats, Rhymes & Life: The Travels of A Tribe Called Quest, Phife openly questioned the album’s title, stating, “It’s weird to me that it would be called The Love Movement because we really were not loving that album. We were not loving putting out that album. We didn’t even love each other at that time, so to speak.” This internal discord, revealed by Phife himself, provides a crucial lens through which to understand the album’s nuances. The Love Movement becomes more than just a collection of songs; it’s a sonic document of a group grappling with internal tensions while outwardly projecting themes of love and unity.
Despite the acknowledged friction within the group during its creation, The Love Movement thematically revolves around various facets of love. Tracks like “The Love” explicitly state their motivations, emphasizing passion over financial gain with the refrain, “We do it all for the love, y’all.” “Give Me” reflects on youthful aspirations and the love of their craft, reminiscing about “Doin’ our thing in Queens / We had dreams about bein’ MCs.” “Pad & Pen” celebrates the pure joy of rhyming and creating music, declaring, “My pad and my pen / The beat and the blend / The party won’t end.” These tracks showcase a commitment to the foundational elements of hip-hop and a deep affection for their artistic expression.
Delving deeper into The Love Movement, the underlying tensions within the group are subtly palpable. While Consequence’s prominent role in Beats, Rhymes & Life was no longer a point of contention, Phife’s presence on the album is notably reduced compared to Q-Tip. This dynamic, further highlighted in the Beats, Rhymes & Life documentary, reveals Phife’s insecurities regarding his position within the group, particularly alongside the multifaceted Q-Tip, who excelled as both vocalist and producer. However, this very tension arguably fueled Phife’s lyrical contributions. Despite having fewer verses than Q-Tip, Phife delivered some of the most potent and memorable rhymes of his career on The Love Movement. His assertive lines in “Steppin’ It Up,” such as “Five foot invasion, son / You can’t run from it,” exemplify his undiminished lyrical prowess and determination to make every verse impactful.
Looking beyond the “breakup album” narrative, The Love Movement can be viewed as a pivotal transition point rather than simply an ending. While Phife Dawg jokingly suggested it should have been titled The Last Movement, the album inadvertently paved the way for significant future endeavors. It served as a launchpad for Q-Tip’s critically acclaimed solo career, foreshadowed the formation of the influential Soulquarian collective, and prominently featured early production work from the legendary Jay Dee, later known as J Dilla.
Under the production moniker The Ummah, Q-Tip, Ali Shaheed Muhammad, and J Dilla collectively pushed A Tribe Called Quest’s sonic boundaries into uncharted territories. They revolutionized traditional sample-based hip-hop production, transforming and melding samples into entirely new sonic constructions. Remarkably, many of the samples on The Love Movement are virtually unrecognizable, even those sourced from well-known songs. “Pad & Pen,” for instance, samples The Gap Band’s “Yearnin’ for Your Love” (famously also sampled by Nas in “Life’s a Bitch”), yet The Ummah reshapes it into something entirely fresh and innovative. This dedication to sonic reinvention permeates the entire album. From the outset, The Love Movement establishes a distinctive atmosphere characterized by smooth, swirling soundscapes and deliberately unquantized, snapping drumbeats, as perfectly illustrated in tracks like “Like It Like That.”
The Ummah’s production style on The Love Movement is further defined by its unique instrumentation and sonic textures. Acoustic pianos frequently emerge through the mix of warped sounds and hypnotic drones, providing a contrasting element. Departing from conventional funky basslines, The Ummah submerged their tracks in a deep layer of sub-bass, creating a rich and immersive sonic experience. This sonic shift was a bold move for A Tribe Called Quest, pushing the boundaries of their established sound. While not explicitly comparable to Kanye West’s 808s & Heartbreak, The Love Movement represents a similar type of sonic pivot, a willingness to experiment and redefine their artistic identity. In the context of 1998 hip-hop, The Ummah’s sonic creativity on The Love Movement was particularly striking. While the late 1990s were a vibrant period for hip-hop, the sonic innovation on this album surpassed many of the era’s biggest hits. Even Dr. Dre’s “The Next Episode,” with its recognizable David Axelrod sample, sounds comparatively conventional next to The Ummah’s intricate soundscapes.
While Beats, Rhymes & Life, Tribe’s preceding album, was also produced by The Ummah and hinted at their evolving sound, The Love Movement fully realizes their production vision. Catchy and humorous tracks like “Da Booty” (“What is it that everybody has / And some pirates and thieves try to take?”) coexist with commercially successful singles like “Find a Way,” which broke into the Billboard Hot 100. Tracks like “Like It Like That” showcase the album’s replay value, and “Pad & Pen” possessed the potential to become a dynamic live performance staple. Unfortunately, A Tribe Called Quest’s premature breakup before the album’s release hindered its promotional opportunities and chances to be performed live.
The production prowess of The Ummah extended far beyond The Love Movement. Q-Tip, Ali Shaheed Muhammad, and J Dilla went on to collaborate with music icons such as Janet Jackson, Michael Jackson, and Whitney Houston, further solidifying their influence. J Dilla, in particular, became a highly revered and transformative figure in music production, with his impact continuing to resonate profoundly. For those still unconvinced of The Love Movement‘s hidden depths, the bonus tracks included on the album’s expanded edition offer further evidence. These six additional songs feature a remastered version of “Hot Sex” from the Boomerang soundtrack, complete with a memorable Three’s Company reference, and remixes of classic Tribe tracks like “Jazz,” “Oh My God,” and “Scenario,” highlighting the group’s sonic evolution.
To conclude, Jarobi, a founding member who had been absent from Tribe albums since their debut, People’s Instinctive Travels and the Paths of Rhythm, offered a valuable perspective. While contributing significantly to We got it from Here… Thank You 4 Your service, Jarobi had re-engaged with the group during the Love Movement era, as documented in Beats, Rhymes & Life. His assessment of The Love Movement is simple yet powerful: “That’s a beautiful fucking album.” This sentiment encapsulates the essence of The Love Movement – a complex, nuanced, and ultimately beautiful album that deserves a fresh listen and a deeper appreciation within A Tribe Called Quest’s celebrated legacy.
