Album Review: Ali Shaheed Muhammad - Shaheedullah and Stereotypes (Penalty)

Writer: John Kelly

As producer for Tribe called Quest, Lucy Pearl, D'Angelo and many more, Ali Shaheed Muhammad has created some of hip hop's defining records, helping to forge a blueprint that soul and RnB follow to this day. His debut solo album, Shaheedullah and Stereotypes comes at an interesting time. Released against the backdrop of a divisive presidential election and the ongoing 'War on Terror', the employment of strong Islamic imagery in the title, cover and the content is a powerful statement of intent. Perhaps it's the freedom of a smaller label or the confidence that comes from such an impressive CV, but Ali Shaheed seems determined not to compromise. This single-mindedness is apparent on the opening track. Its Islamic chants and distorted vocal have an almost Moodyman feel, raising expectations of a radical and decisive break from Shaheed's musical past.

However, this impression is shortlived. As the intro fades you can hear a classic Ali Shaheed break rising in the mix. It's not that it doesn't sound great – a beautifully infectious jazz guitar looped over a bass heavy low end – but you feel like the battle for orginality has been lost before the album has really begun. Without doubt, the production sounds polished and, as it transpires, is the first of a host of wonderfully crafted Ali Shaheed beats, but what happened to escaping the 'stereotypes' in the album's title? There are a long list of guest musicians and collaborators on the album. It is great to hear Chip, of the legendary Fu-Schnickens, dropping some of his distinctive flow on Lord Can I Have This Mercy and Kay sounds like a Mos Def in waiting on the excellent Family. Taken individually, these tracks tick all the right boxes and are strong hiphop tracks, but what they lack is a sense of fitting in to a bigger picture. As much as Ali Shaheed's production and beliefs provide a common theme for the album, is it enough to create the necessary coherence to sustain an entire album?

Whenever a producer steps from behind the mixing desk to take centre stage there is always a danger of an album lacking the necessary focus. It is the combination of a great beat and a great flow that makes a great track and so for a single or a remix, that is more than enough, but there needs to be more far-reaching coherence in the music for ten or twelve different tracks to sound like an album. It is possible for a great musician or vocalist to sustain that for an entire album even if there are different producers, but the other way round is hard to achieve. There are, without doubt, three or four great tracks on here but there are also plenty of fillers and with so many different guests the album loses a sense of definition and identity. There is good music here for sure and if you treat it like an appetiser for a Tribe reunion album or the new Lucy Pearl cut, it works just fine.

On the inside cover of the CD is a image featuring two pictures of Ali Shaheed staring at each other; one in desert ,in a slightly jazzy version of the traditional Muslim dress, one with a box of records and the New York skyline in the background. The album seems his attempt to reconcile these two seemingly disparate aspects of his character. If that is the intention he has no need - the music and the message seem to compliment each other well within the musical space Ali Shaheed creates. As to whether the album holds up as a radical break from the past or even as anything more than a talented producer taking a break from superstardom to have fun with some friends, it seems there really is truth in every stereotype.

RELATED LINKS:
Ali Shaheed - The artist's official website.



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UK (CD) | US (CD)


PUBLISHED: 20 November 2004

RELEASE DATE: 12 October 2004 (US) | 11 October 2004 (UK)

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