Sublime

Twitter hadn’t arrived yet, so I went on the online community I had created, OkayPlayer, and asked, “Does anyone know about this guy? It’s one of the best demos I’ve heard since Jill Scott or Slum Village.”

I was and am so devoted to the review process that I write the reviews for my own records. Almost no one knows this, but when I am making a Roots record, I write the review I think the album will receive and lay out the page just like it’s a Rolling Stone page from when I was ten or eleven. I draw the cover image in miniature and chicken-scratch in

He conducts an ongoing interrogation about what it all means. What’s black culture? What’s hip-hop? What are the responsibilities of a society and the people in it? And his inquiry isn’t bloodlessly academic, either; there’s something very consequential about his approach.

“Back Stabbers” and “Love Train” for the O’Jays, and “Me and Mrs. Jones” for Billy Paul—all from 1972—and followed by “You Make Me Feel Brand New” (1973) for the Stylistics and “The Love I Lost” (1973) for Harold Melvin and the Blue Notes, there was no stopping Gamble and Huff until “Ain’t No Stoppin’ Us Now” (1979)