By Sarah Godfrey
Special to The Washington Post
Tuesday, December 18, 2007

Hip-hop listeners last year were quick to anoint Lupe Fiasco the new savior of the genre, based on the strength of his brainy, socially aware 2006 debut, "Food & Liquor." As is always the case when the public believes a rapper can single-handedly return hip-hop to thoughtful, responsible lyricism, the people turned on the Chicago MC for failing to live up to those unrealistic expectations almost as speedily as they had deified him.

In October, Lupe botched the lyrics to "Electric Relaxation" during a VH1 Hip Hop Honors tribute to A Tribe Called Quest; he attempted to explain the flub by saying he was unfamiliar with the work of the socially conscious hip-hop pioneers and more influenced by the very sort of hard-core rap that his fans eschew. Backlash ensued, the incident was dubbed "Fiascogate," and Lupe began talking about retiring while promoting his sophomore album, "The Cool."

"Superstar," the first single from "The Cool," seems to address his recent excoriation. As fellow Chicagoan Matthew Santos sings, Lupe rhymes about not being ready for fame, saying, "I'm too uncouth/Unschooled to the rules and too gumshoe/Too much of a newcomer and too uncool."

But the skateboarding, robot-obsessed rapper's slight fall from grace could be the best thing that could've happened to "The Cool." Taken as a work with the potential to save mainstream hip-hop from its fog of superficiality, the dense, twisty concept album might not have survived scrutiny. Viewed outside of those unreasonable standards, however, "The Cool" can be seen for what it is -- a very solid, fulfilling hip-hop album.

Lupe is pushing "The Cool" as a sort of gangster cautionary tale involving characters introduced on "Food & Liquor." "Streets on Fire," "Put You on Game" and the fantastic, trippy voyage that is "The Coolest" follow an intricate urban noir theme, but enjoyment of the disc isn't dependent on full mastery of that universe. In fact, "The Cool" is actually strongest when Lupe resists becoming entangled in complicated plot points and follows his overall theme more loosely, as with "Paris, Tokyo" and "Gold Watch," which are smart parodies of commercial rap. Both comically dissect luxury lifestyles (kosher in-flight meals being the height of decadence) and street cred without becoming too goofy.

Despite Lupe's recent protestations that he's been more influenced by 8Ball and MJG than De La Soul, there is plenty of evidence to the contrary. Judging by the album's spoken-word intro; "Little Weapon," a track about child soldiers produced by Fall Out Boy's Patrick Stump; and "Dumb It Down," a commentary on his decision to deliver smart lyrics in an industry that thrives on the opposite, Lupe is clearly versed in the ways of the Native Tongues.

"The Cool" won't revive hip-hop as a whole, but it goes a long way toward restoring faith in Lupe's role as a torchbearer of conscious hip-hop -- even if he's no longer interested in the job.

DOWNLOAD THESE:"Dumb It Down," "The Coolest," "Gold Watch"