Formed in Atlanta in 1988 by rapper and producer Todd Thomas (“Speech”) and turntablist Timothy Barnwell (“Headliner”), Arrested Development provided an alternative to the flourishing gangsta rap scene that was sweeping across America in the late eighties. Cultural champions of consciousness and empowerment, with music built around Afrocentric rhythms, Arrested Development’s debut album, 3 Years, 5 Months, and 2 Days in the Life of…., was a landmark moment in hip hop’s decorated history.
The group expanded significantly from its initial foundings, with several instrumentalists joining the group, cultivating a live appeal to their music. A notable addition was Baba Oje, the man who went on to be affectionally known as “the oldest man in hip hop”, who became the group’s spiritual adviser. Oje provided some wisdom to a group in its infancy with an energy that belied his age. The group’s first release was 1989’s EP Support the Music of…, released on Camus Recordings.
In 1991, the group signed to Chrysalis Records, with the album’s convoluted title referencing how long it took them to attain a record deal. 3 Years was released the following year to critical acclaim, with the group winning two Grammy Awards in 1993, becoming the first hip-hop group to win Best New Artist. It’s a thoughtful, considered, and expressive record, emphasising freedom of choice and spreading messages of peace and love in a sincere manner. The group takes the political and social awareness of Public Enemy but instead crafts funky, melodic tunes, easy on the ears and instantly accessible. Speech brings the record to life with his mellow, dexterous flow; his delivery may be languid, but his words pack a punch.
The opener, ‘Man’s Final Frontier’, provides a popping start, brimming with dance energy, while Headliner demonstrates his considerable skills on the turntable. The track uses a couple of JB’s samples, with several 60s/70s funk and soul cuts featured throughout the record. ‘Mama’s Always on Stage’ is a jaunty, almost folksy number, where Speech celebrates black mothers and recognises the pressures they face. ‘People Everyday’ slows things down, reworking Sly & The Family Stone’s Everyday People into a celebration of black African values and culture. The track’s upbeat melody contrasts with the discrimination Speech talks about, as he is hassled for proudly expressing his African heritage.
‘Mr. Wendal’, one of the album’s three singles, is a masterpiece in storytelling. It’s a track that underpins the group’s core values of respecting everyone regardless of class or race. “He gives me some knowledge/I buy him shoes”; Speech uses the track to demonstrate how you can learn and reciprocate with anyone and that you shouldn’t judge a book by its cover. Half the proceeds of the track went to the National Coalition For the Homeless in the US, the group’s sense of social responsibility extending beyond the track. ‘Children Play With Earth’ is a funky folk piece, encouraging children to reject technology (“Set down your Nintendo joysticks”), and play outside instead, a message that certainly has contemporary relevance.
‘Raining Revolution’, ‘Fishin’ 4 Religion’, and ‘Give a Man a Fish” both use water as a metaphor. The former is a slow, spiritual number while ‘Fishin’ 4 Religion’ bounces along with its clattering breakbeats. It’s another track where Speech’s words contrast the upbeat tempo; he feels cut adrift, “Staring at a sea that’s full of violence”, questioning his faith. ‘Give a Man a Fish’ takes the bassline from Minnie Ripperton’s When It Comes Down To It and funks it up. It’s a politically charged number, with musings on the benefits system; “Teach him how to fish, and he’ll eat forever” suggests that providing skills and opportunities is far more beneficial than one-off handouts.
‘U’ is a wonderfully scatty affair, with its rapid keys and saxophones drifting in and out, all held together by a hooky chorus. It’s another song promoting unity; “I could be the U for U/U could be the U for me too”. ‘Natural’ is a wholesome love song, and there is a believable sincerity when Speech says, “I have nothing but pure intentions”. It’s another track that benefits from some excelling sampling, using the funky bass of EWF’s Sunshine to create a sunny, slow jam. ‘Dawn of the Dreads’ is dripping in funk, as Speech heads to a party and takes you with him.
‘Tennessee’, the lead single, is the album’s coup de grace, a heartfelt journey through grief and loss. The track was written in Speech’s bedroom studio after coming home from his grandmother’s funeral to find out his brother was dead. It’s a powerful, personal effort, Speech pleading on the chorus, “Take me to another place/Take me to another land”. It also touches on faith, as Speech converses with God, lamenting that he hasn’t enlightened other young black people (“I ask you Lord why you enlightened me/Without the enlightenment of all my folks”). ‘Washed Away’ provides a reflective closer, powered along by its tight African rhythms.
3 Years sadly ended up being the group’s high point, a dizzying early peak they failed to surpass. However, it was a record that helped put southern hip-hop on the map, paving the way for groups like OutKast to shine in the future. Arrested Development showed that you could espouse social awareness in a more melodic, less confrontational manner. An underrated jewel of 90s hip-hop.