Award Tour by A Tribe Called Quest Lyrics Meaning – Unraveling the Quest for Hip-Hop Supremacy
Lyrics
Going each and every place with the mic in their hand
New York, NJ, NC, VA
We on a world tour with Muhammad, my man
Going each and every place with the mic in their hand
Oaktown, LA, San Fran, St. John
People give your ears, so I be sublime
It’s enjoyable to know you and the concubine
Niggas, take off your coats ladies, act like gems
Sit down, Indian style, as we recite these hymns
See, lyrically, I’m Mario Andretti on the MOMO
Ludicrously speedy, or infectious with the slow-mo
Heard me in the eighties, JB’s on the promo
In my never-ending quest to get the paper on the caper
But now, let me take it to the Queens side
I’m taking it to Brooklyn side
All the residential Questers to invade the way
Hold up a second son, ’cause we almost there
You can be a black man and lose all your soul
You can be white and groove but don’t crap the roll
See my shit is universal, if you got knowledge of dolo
Of delf for self, see there’s no one else
Who can drop it on the angle, acute at that
So, do that, do that, do do that that that (come on)
Do that, do that, do do that that that (okay)
Do that, do that, do do that that that
I’m bugging out, so let me get back ’cause I’m wettin’ niggas
So run and tell the others ’cause we are the brothas
I learned how to build mics in my workshop class
So give me this award, and let’s not make it the last
We on a world tour with Muhammad, my man
Going each and every place with the mic in their hand
Chinatown, Spokane, London, Tokyo
We on a world tour with Muhammad, my man
Going each and every place with the mic in their hand
Houston, Delaware, DC, Dallas
Back in ’89, I simply slid into place
Buddy, buddy, buddy all up in your face
A lot of kids was busting rhymes but they had no taste
Some said Quest was wack, but now is that the case
I have a quest to have a mic in my hand
Without that, it’s like Kryptonite and Superman
So, Shaheed come in with the sugar cuts
Phife Dawg’s my name, but on stage, call me Dynomutt
When was the last time you heard the Phifer sloppy
Lyrics anonymous, you’ll never hear me copy
Top notch baby, never coming less
Sky’s the limit, you gots to believe up in Quest
Sit back, relax, get up out the path
If not that, here’s the dance floor, come move that ass
Non-believers, you can check the steps
I roll with Shaheed and the brother Abstract
Niggas know the time when Quest is in the jam
I never let a statue tell me how nice I am
Coming with more hits than the Braves and the Yankees
Living mad phat like an over sized mampi
The wackest crews try to diss, it makes me laugh
When my track record’s longer than a DC-20 aircraft
So, next time that you think you want something here
Make something deffer, take that garbage to St. Elsewhere
We on a world tour with Muhammad, my man
Going each and every place with the mic in their hand
S.C., Maryland, New Orleans, Motown
We on a world tour with Muhammad, my man
Going each and every place with the mic in their hand
Chinatown, Spokane, London, Tokyo
We on a world tour with Muhammad, my man
Going each and every place with the mic in their hand
Houston, Delaware, DC, Dallas
We on a world tour with Muhammad, my man
Going each and every place with the mic in their hand
New York, NJ, N.C., VA
Seven times out of ten we listen to our music at night
Thus spawned the title of this program
The word, maraud, means to loot
In this case, we maraud for ears
A Tribe Called Quest, quintessential purveyors of jazz-infused hip-hop, have left a profound impact on music with their sophisticated lyricism and social commentary. ‘Award Tour,’ a standout track from their 1993 album ‘Midnight Marauders,’ is a sharpened musical arrow shot straight into the heart of the genre’s culture, offering a narration of their artistic and literal journey through the world of music.
At first nod, it might sound like a straightforward boast track, an anthem heralding their success as they ‘maraud for ears’ across the globe. Yet, beneath this surface lies an intricate weave of significance that begs a deeper listen, elaborating on themes of identity, authenticity, and the trials of staying true to one’s artistry in an ever-commercializing industry.
The Proclamation of Hip-Hop Sovereignty
‘Award Tour’ kicks off with the exuberance of a victorious lap, with Q-Tip and Phife Dawg announcing their world domination not by force, but by the mic—a potent symbol of influence and power in hip-hop culture. They’re taking their Queens roots to international streets, establishing a metaphorical empire where beats and rhymes reign supreme.
As they list off cities from New York to Tokyo, they’re not simply dropping pins on a map. They’re marking territories of impact, charting their journey from local heroes to global icons. The song’s boastful tone belies its deeper introspection on the responsibilities and weight of becoming a figurehead in a movement that’s about community, storytelling, and resistance.
Crafting Complexity: Lyrics as Labyrinth
A Tribe Called Quest’s lyricism is renowned for its layers, and ‘Award Tour’ is no exception. The playful cadence of ‘do that, do that, do do that that that’ showcases their signature style of turning a simple chorus into a catchy, thought-provoking hook. This mastery of language becomes a vehicle for messaging, emulating the complexities of their travels and triumphs.
The reference to Mario Andretti, a racing legend known for his speed and finesse, is not coincidental. It parallels the group’s approach to their craft: deft, adept, and always a few laps ahead of the competition. Their pacing is both ‘ludicrously speedy’ and ‘infectious with the slow-mo,’ illustrating their versatility and their comfort in both racing ahead and taking the time to savor their victories.
A Cross-Section of Culture: Hip-Hop’s Universal Language
‘You can be a black man and lose all your soul / You can be white and groove but don’t crap the roll.’ These lines cut to the core of hip-hop’s complex relationship with race and authenticity. ATCQ masterfully tackles the nuances of cultural exchange, recognition, and the fine line between appreciation and appropriation in the music industry.
The song’s declaration that ‘my shit is universal’ is not so much about mainstream appeal as it is about the transcendent power of their art – the ability to connect across divides, whether they be racial, cultural, or geographic, by the shared language of rhythm and poetry.
The Inner Mechanics of Ambition: Crafting the Mic
‘I learned how to build mics in my workshop class,’ reflects a narrative of self-made success and the relentless pursuit of greatness. Tribe’s verses serve as a blueprint for their methodical approach to the craft, reverberating with a DIY ethos that resonates with anyone who understands the grit required to seize the spotlight.
By equating mic-building to an academic pursuit, they suggest an elevation of hip-hop to a discipline that requires study, practice, and mastery. In this light, the ‘award’ is not just about accolades but about the recognition of their expertise, as they insist upon esteem beyond what can be captured by a trophy.
The Legacy Continues: Undeniable Voicing of a Generation
‘Coming with more hits than the Braves and the Yankees,’ A Tribe Called Quest cements their status at the pinnacle of the hip-hop hierarchy. Their musical influence outpaces the fleeting fame that might accompany popular hit singles, proposing a heritage that is long-lasting and formidable, much like winning records of the sports elite.
In these final verses, the group propels itself past its peers, not through competition but through a legacy that has organically woven itself into the fabric of the genre. Their ‘track record’s longer than a DC-20 aircraft,’ carrying their sound and spirit to places far beyond the confines of their Queens upbringing, setting a standard for what it means to make a mark in music history.
