The strictly biographical parts are more pedestrian. As “Dilla Time” launches the reader on a flight through Dilla’s confusing discography-it ought to have included a playlist-the breadth of his imagination becomes obvious. Such passages do what good music books should: send you back to the source material. “Dilla Time” is at its best when the two strands come together in the section on his work with the Soulquarians collective (who were behind “Voodoo”), the air of artists discovering new possibilities within music is palpable.
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