Common talks Just Wright, The Believer, Hip Hop's Evolution

Common’s covered much ground during the past eighteen years.

Since tossing his lyrical Kangol into the Hip Hop arena in 1992, the Chicago Emcee has released eight critically acclaimed albums, won two Grammy Awards, sold over two million records, undergone a seamless name change and racked up enough props from peers and fans alike to garner mention as one of the all time greats. Considering the quality of his rap resume, Common The Lyricist has nothing left to prove.

That does not mean that additional artistic challenges do not exist for the Emcee born Ronnie Rashied Lynn, Jr. Since 2002, Common has slowly compiled numerous acting credits to his name, guest appearing in sitcoms “Girlfriends”, “One On One” and “Scrubs” and filling supporting roles in feature films Smokin’ Aces, American Gangster, Wanted, Terminator Salvation and Date Night.

“I felt like there was something out there creatively that I wanted to do” Common stated during a recent media blitz promoting his latest film, Just Wright.

“It was right [after] Like Water For Chocolate — I kept finding new things about music that I love — but there was something inside of me [saying] ‘Man, I want to do something else creatively.’ I feel like there is something out there that I really want to do but I didn’t know what that was. And acting was that. It was just an instinct I had in me because I tried to mess with the piano. I tried other things but it wasn’t clicking for me. I felt like I hit a ceiling with music to a certain extent. Even though I ended up doing the album Electric Circus just to break [through] that ceiling that I felt I had reached, but that’s what really inspired me to get into acting.”

READ FULL INTERVIEW @ BROOKLYNBODEGA.COM

The Quotable Reviews: Theatre of the Mind

"Cause this is Theatre of the Mind. / Consider it a sign / of whats to come next." - "I Do It For Hip Hop"

After 8 years and 6 studio LPs, there are certain expectations we here at The Quotable have for each new Ludacris album:

We expect him to come hard from the left with his big, baritone voice, and even bigger videos and production ("Southern Hospitality," "Roll Out," "Stand Up!," "Get Back," "Move Bitch").

We expect him to down shift into mack-mode for a track or three (a la Busta Rhymes), using his tongue-twister-slash-late-night-phone-tone to seduce the fairer sex ("Phat Rabbit," "P-Poppin," "Splash Waterfalls," "Hoes In My Room").

We expect a healthy amount of comic relief ("Ho," "Area Codes," "Blow It Out").

We expect an ill 16 bar cipher cut to open each album ("Southern Fried Intro," "Intro," "Warning").

But what keeps the respect flowing in Luda's direction is his visceral focus on lyricism. And we expect him to drop lines like 'Enter' each and every time out the gate.

FACT.

So as expected, we here at The Quotable were more than amped about Luda's sixth studio album, Theatre of the Mind. Although he's never been one of my default Emcees (artists that you listen to during those times when you don't know what you want to listen to), Ludacris consistently brings that heat when its cold outside. Does Theatre of the Mind meet the standard? Walk with us as...

The Quotable Reviews: Theatre of the Mind

Theatre of the Mind is basically made up of three types of tracks: cipher cuts, chick/club songs, and concept records - all intended to provide that scene-from-a-movie feel.

The album opener, "Intro," represents the obligatory, ill, 16-bar, cipher cut where Luda reintroduces himself while laying out the premise of his latest release (a staple found on each of his LPs). Over The Runners heavy bass line, bouncing snare drums, and medieval choir, Ludacris drops one of the most honest quotables of his career - "Give me 16 bars / on another n***** song / and you know that I'm gonna fuckin' kill it!" 'Cris has arguably the hottest intros in the game. Each of his LPs opens with some big, triumphant, back-the-muttaskut-up-cause-you-can't-handle-me-lyrically intro that immediately reminds you why Luda's necessary to Hip Hop right now - because he holds every other MC accountable for his craft. "Intro" is no different, and equally refreshing.



And to be honest, this is the side of Chris Lova Lova thats had us here at TQ so eagerly anticipating this latest release. I mean, tracks like the hilarious, T-Pain assisted "One More Drink," or the club anthem, Chris Brown featured, "What Them Girls Like," or even the R&B-throwback, Scott Storch produced "Contagious" (featuring Jamie Foxx) suitably fill the chick/club track quota (none of which are bad listens). And concept records such as the 9th Wonder produced "Do The Right Thang" (where Luda and Common team up to remind cats to walk the right path or be prepared to face life's consequences), "Call Up The Homies" (featuring The Game), or the trap-certified, 808 bass-lined, "Southern Gangsta" (Rick Ross and Playaz Circle join Luda to wax poetic about their hustler credentials), or even the highly anticipated T.I. collaboration, "Wish You Would" help to round out the album. But Theatre of the Mind's true value is found in its cipher cuts.

"Bow down to greatness / before I get pist-n' / run up in the stands like the Indiana Pacers." - "Undisputed"



"Undisputed" and "Everybody Hates Chris" (with Chris Rock) are the albums first 2 examples, each showcasing Luda's brolic, battle-ready lyrical demeanor. The latter's lively horns and hand claps invoke an immediate head-nod while 'Cris rides the track to perfection. Then, after a brief detour down chick-track-avenue, Theatre of the Mind breaks left onto freestyle expressway. "Last of a Dying Breed" is an epic, scratch-heavy, track that Luda and Lil' Wayne use to put on an exhibition in lyrical exercise.

"Top 5 dead or alive / but really it just hit me / that 3 out of your 5's too scared to f*ck with me. / So how can I advance if you don't give me no opponents? / How can you see the future if you're living for the moment? / Hip Hop couldn't die, / I never offer my condolence. / But I offer ya'll day of atonement."

Luda's arguably at his best on the DJ Premiere produced "MVP," which is also arguably the album's best beat. Premo provides that classic boom-bap nostalgia, and Luda laces this one with some of the albums dopest quotables:

"And my delivery's invading your vicinity. / Hennessey is my remedy. / Taking shots like Kennedy. / And I been a G / for a long time. / To these streets I'm connected like I'm on-line. / On time for whatever. / And every time an album drop, / I drop B.I.G. like Voletta."

I drop B.I.G. like Voletta???? It doesn't get much iller than that!!! It doesn't get much more visual than that!!! And, since The Notorious BIG was a large muttaskutta and giving birth to him must have been exceptionally uncomfortable (Voletta Wallace is Biggie's mother), it doesn't get much bigger than that!!! Now add the fact that Luda's sold over 15 million records world wide (no easy feat for any artist at any point in history, let alone during the recent record-sales recession), it doesn't get much truer than that. Ludacris is a beast. Ludacris is a beast.

"I don't do it for the cars and the fancy drops. / I do it for Hip Hop." - "I Do it for Hip Hop."

Rounding out Theatre of the Mind's best run is "I Do It For Hip Hop" - an ill, scratch-heavy cipher cut enlisting 2 of rap's titans - Jay-Z and Nas. Another great track. Each Emcee gets busy here, but in the end, Ludacris outshines both. Jay appears to have an interesting strategy though. Rather than attempt to go straight at Luda lyrically, he instead uses an old school flow, invoking Hip Hop nostalgia to leave his mark on the track ("Hip Hop / started out in the park. / We used to do it to avoid the narcs."). My cousin Sha pointed that one out. Nas kicks a cool little bumble bee analogy to describe how he's "as live as a hive full of predators," successfully netting him 3rd place.

"And their almost extinct / so I'm sayin' it loud. / MC means 'move the crowd'" - "Last of a Dying Breed"

15 tracks. Loads of guest appearances. 0 interludes.

All in all, Theatre of the Mind is a balanced, enjoyable, LP that will have your head-nodding as soon as you press play. You can clean to it. You can pre-party to it. Might be tough to slide into mack-mode, but you can definitely drive to it. Its combination of chick/club tracks, concept records, and cipher cuts adds up to a solid, diverse listen. Theatre of the Mind is one of the year's best Hip Hop albums, and arguably the most potent of his career.

And the more I think about it - I'm a bi-album Ludacris fan; meaning that I tend to get excited about every-other Ludacris album. Back For The First Time caught me off guard in a good way which made me excited about Word of Mouf (2001). But Chicken & Beer (2003), although more-than-nice in retrospect, wasn't on the priority list at the time. Then The Red Light District (2004) dropped and of course I had to cop that the first day. But I damn-near ignored 2006's Release Therapy, which is his most critically successful LP to date. Now here we are, late in '08, and for some reason I couldn't wait for this album. And thats because, for me, less is more with Ludacris. He's such a larger-than-life presence on every song, that it doesn't take much to OD. Theatre of the Mind's diverse sound scape does a solid job of minimalizing that trait, signalling replay-value potential (and it doesn't get any more important than replay value).

Furthermore, the fact that there is nothing ground-breaking, or career redefining here, or that Luda doesn't show us a new side of his person, his thoughts, his lifestyle, his anything isn't necessarily a bad thing. He still delivers a top-shelf product that embodies all of the reasons why you love Luda in the first place. His diversity. His ability to make you laugh, to make you bounce, to make you feel OK about screaming "move bitch, get out the way!" And most notably, the fact that he's a lyricist to the death - and he's got what you need. Ludacris, the last of a dying breed.

Rating: QQQQ

The Quotable Reviews: 808s & Heartbreak

"I'm a monster. / I'm a maven. / I know this whole world's changin'" - "Amazing"

Fresh off the success of his now-near-classic LP, Graduation (and subsequent album-sales-shalacking of 50 Cent), tragedy rocked through Kanye West's self-important world when his mother, Dr. Donda West, died from cosmetic surgery related complications[1]. The loss of his mother, along with ending his engagement (to Alexis Phifer), combined with the obligatory difficulties dealing with pop-star status provided the inspiration for the concepts behind The Louis Vuitton Don's fourth studio album, 808s & Heartbreak.

808s & Heartbreak is unlike any other album in Kanye's catalogue. For starters, he's not rapping, opting to half-sing-half-croon through T-Pain's ubiquitous Vocoder electronic voice manipulator.

Thats right. All beats. No rhymes.

Furthermore, Heartbreak's all 808-drum beat production and all love content mark the first true concept album of 'Ye's career.

Always pushing the envelope.

But the risk behind this concept is whether or not Mr. West's loyal fan base and Hip Hop heads alike will buy-into this form of artistic expression. Emphasis on buy. This isn't a Rap album. This is a Pop album.

THATS RIGHT. ALL BEATS. NO RHYMES.

And Hip Hop is notoriously critical of its most-valued Emcees veering left creatively (Common's Electric Circus nearly ended his career relevance and most cats cringed at the thought Andre-Three-Stacks rockin' without rhyming. Then he dropped "Hey Ya" and all was good. Its funny how winning multiple Grammies can make people forget). Not to mention that Kanye's lack of humility and perceived bitchassness has supplanted a Times-Square-Target-sign sized bullseye on his back. People want him to fail. Can't wait to hate. Prey and pray on his downfall. Does Ye's Pop experiment provide ammo to the enemy? Ride with us as...

THE QUOTABLE REVIEWS: 808s & HEARTBREAK

"And my head keeps spinnin.' / I can't stop having these visions. / I got to get with it." - "Welcome to Heartbreak"

Bass and heartache abound all through 808s & Heartbreak. The album opens with minimalist production and a plodding 808 drum beat on "Say You Will." Yep, Ye's definitely singing. Or something something like it. Honestly, this is the worst track on the album. The beat is dope, moving almost. But I'd fall asleep if it wasn't for the bass line. Plus, the vocals are underwhelming and the lyrics sound like the internal justifications of a date-rapist ("When I grab your neck / I touch your soul").

Following a 3 minute and 14 second instrumental to end the opening track, the album rises with one of the LP's brightest spots, "Welcome to Heartbreak." "My friend showed me pictures of his kids. / And all I could show him was pictures of my cribs. / He said his daughter got a brand new report card. / All I got was a brand new sports car." My oldest friend and his wife just had a baby. A beautiful baby girl. I remember back in '99 when he was sweatin' her at The Racquetclub, and now they're starting a family. Me? I'm still chasing the dream - searching for something real in the world. And theres nothing wrong with that - nothing at all. But it is a reminder that I have yet to truly own, truly create that which is most important in this world - love and family. This cut hits close to home (minus the cribs and sports cars. More like...rent and Metrocards. I keeps 'em clean, though).


"Heartless"

808s hits its stride on tracks 3 through 10. "Heartless" is a head-nod enducing ode to the eventual heartache of an unwanted breakup. 'Ye borrowed Dre's repetitive-keys, layed them over a thumping bass-line, and crooned his ass to a hit record. Possibly one of the hardest heartbreak tracks ever. "Amazing" feels like a marching tribal revolution with Young Jeezy's gruff ad libs adding the exclamation points. Even Da Snowman's verse here is quality (and I'm certainly not a Jeezy fan). This is the first track worth running back after first listen.

"Ok, I'm back up on my grind. / You do you, and I'm just gon' do mine. / You do you, and I'm just gon' be fine. / Ok, I got you out my mind." - "See You in My Nightmares"

Kanye continues with the brooding 808s and tribal-drum break down on "Love Lockdown," while opining on not loving the right way in a relationship. The beat and piano keys feel like that scene in The Matrix: Revolutions when Morpheus gives his I-know-it-looks-like-we're-marching-into-our-fiery-destruction-but-trust-me-it-will-work-out speech followed by all of Zion erupting into a massive, primal, half-butt-naked, tribal, dance party. Or, as my homegirl Noelle calls it, an "audio aphrodisiac".


"Love Lockdown"

808s peaks on the infectious "Paranoid." Sounding like straight out of the '80s pop-music, this club ready track is the closest 'Ye gets to rappin', as he questions why she's "so paranoid" about infidelity ("Yeah you heard about all the word of mouth / don't worry about what we can't control. / All the talk in the world, lost in the world / til you finally let that thang go. / You wanna check into the Heartbreak Hotel, but sorry we're closed").

"Robocop" explemplifies 'Ye's masterful production, showcasing another thumping beat (this albums' designed to bump in the truck...err...Hybrid) with bouncing, triumphant violin strings layered within. "Street Lights" is more of a subdued extended hook than a conventional song. The Louis Vuitton Don repeats the same chorus five or six times with ad lib-like interjections on life's unfairness arising sporadically. Its as if he only had the hook and the melody and decided not to fill in the blanks. Oddly enough, it sounds pretty decent. "Bad News" is an unfortunate, near-ballad about finding out you're getting played. Similarly to "Say You Will," if it wasn't for the bass line, I would have fallen asleep. Lil Wayne assists on the anthemic "See You in My Nightmares," providing his own Auto-Tuned crooning for the hook. The LP closes with rumbling drums and electric keys on "The Coldest Winter," and then "Untitled," a live performance of "Pinocchio's Story" where 'Ye expresses his frustration with pop-stardom and mourns the loss of his mother. A suitable close to an uncompromising album.

"Do you really have the stamina / for everybody that sees you that say 'wheres my camera?' / For everybody that sees you that say 'sign my autograph. / For everybody that sees you, crying, sayin' 'you all of that'" - "Untitled"

Ending after only 12 tracks, 808s & Heartbreak is sleek and to the point. It never wavers from its concept, and stays true to its title: 808 beat-laced production and a contextual focus on heartache. At best its a thumping, melodic, drive-by on matters of the heart. Tracks like "Welcome to Heartbreak," "Amazing," "Heartless," showcase 'Ye's top-shelf songwriting and production skills and overshadow the fact that he's not rapping. Like Graduation, (read review here), the production is anthemic. Its melodic, bass heavy, and crafted to be felt physically and emotionally. In fact, the soundscape reveals as much, if not more, of the emotional revelations Mr. West has experienced over the past year than the lyrics (and the Vocoder actually allows Kanye's voice to meld into the electric bass-line and keys, acting like an instrument in the techno-esque-ensemble). And in that sense the album is effective. The stadium-ready production, infectious melody, and memorable hooks are so rich that they nearly compensate for the fact that Kanye West cannot sing at all!

I mean at all.

Even with an electronic voice enhancer.

But 808s & Heartbreak is crippled by its potential lack of replay-value. "Untitled" is unlistenable. "Say You Will" is saved by the beat. And "Bad News" is one of those tracks that, more often than not, you probably won't be in the mood to hear all the way through. Thats 3 tracks out of 12.

1/4th of the album!!!

Think about it like this. Lets say you're walking down 6th Avenue on a brick-cold day. So cold that you're questioning why the hell you're outside in the first place. But you're bundled up nicely with you're earbuds in and iPod tucked away in your inside coat pocket, bumpin' your favorite track in the world - perfect enough to keep you focused entirely on the music and not on the blistering cold 7 blocks you have left until you reach your subway station.

Then suddenly your favorite track ends. And some wack track comes on right after.

Now you have a choice to make. Do you: A. Undo your perfectly bundled arrangement, letting that BRICK winter air dart your skin, erasing every semblance of warmth collected inside your fabric body armor, instantly reminding you that it is so cold even chicken soup won't help - reach into your pocket, pull out your iPod, and skip to the next track? Or do you: B. Spend the next 4 and a half minutes rushing to the subway while listening to one of the wackest tracks ever, immediately refocusing on the fact that you have no business being outside because its so damn cold???

Unfortunately, on the wrong day, 25% of 808s & Heartbreak will put you in that muttaksuttin' situation. And thats something a great album just doesn't do.

"When did you decide to break the rules? / Cause I just heard some real Bad News." - "Bad News"

Rating: QQQ.5

[1] November 10, 2007. The saddest form of irony considering 'Ye partially made his name by openly discussing self-consciousness on tracks such as the seminal, "All Falls Down"

Carry on...

The Tale of the Tape

The results are in: Graduation - 957k, Curtis - 691k.

So KanYeezy busts Fiddy's ass - outselling Mr. "I got shot 9 times" by nearly 300 thousand albums.


No shocker here at The Quotable.

Billed as the underdog going into this much over-hyped match-up, Kanye West snatched Hip Hop's album sales crown by a wide margin. But was Mr. West ever really the underdog?

According to My Cousin Sha; "No."

And he's right.

Although both MCs remain two of the most commercially viable artists in today's slumping Rap industry, 'Ye and 50 were at opposite ends of the bell curve once momentum is factored into the equation.

Fiddy dropped the gauntlet on the industry with Get Rich Or Die Tryin', selling over 10 million albums domestically. His follow-up Lp, The Massacre, moved over 5 million units, but was panned by critics and fans alike. Since then, his once platinum G-Unit label mates (Lloyd Banks, Young Buck, et cetera, et cetera) have received luke warm responses from critics with their sophomore albums (Rotten Apple and Buck the World, respectively) and have struggled to go Gold (500,000 units). G-Unit isn't poppin' like it was in 2004-05. Plus, with rumored dissension in the clique (5-0 allegedly cut all funding for his label mates citing an overall lack of hustle from his crew[1]) and the recent recession in the music industry as a whole, its clear the tide changed. 50 Cent's stock price was on the decline, and for the first time since GRODT dropped - Curtis has had to deal with calamity.

The exact opposite can be said for Kanye.

Since his 2004 debut, 'Ye has solidified his fan base by going left of the commercial mainstream and found success in the process. The College Dropout didn't break any sales records, but certainly left a mark on The Culture with its soulful beats and diverse subject matter. Tracks like "Jesus Walks" and "All Falls Down" were hits because they tapped into the common man psyche - discussing self-consciousness and ones relationship with God). His sophomore set, Late Registration, provided more of the same type diversity, but with improved delivery and production. The cocky Kanye West even enlisted help from Jon Brion (Fiona Apple's producer) and Adam Levine (Maroon 5 front man) along with several of Hip Hop's notables (Lupe Fiasco, Jay-Z, Paul Wall, Nas) helping expand his fan base. Moreover, his G.O.O.D. Music record label released platinum selling albums by Common and John Legend which furthered his momentum going into Graduation's release. 'Ye's stock price continued to rise because he continued to put out G.O.O.D music.

Momentum was clearly on Kanye's side going into to D-Day 9/11 and in the end he delivered a better product (see reviews for Graduation and Curtis). So it shouldn't come as a shock to anyone that 'Ye massacred Fiddy this week. Along with being a better artist, Mr. West was simply in a better position leading into the much ballyhooed release date. But as the smoke clears and the dust settles, do you want to know who the BIG winner really is in the end?

Universal Music Group[2].

Corporate America wins again.

[1] Yeah...I can't find the link right now, but I promise you I read that on one of these Hip Hop sites somewhere. Just trust me on this one. 'preciate.

[2] Universal Group is the parent company for both Def Jam and Interscope - the record labels Kanye West and 50 Cent are signed to, respectively. How you like 'dem apples?

Carry On...

The Quotable Reviews: Finding Forever

"Ladies and Gentlemen, the C-O-Double-M-O-N. / Synonym for "Fresh." Truth is the emblem" - Common: "Start The Show"; Finding Forever

I can't front - as soon as the release date was announced for Common's 7th studio album, Finding Forever, The Company Man was amped.

And for good reason.

Over the past 15 years since the artist formerly known as Common Sense kicked in Hip Hop's door with his debut album, Can I Borrow A Dollar?, "Chi-Town's Nas" has continued to evolve - showcasing carniverous lyricism ("Communism"), vivid storytelling ("Testify"), and a trunk load of love raps all along the way (even if you don't know Common by name, chances are you've grooved to one of his now staple "baby-I-love-you" rhymes vibin' through your factory speakers). Never one to fall victim to creative complacency, Comm always pushed the envelope to the brink of breach with each studio release. But it wasn't until 2005's, critically acclaimed Lp, BE, that Common proved (with the aid of uber-producer/emcee Kanye West) that he could in fact create a complete album. Concise, commanding, and loaded with break-neck beats, BE, was the near-perfect combination of production and proverbs (its almost as if 'Ye and Comm were trying to one-up each other the entire time - to see who would shine more - the artist or the producer. In the end it was a draw...and one helluvan album). BE was so good in fact, that in some circles Comm's name found its way into several whose-the-greatest-of-all-time? conversations. Justified or not, Common finally made it mainstream. His stock price was at an all-time high. And one more solid album could be enough to lock him in with exclusive company. Would Finding Forever be that key? Lets take a listen.

Finding Forever opens with whispy flutes, and corny keys totalling 1 minute and 17 seconds of wasted space. No rhymes. No beats. No point. (On the plus side, this in a way serves as the albums only interlude. Silver lining). The show finally starts with (appropriately) "Start the Show." Showcasing live string recordings (violas, violins, cellos...the works) over knocking drums and snare, this cut contains some of the albums coldest rhymes ("with 12 monkeys on stage its hard to see whose a gorilla. / You was better as a drug dealer. / Feel the passion of this B-Boy rationale. / Half is what you say, and half is style. Guess its time for you start cashin' out"). "The People" picks up where "The Corner" (BE) left off - funky Kanye West produced bass-line + Common's flawless delivery = (you guessed it) lead single. 'Ye carries the hook here...once again. The Lily Allen assisted "Drivin' Me Wild" is undoubtedly the album's brightest track. Comm is at his best here, spittin' three blazin' verses opining on the lure of acceptance and the extent people will go to obtain it. Storytelling at its finest. Will.I.Am makes a notable appearance on "I Want You" (production and hook by the Black Eyed Pea himself) while Common delivers more detailed relationship rhymes. 'Ye steps from behind the boards and joins Comm in the booth on "Southside" where the duo dual 8 bars at a time in an ill cypher session showcasing both Chicago lyricist head-to-head (this is what Hip Hop is all about, muttaskuttas!). Both Emcees bring the ruckus on this one ("ain't nothin' wrong with that!"). DJ premiere shows up on "The Game" adding his classic scratches over more Kanye boom-bap production. Another stand-out track.

"I said I got my SAG card baby. I'm an actor." - Common: "Break My Heart"; Finding Forever

Unfortunately, the second half of Finding Forever veers into mundane teritory. Don't get me wrong, Comm's content is still ever present. "Black Maybe's" discussion on the fate of the "black man, woman, and child" is a beautiful song, and definitely needed in today's Hip Hop landscape (especially from a newly-mainstream-artist...too bad you'll never hear it on the radio), and D'Angelo's rehabilitated guest appearance on "So Far To Go" mashes perfectly with (more) Common relationship rhymes. Not to mention that both Devo Springstein and Kanye West straight decimate the boards on "Misunderstood" and "Break My Heart" respectively. Its just that the whole vibe of the second half of the Lp crawls itself to sleep. The combination of heavy content (dope as it may be) and mello production back-to-back-to-back-to-back-to-back wears on a muttaskutta. Its like getting stuck watchin' white-church on TV (ironically enough) - you don't know whether to switch tracks, or take a nap. You can't even clean the crib when listenin' to the back half of Finding Forever. And if you're driving at night, you better pump the A/C, roll the windows down, and grab a Mountain Dew or you just might fall asleep at the wheel. FACT. All you want to do is sit. Not that thats a bad thing.

(The album is better when rocked on random, though).

Overall, Finding Forever is undoubtedly one of the best albums released in 2007. I can't deny it. Common's flawless delivery and common man sensibilities over Kanye West's stellar production is enough to appease nearly anyone with ears. And at a lean 11 tracks in length, its juuust short enough to stay fresh.

With that being said...

There are certain qualities that I've come to admire about the artist formerly known as Common Sense. Most notably - his drive to continue to grow and progress as an artist. Everytime a Common album dropped you knew it was gonna be Fresh...and a different kind of Fresh than his previous album. He always gave you something different without ever slacking lyrically (even his most eccentric album, Electric Circus, (during the Erykah-Badu-voodoo'd era of his career) was packed with dope rhymes despite the questionable soundtrack. No doubt). Com consistently pushed himself with every release - which is why a lot of heads started raising his name in whose-the-greatest-of-all-time? debates. He's been doin' it at a very high level for a very long time.

But Finding Forever sounds less fresh-and-new and more like BE-part-2...just not as good. The similarities are eyebrow-raising. "The People" sounds just like "The Corner" and was marketed in the same fashion. "Southside" is an ill cypher rhyme about Chicago. "Chi-City" is an ill cypher rhyme about Chicago. And both albums end with a poem from his father, Lonnie "Pops" Lynn (I know its a moving gesture and all, but still an overkill. Slap him somewhere in the middle of the album at least. Mix it up a bit). Ironically the beginning of the poem starts with "...well, well, well / here we are back in the studio again." I'M NOT MAKING THIS UP.

Through all its dopeness it feels like a re-tread. Its like Comm and 'Ye gathered up all of BE's leftover tracks, re-worked a few, added some guest appearances, and sold it like new. I mean...technically its still new, but its like the new generic brand. Its like the Voit version of Air Jordans. Its like Chucks without the Converse logo. You know what its trying to be... but its not official.

"I said I got my SAG card baby. I'm an actor." - Common: "Break My Heart"; Finding Forever

Comm definitely phoned-in this one. I know he has a burgeoning film career ahead of him[1] and a lifetime supply of "basics" from his GAP sponsorship, and thats great. Get your money, Jo. Theres a recession in the music industry right now anyway. But let me know now if making albums has taken a back seat to other ventures. I mean, you'll still get my $10 bucks...but next time it'll be a movie ticket.

Rating: QQQ

[1] I haven't seen Smoking Aces, but my man Denell says he "was good...almost like a convincing actor." With that kind of review I'm sure he as bright future in Hollywood)

Carry on...