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On several tracks he drops the "N" word, which seems at odds against his largely positive persona. But perhaps the album's biggest surprise is "Forever Begins," which features Common's father waxing poetic over a wonderfully jazzy groove that incorporates elements of Paul Simon's classic "50 Ways To Leave Your Lover." Like a great deal of artists Common isn't without his glaring contradictions. The lumbering beat, built around the classic "Don't Let Me Be Misunderstood," along with flute and keyboards creates a detached gospel ambiance that's haunted with a sense of severe melancholy. When Common isn't ruminating about potential love interests then he's dispensing with conscious lyrics as on the aforementioned "U, Black Maybe." They creep in again on "Misunderstood," which tackles aids, inner city crime, drug abuse, and other long standing problems that rap used to routinely address during its golden era back in the '80s and early '90s. Again it puts Common in that in-between grey area where he's tweaking with conventions to a degree, riding that fine line between being a baller and an R&B sex symbol.
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I suppose props should be in order since Common's giving up some songs for the ladies and older rap set (i.e. Then there's "U, Black Maybe," which, while more of a social commentary on urban blight, is still wrapped in mellow, down-tempo soul drift. The album is stacked to the gills with such numbers as "I Want You" and "So Far To Go," the latter of which features D'Angelo on the falsetto croon. Hardcore heads may be distraught to learn that Common hasn't given up his persistence in delivering between-the-sheets inclined love ballads. It won't win any awards amongst a hardcore caucus, but damn if it ain't inescapably catchy. Her infectious chorus is the type of sugary sweet ear candy that you cannot resist reaching for a second helping of. It features Common rhyming wonderfully over the rolling piano loop and snare beat, both of which playfully dart and weave between echo effective vocals from Allen. Featuring the nymph-like Lily Allen it's the type of song that deliberately treads the line between Churban mellowness and pop euphoria. Take a song like "Drivin' Me Wild," for example. In many ways Common has more in common with the likes of such '70s jazz inclined artists as Gil Scot Heron, Lonnie Liston Smith, and such timeless soul icons as Stevie Wonder than he does with the rappers he emerged alongside of back in 1992. It's this very same fresh approach that is simultaneously liberating and frustrating. This makes him something of an oddity in this day and age when brashness and over-the-top gangsta verbosity continue to dominate the mindset of most rappers. The mellifluously toned Chicago MC once again delves into the realm where street bred braggadocio meets silk sheeted romantic allusion.
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Naturally this testament to tenacity has allowed Common to fill a niche in the continuing battle against bling and bitches.įor the most part Quiet Storm aesthetics rule the bulk of Common's seventh release. As such he's become the de facto king of leftfield shift, leading the small charge that strives to bring listeners something set apart from the standard rap trappings. In stark contrast to the standard blueprint of the genre Common persists in making mature sounding music that rises above the thunderous bass boom bap. At its core it has always been like the urban version of rock 'n roll and punk rock combined, utilizing turgid rhythm surges and emphatic poetry in lieu of screaming guitars and shrieking vocals. Rap, by its very nature, was meant to be aggressive and in your face the kind of music you absolutely must bump in the trunk or at the house party.