This time out, Kanye adopts a "What would Dilla do?" approach to his productions. This lends a kind of heaviness, a level of seriousness, and a sometimes overbearing sense of "What we are doing here is intended to be important," not present on 2005's Be - a taut and steady album with an unforced and seemingly less conceptualized liquid flow. Dilla's 2006 death has had Common and Kanye not just grieving but further contemplating the making of music that outlasts their time on the planet. In "The People," Common rhymes "My daughter found Nemo/I found the new Primo," yet it is the late J Dilla - not DJ Premier - who is emulated by Kanye West throughout Finding Forever.
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The Assassination of Jesse James by the.Īll content copyright 2001-2007 stylusmagazine.Purchase and download this album in a wide variety of formats depending on your needs.New York Film Festival 2007, Part III.King of Kong: A Fistful of Quarters.Lars and the Real Girl - Craig Gillespie.The Seeker: The Dark Is Rising - David.Stylus Magazine’s Top 10 Zombie Films.Bruce Springsteen and the E Street Band.Jens Lekman - Night Falls Over Kortedala.We so desperately want to reward Common: “I’m keeping my eyes on the people, that’s the prize.” But with Forever, and Be before it, Common’s staring down a very different road into eternity. We want to believe that rapping nice and trotting out (uncited) platitudes on the double-ness of the black American experience should produce good art (or even good pop). We could chalk up Be to, we thought, a domineering svengali producer. This Common is glib, glad handing, and disingenuous (how many times did Common freely say “faggot” on earlier albums? Why would someone so “conscious” forget this?). He simply can’t find any un-cliched verbal patterns (lots of “cry” and “try”), any un-trod imagery (“we were like two birds that were able to fly”). He’s got two switches for women: the suede jacked, wool scarved guy who loves D’Angelo and making you smile (“I Want You” and “So Far To Go”) and the righteous moral defender of all women at all times (“The People”). He’s culturally trite (“I’m like Muhammad when he fasted”). Responses and thought processes are as blanket at Lou Dobbs, Bill Cosby, or the “What Do You Think?” section of CNN.com. His references are pure dentist waiting room (“like my daughter found Nemo,” “driving herself crazy like the astronaut lady”), his lines are maladroit (it sounds as if he can barely fit a few feet into a line without stumbling into an ungainly break), and worst of all, Forever is one of the more non-intellectual, reductive “conscious” albums in many moons. From the dull roar on “Start The Show” to flatline twinkles on “Drivin’ Me Wild” this is a proudly mid-tempo album, where the songs range in pace from languid to loping, and the pulse never rises above a Sunday spell on the couch.īut in the act of making himself more accessible, Common’s verbal skills have slid into disrepair. imprint at Geffen, it’s more of the recent vintage sauce-“deep” subject matter and pseudo-SoulQuarian tray tables. If anything, Kanye’s spurts of “dabbling” (the chipmunk loops, the big-budget Stax revisionism, and, now apparently, a Daft Punk crush) have made Common’s exodus into the suburbs nearly palatable.įor Finding Forever, Common’s seventh studio album, and second on Kanye’s G.O.O.D. That Common, for those who want him, is safe.īut, in essence, that Common is gone. O one is taking shots at Resurrection, Like Water for Chocolate is safe from any critical vandalism, and there’s a deep enough reservoir of nostalgic currency around Can I Borrow A Dollar?.
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