Common - Finding Forever

Firstly, I thought I'd mention that I went to see GZA live in London last week, and it was an excellent experience - props to the DJ and MC that went up before him too, that was also great!

More importantly, I want to warn readers not to expect to much from me in the next five weeks - I've got a lot of college work to focus on, and I have to make that my priority now so that I can do this journalism thing in the future full time. Hopefully new readers can go through my backlog in the meantime. And thanks for all the views I've been getting! - shout out to everyone who's read my blog or shown support, I appreciate you. But yeah, expect this one to be the last for a short while - I blame my little time on myself for choosing graphics design as an A Level! 

Anyhow, enjoy the review. 

In 2005, Common teamed up with Kanye West (and J Dilla) to release Be, one of the greatest albums ever created. The LP was perfect from start to finish in my opinion, with incredible production from Kanye throughout that showcased the absolute best of the man's production work at the time (yes, even better than what he had on The College Dropout and Late Registration), and some of the best lyrics, flows and vocal deliveries we'd yet had from the man who had already given us multiple classics with such projects as Resurrection and Like Water For Chocolate. I find it crazy how Common had already cemented a strong legacy as one of the best to ever do it, only to then top all of his previous work, just because he could. I mean, can you see Kendrick topping To Pimp a Butterfly in the near future? Because that's the modern equivalent of what Common did with Be. It was a true masterpiece, and served to continue one of the greatest album runs the genre had had the fortune to see. 

There was only one problem - what would Common do to follow that up?

Well, for starters he had to team up with Kanye again - he had never worked with one producer or group for just one album so far (No I.D.had produced his first three, and The Soulquarians the two after that), and he wasn't about to start that with his most successful project yet. No, Kanye was to stay behind the boards, but this time he did enlist the help of a few others - J Dilla got one production credit (one less than on Be), but so did will.i.am (great), Derrick Hodge and Devo Springsteen, and Karriem Riggins too if you count the UK bonus track (which I do, for obvious reasons). Still, despite this the overwhelming majority was handled by West, but he had something different in mind for the sonics of Com's new album this time around. 2006 was the year of J Dilla's tragic passing, and in his memory Ye attempted to channel the sound of Dilla for the new LP, rather than his own chipmunk soul style. From what I see, this was the case... sometimes. Anyhow, the producers were all set then, and as for features Common enlisted Lily Allen, D'Angelo and Kanye, but also a bunch of singers who go completely uncredited - this is sadly the norm with a lot of rap releases around this time. He named the new effort Finding Forever, and made the album cover as ridiculous as he possibly could in order to juxtapose the simplicity of the art for Be (well, this wasn't the actual reason, but given the artwork presented to us on this CD that could well have been the thinking behind it). And there we had it. The much fabled follow-up to Be, released just two years later. 

And shit, the hype was high. Kanye himself was gearing up for release of his own solo effort Graduation around the time Finding Forever came out, and with that the sales battle with a certain Curtis Jackson that became one of the most important musical events of the 2000s decade. Meanwhile, Common was coming off the tails of one of the most highly regarded hip-hop albums ever released - it's no wonder this thing charted at no. 1 on the Billboard 200, although it is a shame that this is his only project to do so. Well, I guess there are consequences to pay when you release something like Universal Mind Control. 

Still, no self respecting hip-hop fan actually cares about the charts. The real question is - is the music any good? And would Common be able to create a worthy follow up to the timeless Be without completely copying its formula? Well, I guess there's only one way to find out...

What do you mean "what way is that"? By reading this review, silly!

1. Intro (prod. Derrick Hodge)

Common gets things going with a beautiful instrumental intro which has so many great moments in it I can't even count. This is seriously one of the best instrumental tracks on a rap album ever. Jesus. 

2. Start the Show (prod. Kanye West)

After a sick transition culminating in Kanye jump-scaring us for the beginning of the chorus, the first actual song comes in, and it's one that musically sounds very different to the stuff we heard on Be. While that album was filled to the brim with chipmunk soul, old-school drums and beautiful instrumentation, this instrumental is a culmination of some electronic sound effects that actually comes together far more smoothly than you might expect. It also helps that the beat is exactly the kind of music that you would expect to hear based on this space-themed cover art. The instrumental also changes into something more menacing for the chorus (provided by Kanye), and it's arguably even better than what we get to hear in the verses. As for Common, he's pretty bloody good too - I mean, most of the rhymes are pretty much just braggadocios or referential, but I enjoy his delivery and flow a lot, and there are some nice lines throughout too ("I been a Master since P was no limitin'"). This song is a fantastic way to start this album. 

3. The People (prod. Kanye West)

Classic Common. This was one of the singles released for this project, and features Kanye creating an admittedly Dilla-esque beat that sounds like absolute Heaven for the ears - I mean, the sampling throughout this thing is absolutely perfect, and the instrumental switches around a lot throughout too, showcasing the creativity that the man had back then. Not that Common's producers have ever been drab, but still. As for our host, he delivers an absolutely heartfelt performance with great lyrics and a steady flow that aren't necessarily the absolute pinnacle of the man's work, but do showcase his style very strongly. If you're trying to get someone into Common, then this better be in the five songs you suggest for them (along with "I Used to Love H.E.R.", "Be (Intro)", "A Song For Assata" and "Invocation" if you ask me). Dwele also pops up for a hook here, which is very pleasant - why he doesn't get the credit, only the record executives know. Bastards. 

4. Drivin' Me Wild (feat. Lily Allen) (prod. Kanye West)

Another single for this album, this one actually surprisingly radio friendly - this might well be the most poppy tune in the entire Common catalogue. That's not to say it's bad, though - in fact, this percussion heavy instrumental is really great, and Lily Allen does a nice job with the chorus (even if the engineer did forget to cut out Kanye's reference vocals from the background). Common gets down to business with these verses too, which detail people just trying too hard to fit in and going crazy because of it. The subject matter is pretty interesting, and Common does a nice job tackling it. If this song weren't so bubblegum I'd probably be able to enjoy it even more, but as it is it's still definitely a nice, relaxing tune to appear on this album. Also, Common's moves in the video are funny as hell, you've gotta watch that. 

5. I Want You (prod. will.i.am)

On the back cover here Will isn't credited as a feature despite his vocals - oddly he is listed as a feature on the hype sticker though. I guess will.i.am's name was a tricky one back then - sure to throw as many people off as it did put on. This song right here is, as you could probably have predicted from the title, a love song, albeit one with a strangely creepy air about it thanks to will.i.am's instrumental, which is actually really bloody good if we're being honest here. His vocals on the hook are also nice, even if the trademark silly robot voice slightly takes us out of the experience. Common's lyrics on here are about a love he lost (Erykah Badu? Possibly), and they're also pretty good, with some strong lines - "I spent many years tryna be a heart throb / I guess it's only right that my heart got robbed". That alone makes up for rhyming "I need your warm" three times in a row. This is honestly one of the best of the mid-2000s will.i.am team ups with actual hip-hop artists (others include Nas' "Hip Hop Is Dead", Game's "Compton" and Murs' "Lookin' Fly"). It's a great track.

6. Southside (feat. Kanye West) (prod. Kanye West)

Technically the third vocal appearance from West on this album (if we count his subtle background contribution on "Drivin' Me Wild"), but the first and only that he actually gets the feature credit for. I guess it would look stupid if his name was plastered all over the track names here. This song is structured like a back and forth where each artist has eight bars to talk their shit before the other guy comes in - only difference is that there's a chorus after every eight bars where Common shouts "South!" and Kanye shouts "side!". Problem is that this chorus isn't entirely successful thanks to the latter, who wails his vocal like he's getting repeated smacks in the nutsack. The verses, however, are bloody sick, as both artists show great personality, and keep seriousness and humour in check throughout. Honestly there isn't a bad moment in these verses, and the relentless nature of the guitar-heavy instrumental on here helps keep things up. I also love the ending, which is quite drawn out and dramatic, and sounds just great. And if Ye's "la la la"'s don't get stuck in your head then I think you need your ears tested. This joint is scorching hot, man. 

7. The Game (prod. Kanye West)

So for this one, it seems that Kanye has stopped trying to sound like Dilla, and started trying to sound like DJ Premier - Preemo's presence in the studio providing scratches on this song may have helped with that. This song rocks, proving a theory that Common songs beginning with "The" are bound to be great - how can you possibly argue with "The Light", "The 6th Sense", "The Questions", "The Hustle" "The Corner", "The Food", "The People" and this?? Crazy stuff, man. This is definitely the most hardcore track on the album, and the more "aggressive" song that was noticeable for me on every Common album from Electric Circus to Let Love (prior to Electric Circus his aggressive cuts were more, err, common). The bars on here are nice as hell ("kickback records get kicked to the back", "five year olds walk by themselves in the street / the young die of cancer, I stop eating meat"), and Kanye's instrumental is fucking incredible. Easily one of the best tracks on an already stacked album. 

8. U, Black Maybe (prod. Kanye West)

Com teams up with Bilal for one of their many collaborations - although for some stupid reason even he doesn't get the credit on the back cover of this CD. And that's a huge shame, because Bilal's performance on this track is utterly phenomenal - not that any of the contributors here are slacking. This is one of the more underrated gems on this record - Kanye's instrumental on this one is beautifully soulful and yet still maintains the spacey atmosphere that this album goes for, and Common's verses are without doubt some of the absolute best on the whole record. I mean, that second verse contains some of the best storytelling of the man's career. Com also attempts a bit of his own spoken word at the end of this one, and even that part of the song is pretty damn enjoyable. This song is absolutely incredible, and easily one of the stronger cuts here. 

9. So Far To Go (feat. D'Angelo) (prod. DILLA)

Ooh, I'm going to get some stick for this one. See, contrary to most people, I'm really not the greatest fan of this song. In fact, I think it's the weakest cut here by some margin, which is pretty mental considering that it's the only cut here produced by the real J Dilla, rather than Kanye openly imitating him. First of all, I'm not the hugest fan of D'Angelo personally, or male falsetto R&B singers in general if I'm being honest - I didn't care too much for the man's work on "Geto Heaven Part Two", and I'm certainly not loving his efforts here either. Now, J Dilla's instrumental on this track is alright, but it seems overwhelmingly drab in comparison with the experimental, exciting nature of songs like "The People" and "Southside". It also fails to hit me right in the heart like the beat on "U, Black Maybe", which I think is what he was going for here. Common is the main focus though (well, he is here - this song originally appeared on Dilla's album The Shining), and even he doesn't do that well in my opinion. The opening lyrics "shorty, you know that you the most / important, at least on the west coast" are not only stupid, but also flow terribly, and the rest of the track doesn't do much better, with lyrics covering a similar topic to what we had in "I Want You", only it's less interesting because he hasn't lost the girl yet. I have no desire to disrespect the three artists on this song - we all know I love Common, Dilla is still one of my favourite producers, and D'Angelo is undeinably influential if not my cup of tea. Still, I'm not one to cover my opinion - this song really does nothing for me. 

10. Break My Heart (prod. Kanye West)

Kanye cooks up a soft and groovy instrumental for this one that Common should excel over, but truthfully our host never impresses me on this cut. His flow is very simplistic, yet still frequently disjointed throughout the track, and my God are some of these bars weak. "Get deep in love and then you needing some oxygen", or worse, "your clothes are tight, but you don't seem gay / I said nah, that's dude from NSYNC- ayy". I mean, that latter one just seems unreasonably spiteful, and adding the "ayy" on the end makes the listener think Common was just desperate to make a dig at the guy, since there's no real rhyme there. It's a shame, because the sampling in the chorus here sounds excellent, and I really enjoy the beat too - it's truly a sad day when Common of all people is the one to ruin a song like this.

11. Misunderstood (prod. Devo Springsteen)

After the silly love song that was "Break My Heart", Common gets serious again for a song about how some people from the areas he grew up in are misunderstood, and how their frowned upon lifestyles weren't chosen by choice. Kanye lets his cousin Devo Springsteen have a go at producing for this one, and he chops up a live version of Nina Simone's "Don't Let Me Be Misunderstood" to make for a surprisingly fantastic beat, that Common does his thing over, showcasing very strong storytelling abilities on his two verses, both of which are very well-written (even if he effectively calls himself talentless in the second verse, unintentionally that is). Bilal shows up at the end of the song too for a very creepy refrain before the sampled chorus kicks back in, and that might well be the track's best moment. This song is a much needed return to form after the iffy previous two cuts.

12. Forever Begins (prod. Kanye West)

Said return to form is short-lived however, as we are now on the final song of the album. Dammit! Still, I think we can all agree it's a pretty damn good way to end things. The instrumental from Kanye is incredibly powerful on here, with great and very unique percussion, and powerful instrumentation to create the perfect soundscape for Common to drop some esoteric verses with some pretty memorable lines like "no matter how high I elevate, I kiss the floor". Meanwhile, the choir on the chorus do a great job, and once again Common's dad pops in at the end for a long bit of spoken word that works very well. There isn't much else other to say than this song is probably the best way this album could possibly have been ended off. It's utterly fantastic. 

Unfortunately for me, "Forever Begins" doesn't end things off - instead, my pressing of the album finishes with the following bonus track. 

13. Play Your Cards Right (feat. Bilal) (prod. Karriem Riggins)

This song was originally featured on the soundtrack to the film Smokin' Aces, but I guess Common thought it was good enough to be included here too - and he was probably right, as this is indeed a very enjoyable song. The triumphant instrumental from Karriem Riggins sounds completely opposite to what we've heard on the rest of this album, sure, but it still sounds good, and Common's passionate performance really elevates this one to a new level during the verses. My main issue with this one is the hook - I think Bilal is a great singer, but the melody for this chorus is annoyingly catchy, meaning it gets stuck in your head without it actually being very good at all. It's not a huge issue, though - hell, I still enjoy the song a lot, and that's definitely enough for me. 

Finding Forever concludes what is surely one of the best album runs hip-hop has ever seen. From Resurrection way back in 1994 to this album I'm reviewing today, Common had reinvented his sound with every album without ever really being unsuccessful at doing so - I'm not saying that there weren't bad songs in there (Electric Circus definitely had a few clunkers), but for the most part each musical movement made by Common in this period was an absolute treat to experience. This was a fantastic run, and one I honestly think deserves a lot more praise from the hip-hop community. Still, I'll probably cover this run more in a later post - for now, let's do an overview of Finding Forever. Because man does it deserve one. While there are a couple of tracks in the second half that fall flat in my opinion, for the most part this album continues Common's creative streak, showcasing not only some fantastic writing, but also some of Kanye West's best production work of this era too. A lot of people are quick to claim that this is just a weak version of Be, but it's definitely not if you ask me - this album has a much different sound to that project, with only a couple of tracks following the formulas we saw on that effort. I'm not saying that this album is as good as Be, because it definitely isn't - but I do think it deserves more of a chance as it's own album, rather than the fabled follow up to (in my opinion) one of the greatest hip-hop albums ever released. The highs on here are monstrously good (I don't know where that came from, but I'll leave it in), with cuts like "The People" and "The Game" being among Common's strongest, and some of the songs towards the back half are beautiful too, such as "U, Black Maybe" and "Forever Begins". But another thing is that this album is so cohesive - yes it has phenomenal highs, but they don't take away from the other tracks on here, instead enhancing them as part of the body of work. Common and Kanye were on their a-games here, and even though nostalgia might be a factor in this, I'd still like to say that this is an excellent album and deserving of your time. It's not quite a classic, but for how bloody good Be is, I think they really did do their best with this one. This album is brilliant. 

Best Tracks: Start the Show, The People, Southside, The Game, U Black Maybe, Misunderstood, Forever Begins

Worst Tracks: So Far To Go

Any more Common, you ask? Why yes there is.