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Common has been here before. You should know the routine; after dropping an album that doesn’t resonate with the public as expected (see: Electric Circus), the Chicago rhyme veteran returns triumphantly with, yeah, a classic (think: Be). While 2008’s Universal Mind Control was coolly received, the discerning masses will surely embrace Com’s latest project, The Dreamer/The Believer. Linking up once again with No I.D., who handles all the production, Common finds himself comfortably doing what he does: Hip Hop.
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The Dreamer / the Believer by Common on WhoSampled. Discover all of this album's music connections, watch videos, listen to music, discuss and download. Jan 18, 2012 50+ videos Play all Mix - Common The Dreamer, The Believer The Dreamer Album Download Link YouTube Common - The Dreamer (feat. Maya Angelou) HD - Duration: 5:57. Dec 19, 2011 The Dreamer/The Believer is the ninth studio album by American rapper Common. It was released in the UK on December 19, 2011 and in the US on December 20 through Warner Bros. Records alongside Common's newly launched Think Common Music Inc. Common's longtime friend and frequent collaborator No I.D. Handled the album's production entirely himself.
Let’s get it out the way; although “G.O.O.D Music” is still fam, Kanye West is not on the album. You’re not going to miss him, anyway. In case you are blissfully ignorant about an album called Resurrection, or contemporary rap joints from Big Sean (“My Last”) and The Throne (“Primetime”), you know No I.D. is a monster on the boards. The current Def Jam Record exec provides Common with a diverse medley of grooves to lay into with his rhymes. Shuffling drums hug a soulful groove on the reflective “Windows,” lush strings permeate the righteous ruminations of “Gold” and gentle keys anchor the happy go lucky “Celebrate.”
While No I.D.’s soundbeds hold him down, at many points it sounds like Common is spittin’ with an Everest sized chip on his shoulder. Particularly on “Sweet” where he takes shots at no one in particular, unless it applies, with pointed bars like “I’m the franchise so I rock my own chain/No I(D) said give ‘em that ’80s cocaine/Something raw something pure so I stayed in that vein.” The rhymes skills are also thoroughly on display on “Raw (How Ya Like It)” with a bluesy guitar riff assisting Com’s tales of a bachelor on the prowl: “She all couture, in her Tom Ford/Security guard let me in cause I’m lord/of finesse, the under, the rings, the dress/Code is to always stay fresh/Aware of her chest cause I stay abreast/she was extra cold, I’m here to decongest.”
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Fresh rhymes are a given on Common albums and he also hits all his thematic hallmarks. There is the song about bungled love (“Lovin’ I Lost”), the ditty about hope (“The Dreamer”) and of course, Pops gets yet another album closer (“Pops Belief”). But working off a blueprint, no matter how tried and true, can lend to talk of complacency. However, the quality of the work—kept at a potent dozen tracks— relegates such a critique to nitpicking.
Every song on The Dreamer/The Believer succeeds off the strength of Common and No I.D.’s seasoned chemistry. Even the marquee features—limited to Nas (“Ghetto Dreams”), John Legend (“The Believer”) and Maya Angelou’s poetry on “The Dreamer”—are choice accents that bolster without getting in Common’s and No ID’s way. Also essential to the albums mix are vocals from James Fauntleroy of Cocaine 80s.
Being able to assert himself no matter who is riding shotgun is a major reason the former Common Sense is still a major Hip Hop player despite his debut, Can I Borrow a Dollar?, dropping before most college freshmen were born. As far as musical aesthetics, The Dreamer/The Believer falls somewhere between the ambitious topical themes of One Day It’ll All Make Sense and bumping beat orgy that is Be. That said, it’s best to never snooze on the talents of Lonnie Rashid Lynn.
3 stars (out of 4)
Common spent so much of his career proffering earnest tales of self-empowerment and moral struggle that his 2008 album, “Universal Mind Control,” came as a shock to his followers. Brimming with lackluster club-oriented tracks and high-roller clichés, it came off as a transparent attempt to crash the pop charts.
With his Hollywood and TV career in full gallop, Common appeared to be pulling away from the music that once inspired one of his greatest rhymes (his 1994 ode to hip-hop, “I Used to Love H.E.R.”). But his ninth studio album, “The Dreamer/The Believer” (Warner), gamely tries to jump-start his career by returning to his ‘90s foundation: uplifting songs about everyday folks rising above their circumstances, and the production work of No I.D. (Dion Wilson), with whom he collaborated on several of his best early albums.
Born Lonnie Rashid Lynn on the South Side, Common remains symbolic of a certain Midwestern-bred style of hip-hop, a blue-collar MC whose style has rubbed off on kindred spirits Kanye West, Rhymefest and Lupe Fiasco. Perhaps no other MC would frame an album with cameos from the poet Maya Angelou and his own worldly wise father, as Common does on “The Dreamer/The Believer.”
No I.D. is an equally important element in Common’s attempt to get back on course. His style owes to the expansiveness of ‘70s “dusties” soul, placing a premium on pleading vocals, horns, and stepping grooves that glide rather than stomp. The producer arrays gauzy female backing vocals and softly ringing keyboards over a big, steady snare beat on album-opener “The Dreamer,” while Common free-associates vague encouragement: “Maybe I’m a hopeless hip-hop romantic … thought about my daughter for a second … the world is at my fingers … at the mountaintop ya still gotta dream to the dreamers.” Angelou bats clean-up, closing the song with a poetic history lesson.
Set against the more flamboyant stylists of the last decade, Common sounds almost quaint. He’s so ‘90s, but he sounds at home there. No I.D. keeps the melody flowing, with vocalists Makeba Riddick and James Fauntleroy II taking turns singing hooks, and building gospel-tinged celebrations out of some of the unfunkiest music ever made (samples from ELO and Kenny Loggins).
Common sees God and Run-DMC amid “Blue Sky” when he thinks about his childhood, and John Legend lays a giant gospel hook atop “The Believer” that sends the rapper sifting through a “violent culture” for inspiration. He flexes his battle-rhyme muscles on “Sweet,” and trolls the clubs in search of booty on a handful of throwaway tracks with some truly atrocious puns (“aware of her chest because I stay abreast”; “what’s in front of me is this great behind”).
Between the we-shall-overcome optimism and the get-loose lustiness, Common and No I.D. combine to deliver a knockout track that defines the album. “Lovin’ I Lost” finds the MC reflecting on a relationship over a melancholy Curtis Mayfield falsetto-vocal hook and simmering, string-accented beat. Though it could be interpreted as a break-up song, it also could be heard as a desire to make amends with hip-hop, to rediscover its essence, after a few years of straying.
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“We used to move together,” Common reminisces. “The Dreamer/The Believer” is a step toward reconciliation.