Common

Be

(Geffen Records, 2005)

Can we just pretend that Common never made Electric Circus? Ok? Done.  Let’s just pretend that instead of the futuristic soul of that album Be is the follow up to the 2000 release of Like Water for Chocolate.  This latest installment of Common’s ever-growing library of records offers up no real surprises.  Well, there is actually a song about getting head, which I haven’t heard from this man since 1992’s Can I Borrow a Dollar?.  But there are a number of RnB inspired loops that make me cringe, expected lyrical content about being a good person and triumphing amidst adverse situations.  When I listen to an album by Common I know that I’ll enjoy his raps, or at least how he delivers them (his delivery is on par with that of Guru), but I’m always weary of the beats.  And on this album Kanye West is credited as a songwriter on every track.  That simply scares me.  And the album bears out my fear.  The bad beats are horrific (“Go!”, “Faithful”, “They Say”) occasionally due to guest singers like John Legend.  I have no room for updated soul in my hip-hop.  Good beats on here though do get real funky.  “Chi-City”, “The Food” and “Real People” all boast top tier production from West and solid raps from Common.  Be is pretty much a middle of the road album by this man but, at least there’s still room for Mr. Lonnie ‘Pops’ Lynn to get a track on here.

Head Roc

The Return of Black Broadway

(Odara Productions, 2004)

Head Roc maybe the most well intentioned person in hip-hip, if not in all of music. But, alas brethren, that does not translate into the most exciting recording. Instead, there are moments of pure unfettered dissatisfaction courtesy of Washington DC. Let’s just review the first track since there’s not another point on the album that reaches such a height as this. In the first few moments of The Return of Black Broadway crossing the threshold of your ear hole, getting at your brain, you loose control. It instantly-aurally-pleases. It improves your mood, the day brightens. Immediately the horn grabs your attention as a smooth sounding gentleman begins rapping about his childhood: cheap candy, goin’ to school to be socialized – but then the drum. It’s instantly-aurally-saddening. The patterns being played on the drums aren’t sub-pinhead, however they aren’t gonna make listeners turn to this slab again. Head-Roc continues talking about the downtrodden, critiques public services and politicians. There’re moments of talent sounding out through the mediocrity, but then it’s only a moment. Head-Roc enjoys his position in the underground, which is an overriding emotion from this guy. It seems that he values the independence from what the pubic deems as acceptable, and that’s important. But that doesn’t excuse the winces that this man bestows upon listener’s cheeks. Eventually, Head-Roc will put out something that doesn’t make one contemplate producers needing new drum machines. When that time comes, it’ll be that much easier to agree with his views on American culture and what needs to be done with it.