Common, “The Dreamer, The Believer” (Warner Bros.)
Even though Common is one of hip-hop’s premier lyricists, the socially conscious rapper fell short with his 2008 “techno-inspired” album, “Universal Mind Control.”
But the Chicago-bred rapper effectively regains his soulful nature on “The Dreamer, The Believer.” The rapper digs deep with his clever rhymes with the aid of his childhood friend, No I.D., who produced the entire 12-track album.
Common’s ninth album starts off with the compelling intro “The Dreamer,” featuring legendary writer Maya Angelou. The two-time Grammy-winner kicks off the opening track with a jovial vibe, rapping about the rise of his career, and Angelou caps off the song with an inspirational poem.
As usual, Common’s lyrics have depth and are insightful throughout the album. He has a positive tone while talking about achieving his own aspirations on “Blue Sky,” and shows his appreciation for life on “Celebrate,” a good-natured track that seems fitting for a family cookout or neighborhood block party.
But while Common provides some feel-good jams, he unveils the grittier side of himself on “Ghetto Dreams,” featuring Nas. He also offers his thoughts on overcoming the struggle of being raised in the inner city on the track “The Believer” with John Legend.
Common also raps about the maturation of love on “Cloth,” and the emotionally tough stages of a breakup on “Lovin’ I Lost,” with a sample from The Impressions’ 1968 song, “I Loved and Lost.” –Jonathan Landrum Jr., The Associated Press
Charlotte Gainsbourg, “Stage Whisper” (Because Music / Elektra Records)
No one can deny that Charlotte Gainsbourg is an interesting artistic presence in whatever creative endeavor she has going. The French artist has found time between being a fashion muse and shooting a range of quirky films to record some quirky music. She first gave the music thing a go by dueting with her father, Serge, in 1984 on a song called “Lemon Incest” and he produced her first album two years later. After a twenty-year break, Gainsbourg launched “5:55,” a melancholy pop album, to critical success.
Her fourth album, “Stage Whisper,” mixing seven unreleased studio recordings, some from her work with Beck on her third album “IRM” and eleven songs from her live performance on tour, is a somewhat flawed enterprise. Doubtless the album will get her alternative scene street cred, but that won’t erase the fact that some of the songs are mismatched to her whispery voice. The fact is particularly clear on the “Got to Let Go” collaboration with Charlie Fink, where Gallic ’80s synth accompanies their wails about “a deadly revolver held to your head.” A bit like this song.
Not to say that the eclecto-electro lineup is without charm. Gainsbourg shows that she can be a chameleon when it comes to music too, channeling Alison Goldfrapp successfully on “Terrible Angles” — a track reminiscent of “Train” but tinged with the despair of a floundering human being. She also does a good mix of Bjork and Kate Bush in “Set Yourself On Fire,” a psychedelic trip into the ’70s. “White Telephone” is like a lyre voyage to a misty vampire den where Gainsbourg’s singing acts as a hypnotizer for the unsuspecting victim.
On “Paradisco,” it’s boogie time for generation Y. “In paradiscos/We’ll make a million out of zeros/Split an apple with an arrow/Play the violin like Nero.” Sounds about right. Cristina Jaleru, The Associated Press
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