Common - "Like Water For Chocolate"

Common’s fourth studio album, “Like Water For Chocolate”, was released on March 28, 2000 on MCA records. By the time production of “Like Water For Chocolate” had begun, Common had left his hometown of Chicago and was living in New York City where he linked up with Questlove and other members of the Soulquarians.  The Soulquarians were a music collective featuring Hip Hop artists (Talib Kweli, Mos Def, Common, Q-Tip and Jay Dee), Soul singers (D’Angelo, Erykah Badu and Bilal) and a few other talented musicians (Roy Hargrove, James Poyser and Questlove). “Like Water For Chocolate” served as the formal introduction of the Soulquarians as a production team. “Like Water For Chocolate” spans across Hip Hop, Soul, Funk, Blues and Fela-esque rhythms.  Common flips back and forth between conscious and enlightened and braggadocios and perpetrating the stereotype.  He even has a skit and a song where he jokes about the juxtaposition. “Like Water For Chocolate” may not be Common’s best work but it was well received and definitely served as a turning point in his career.

Guest request Sean's (@bort_sampson_) 3rd review

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Chris: Why did you want to review “Like Water For Chocolate”?

Sean: I wanted to review it because quite frankly, I hadn’t listened to in a while and was wondering if it was as good as I remembered it. It also was released during a pretty influential period of my music life, along with other albums like Blackstar, “Black on Both Sides”, “Hi-Teknology”, stuff like that. Not that they all released around the same time as each other, more that I really discovered a lot of them around the same time.

Chris: I thought it was kind of funny that you chose “Like Water for Chocolate” because I recently within the last couple of weeks read Laura Esquivel’s book by the same name and although I was aware of the book, I had always thought the title  “Like Water For Chocolate” was harkening back to Jim Crow laws and I still do but I wasn’t aware of the double-meaning. Common is comparing himself to Tita (the main character in the book) whose emotions were key ingredients in the food she made.

Sean: Can’t say I ever read the book but I see the connection – the main character poured out her emotion in the food, Common poured his emotion into his music. Especially as related to this relationship at the time with Erykah Badu.

Chris: Obviously “Like Water For Chocolate” has a different feel to it than his other releases up to this point in his career, what did you think of the production on this album?

Sean: It’s weird, because I was simultaneously feeling this album as much as I used to and not as much. The production was tight for the most part but sometimes I felt like there was a bit of a disconnect between it and Common’s flow. I think maybe it maybe it has more to do with his flow by itself. He just has a lot of hard pauses and it sounds a little jerky to me and I found myself kinda getting taken out of the music, if that makes sense. I didn’t realize that J Dilla produced 75% of the album. I still love that Bobby Caldwell sample.

Chris: I’m thinking the jerkiness you’re describing was the influence of Dilla. That is very much a Dilla/Slum Village quality. I remember around this time my appreciation for Jay Dee was at a fever. I loved the soulfulness of this album. I feel like it’s a foundational album for a lot of other albums with that sound that came out around this time.  This album propelled me into listen to a lot of more that Philly Soul/Neo-Soul for next 4 or 5 years or so. I still listen to D’Angelo, Erkyah Badu, Goapele, Bilal, Angie Stone, Jill Scott, Musiq Soulchild, Ledisi, Kindred the Family Soul and Lina because of this album’s influence on me.

Common feat. Black Thought and Rahzel – “Cold Blooded”

Chris: Let’s talk about “The Light”. Jay Dee’s flip of Bobby Caldwell’s “Open Your Eyes” was the perfect complement to Common’s ode to Erykah Badu. I think that “The Light” is the definitive Hip Hop love song of our generation. What are your thoughts on “The Light”?

Sean: It holds up perfectly, in my opinion. It what I would think of if I had to pick a perfect example of a Common track – very thoughtful with a clear message.

Common – “The Light”

Bobby Caldwell – “Open Your Eyes”

What is the standout track or tracks for you?

Chris: There are so many! It’s very difficult to narrow it down to or even a couple but if I had to, maybe “Thelonious” and “Funky For You”. I just love the vibe of both of those songs. You? “Sixth Sense”?

Sean: “Sixth Sense” and probably “Heat” or “Questions”. It’s funny that I gravitate towards the lone Primo track on the album. His stuff has always gotten to me.

Common – “Sixth Sense” (produced by DJ Premier)

Chris: When The “Like Water For Chocolate” Tour came through Albuquerque in November of 2000, that was actually my first ever concert and still to this day one of my favorite concerts ever. You were there! Do you have any memories from that show?

Sean: When he came out in the red Adidas track suit and started break dancing! That was amazing and completely unexpected! You?

Chris: For sure that was dope! I think just the live band and how awesome they were.

Sean: Yeah, a live band just brings a different energy and depth to performance.

Chris: How do you feel about “Like Water For Chocolate” now after re-listening to it for this review?

Sean: I enjoyed it but it probably not something I’ll listen to regularly. It’s not “Black on Both Sides” for me lol

Chris: I like it just as much, no more, no less.

Big L - "Lifestylez ov da Poor & Dangerous"

“Lifestylez ov da Poor & Dangerous” was the debut and only album to be released by Big L (1974 – 1999) while he was alive.  The album released in March of 1995 on Columbia Records and received solid reviews from Hip Hop publications such as The Source, who gave it 4 out of 5 mics.  Big L’s lyricism, wordplay and storytelling was ahead of its time and on full display on “Lifestylez ov da Poor & Dangerous.”  Production was handled by members of the legendary D.I.T.C. crew and features include a very young in the game Cam’ron and Jay-Z. “Lifestylez ov da Poor & Dangerous” has a classic status among the backpacker community and is a testament to Big L’s abundance of talent and the loss of a life and a career in which undoubtedly would have put Big L into the greatest of all time conversation.

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Chris: Mike, I chose “Lifestylez ov da Poor & Dangerous” because I had been recently been thinking about Big L and what his legacy would be now had he not been killed.

Mike: It’s so difficult to say what the Hip Hop communities view of Big L would be like if he were still alive. A lot depends on what path he would’ve chose regarding his overall style (beats chosen, his flow, his lyrical content, even the style that he dressed, etc). It seems like a lot of Golden Age Hip Hop fans over-romanticize the idea Big L would still be vicious on the mic and would be somewhat of a savior of “real Hip Hop”. Personally, I don’t agree with that thought process, as Big L would have inevitably developed over the last 20 years since his death, whether it be good or bad. Slightly off topic, but I feel like he could’ve totally rode out a commercial career with less emphasis on shocking lyrics, or done the opposite and stayed grimy with releases under smaller independent Hip Hop labels.

Chris: Good points, Mike. There a lot of variables of course, I guess I was just looking at it from the perspective of where Big L was in terms of skill at that time in comparison to his contemporaries that we all hold in high regard today.

Big L was known for raw lyrics and graphic storytelling, what is your opinion on Horrorcore Hip Hop?

Mike: I like this question, because it is something that crosses my mind often. Not only regarding Horrorcore, but also other offshoots of the Hip Hop genre in general. I feel that in most cases, the originators of these subgenres are leaps and abounds ahead of the acts that follow them and confine themselves to the parameters of that subgenre. The originators’ work reflected their personalities while the ones who followed seemed like characters (ex. Necro). I don’t necessarily hate contemporary Horrorcore Hip Hop but I can’t say that is something that I feel the need to bump regularly.

Chris: That’s very true. It’s very hard to sustain a career as a character. Very few have been able to do it especially in Horrorcore.

Big L feat. Herb McGruff – “All Black”

I think Big L’s harder, grimier tracks are our favorites but as you kind of already brought up, would he have continued to make those kind of songs or would he have opted for songs with lyrical content that would have gotten him more radio play? It seems like his label was already trying to transition him that way with the inclusion of more conscious type songs like “Fed Up wit the Bullshit” and “Street Struck”.

Mike: I think the weakest part of the album as a whole is the lack of cohesion, but that turn means some phenomenally ill singles. While “Lifestylez ov da Poor and Dangerous” isn’t an album I find myself yearning to play through, each track hold its weight in its own certain aspect. You have the classic Hip Hop songs of “Put It On”, “8 Iz Enuff” and “Da Graveyard”, showcasing Big L’s battle type lyrics with no particular underlying theme and then you have the introspective tracks like “Street Struck” and “Fed Up wit the Bullshit”. All very dope in their own respective ways.

Big L – “Fed up wit the Bullshit”

Chris: How did you think DITC handled the production?

Mike: After re-listening, I’m much more impressed with DITC’s production on this album than when I first bumped this album. It has a wider range of styles than some of the other DITC releases, while style maintaining the definitive “DITC sound”.  The production team laid down the perfect backdrops for the posse cuts, introspective tracks and even minimalistic joints where Big L’s flow was the main instrument.

Chris: Full disclosure for anybody who is reading this, we are both huge DITC fans, they basically can do no wrong in our ears but I thought the production was great.  My favorite was the Showbiz beat “No Endz, No Skinz”, love those horns from that sample he used.

Big L feat. Showbiz – “No Endz, No Skinz”

Paul Humphrey, Shelley Mane and Willie Bobo – “4 Aces”

Chris: So Mike, did “Lifestylez ov da Poor & Dangerous” stand the test of time for you?

Mike: After revisiting, I like the album more than ever. However, it feels like a collection of tracks as opposed to an album with direction. I think this could’ve easily been remedied with the insertion of an intro, some interludes and an outro. I’ve always felt like this album opening with “Put It On” seemed awkward as does ending with “Let em Have it L”. That being said, this is Lamont Coleman’s one true studio album. Lyrically he DESTROYED the game and all over prime era DITC beats. There isn’t much more you can ask for. This is a classic album that has exceed the test of time. Lamont Coleman aka Big L RIP (1974-1999).

Chris: I couldn’t agree with you more about the arrangement of the tracks on this album but if that’s our biggest complaint, it must be a pretty solid album! I enjoy this album even more today than I did back then and I think it’s because I have more of an appreciation for the tracks that weren’t chosen for single. And I think that like you said we look at it a little more fondly because it’s Big L’s only studio album, but yes, this is a classic Hip Hop album in my opinion.

Hi-Tek - "Hi-Teknology"

Hi-Tek, one of the founding members of Mood and Reflection Eternal (along with Talib Kweli), was important player in establishing Rawkus Records as a legitimate label.  He’s best known for his work on Rawkus’ Soundbombing compilations, his works with Black Star and his work as part of Reflection Eternal.  In May of 2001, Hi-Tek released his solo debut “Hi-Teknology.”  The album features the likes of Buckshot, Common, Cormega, Mos Def, Talib Kweli and Vinia Mojica over Hi-Tek productions. “Hi-Teknology” definitely fit in well with the Hip-Hop/Neo-Soul vibe that was trending at the time of its release.

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Chris: What made you want to revisit “Hi-Teknology”?

Mike: I think “Hi-Teknology” was a classic and it came out at a time when I was getting fully divulged into Hip Hop

Chris: I was a fan of this album as well. It got a lot of listen and actually inspired some creativity on my part. Do you remember the “Scratch Rappin’” inspired tape that I had made in High School?

Mike: No, that sounds dope though. Send it to me if you still have it.

Chris: I wish I did, man! I pieced together a 16-bar verse using a bar from 16 different rappers using a cassette deck and it all rhymed!

Mike: Dang that sounds super awesome!

Hi-Tek – “Scratch Rappin’”

Chris: How important do you think Hi-Tek was to establishing Rawkus Records as a legitimate Hip Hop label?

Mike: I really don’t know. He lent down some classics, no doubt, but I feel like the Rawkus movement was Mos, Talib, Pharoahe and Eon. Hi-Tek somehow doesn’t instantly come to mind when I think “Rawkus” like the aforementioned.

Chris: I think my appreciation for Hi-Tek has increased over time. I see him as being right up there with the people you named for his contributions to label and helping to create the Rawkus sound. I know they weren’t on this album but when I think of Rawkus Record the first things that comes to mind are Black Star – “Definition” and “1-9-9-9”. One of my favorite sample uses ever is that Sweet Blindness jam on “1-9-9-9”!!

Common feat. Sadat X – “1-9-9-9” (produced by DJ Hi-Tek)

Sweet Blindness – “Ain’t No Use”

Chris: Where do you rank Hi-Tek in terms of Hip Hop producers?

Mike: Hi-Tek is easily a Top 10 producer for fans of real Hip Hop. From his slow rollers to club bangers, the dude is complete. I’m going to say this, I actually prefer “Hi-Teknology 2” over this first installment due his usage of Jazz elements on that album.

Chris: I think he’s definitely up there for his era and I think I appreciate him even more now. Also, that is interesting, I’ve never actually heard “Hi-Teknology 2”

Do you have any favorite tracks from this album?

Mike: My favorite track is Common “The Sun God”. The soulful beat compliments a prime Lonnie in the best way. Vinia Mojica also lends the perfect feminine vocals that just adds an extra flavor that is much appreciated.

Chris: Yes! “The Sun God” is dope! Common kills and you get Vinia Mojica on anything the probability of me liking it is 100%. Vinia Mojica actually makes two appearances on this album. She also has the song with Mos Def that is really great as well.

Hi-Tek feat. Common and Vinia Mojica – “The Sun God”

Chris:  My favorite track “Breakin’ Bread” with Mood.  I thought it was cool that he was able to do such a dope song with some Cincinnati cats.

Hi-Tek feat. Main Flow, Donte Fleming, Brian Digby, Crunch Ex and Donte Fleming “Breakin Bread”

Chris: How do you feel about “Hi-Teknology” now versus when you first heard it?

Mike: I still love this album. It’s a grown-up album and I can say I like and understand it more now than when I was a kid. As a shorty, I wanted brolic raps, which other Rawkus releases provided. When I first discovered it, I was too young but I’ve since grown into it. Certified classic Hip Hop album in my ears.

Chris: While I had been a fan of it before, I would say I’m probably even more so now. Just good vibes all throughout this album.