2011’s final hip-hop blockbuster release came in the way of Common’s ninth studio album.  For the first time in over a decade, fellow Chicagoan and producer No I.D. returned to take the role of handling the entire production on this album, no doubt to the delight of many fans who still had the sour taste of 2008’s divisive Universal Mind Control in their mouths.

However a lot has happened with Common since then; an emerging acting career, a published book of memoirs and a performance at the White House to name a few updates.  The fact that he has maintained a strong reputation within hip-hop throughout pursuing these additional endeavours, especially the first of the above, is commendable.

In the months preceding, Common described the positive vibe that this album was headed for, which was nothing really new to anyone listening to the majority of his discography over the years.  Nonetheless, expectations were hopeful at the reunion of the two long-time friends on The Dreamer / The Believer.

The Dreamer / The Believer primarily focuses on these titular concepts and how they have shaped Common’s journey thus far and beyond.  “The Dreamer” is the proximal end of this thematic thread strung throughout the album. Common reels off numerous situational accomplishments that he no doubt aspired to reach in his youth, “to be like the king that sang Billie Jean”, but instead of descending into a self absorbed pat on the back, he directs it as inspiration to anyone waiting to make their own move, signing it off “To the dreamers”. The lyrics are a mix of the superficial and sincere, but are brought to life regardless by No I.D.’s defiant beat accompanied by an echoing, gently reverberating vocal chant.  Together with the piano keys and bass line, it sets up the perfect tone for both introspection and inspiration; two of Common’s greatest abilities on the mic.

The track disassembles into a spoken piece by Dr. Maya Angelou exploring the power of dreams.  A short, dignified and empowering monologue… however I couldn’t help but feel jarred after the first line of Common’s next track “I want a bitch that look good and cook good” on “Ghetto Dreams”.

In fact the whole song is a huge juxtaposition to what had so far been a largely dignified album.  But this is Common, and duality has long been a mainstay of his character.  One of the many references, and my personal favourite encapsulation of this, was back on Electric Circus (2002) with the line “The story of a pimp stick that became a staff”.

It could be argued that this should be borne in mind given the reception by some that this track has garnered, similar to my own knee-jerk reaction.  The context is simply what the title says; these lyrics are a reflection of what many of the “ghetto” population likely hold as their dreams.  Common and Nas may just be playing devil’s advocate… very badly.  Whatever the case, the beat is undeniable; another piano/drum combo but with more grit and attitude.  This is carried over in “Sweet”, I don’t think we’ve heard Common this raw for a few albums now.  There’s some real “big bad wolf” menace to the vocal sample “You look so sweet”, as Common establishes rap dominance over the snarling, nefarious beat “Some people say that they be missing creativity/ But when it come to hip-hop, it beings and ends with me”.

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“Immortal view of a star doing what I’m born to do/ I see the blue sky, say the Lord’s coming through”

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“Blue Sky” returns to the powerful imagery of dreams explored previously, however Common comes across more messianic here with his lyrics; “Immortal view of a star doing what I’m born to do/ I see the blue sky, say the Lord’s coming through”.  The video does a great job of capturing the sense of unrealised potential waiting to be actualised.  

Again what makes this track, at least for me, is the backdrop by No I.D.  Beginning slightly muted, it emerges and continues to build into a sweeping piece of production.  However what pulls it down is a sub-par hook, which unfortunately is a recurring smite on the majority of the album’s supporting vocalists.

As you’ve perhaps gathered though, the album isn’t all wisdom and enlightenment.  Common changes the tone often; narrating an eventful night in the club on “Raw (How You Like It), experiences of raising his daughter on “Windows”, and the transient nature of relationships on “Lovin’ I Lost” as he takes on his “everyman persona” over the unmistakable, sentimental crooning of Curtis Mayfield.  Common’s well known competence on this broad theme is also shown strongly on “Cloth”.

“We were from different cities on the same block/ Grew up in different circles in the same spot” as he provides exposition for a discourse on the strength of relationships.  No I.D.’s production on this track is nothing short of great, even if once again the hook isn’t as agreeable.

“The Believer” is the penultimate track before the traditional outro by Lonnie “Pops” Lynn.  Common takes a documentarian approach to the plight of the youth whilst underpinning the power of faith, “Like a thief in the night, I write the beacons of light/ For those of us in dark alleys and parched valleys”.  Like the track before it, Common serves to deepen his lyrical legacy with his trademark themes, and this is perhaps where the album plateaus.

Despite some outstanding moments, it lacks a progression I would come to expect from such an institutional artist.  Common forged his identity in the midst of the boisterous personalities of both the East and West Coast, making his name synonymous with the city of Chicago and arguably opening lanes for later artists like Lupe Fiasco and Kanye West.  This history along with his clear aptitude leads me to expect more, and I personally felt that this album was a little straight laced.

Common has always worked with some of hip-hop’s greatest producers, and production has subsequently been a strong point on his albums.  This is most definitely the case here, as No I.D. takes his lyricism to the next level, and even carries some of the weaker tracks.  Perhaps news of this reunion made me a little too excited at the prospect of a ground breaking album. I wouldn’t go so far as to call it a disappointment, because it is a good album – just nothing more than that.