*****

Let us now take the time out to praise good men. Look, get over it already, I walk the liner thinner than Johnny Cash so don't be askin me why the hell does he only review records he likes, or records he's involved in, or records that we ain't getting in 3 years (James River by D'angelo review up in 4 weeks...album out in... -about... 3 years). I recall the day when Com asked me to executive produce this project. I remembered all the flack that Wyclef caught for the Cannibus project and thought ''damn, if I switch his steeze imma get clobbered''... but then I thought about the most irritating part about listening to one day it'll all make sense. The sequencing of that album horrified me. Why wasn't the emotional centerpiece of the album (''retrospect for life'') not in the center? Or why wasn't Ceelo's song toward the end of side two? Did they have to use all 7 minutes of ''all night long''? Where was I when it was time to sequence? Trust me, the pacing of an album is the most important. And this time I made sure I was there for every nilk and crannie. That's why the joy of doing this record overcame my fear.

This is hands down Common's most promising 79 minutes ever committed to tape. Hard to believe that this is the same man who 8 years ago composed the composition ''Heidi Ho'' and I'm not talkin about Mr. Hanky either. Not saying that Com is the most political artist in the world. I almost felt us come to fisticuffs when I told him that I would censor Slum Village's ''Thelonius'' for its overexsesive misogyny. And y'all already know about his ''homo bashin'' and ''religious remarks'' and callin out names shenanigans. But the more I thought about it, I realized, that's why we love common. It's an honesty that comes across the music that's pure and untouched.

We started this record on my birthday January 20th 1999. Com said that it was time for a change and could I help him. He had already started insuring his longevity by expanding his live show with musicians (they give you the big bucks in Europe for that type of thing). I took notice and realized that here was a man who really cared for his career. He then searched for a new label that could take him further than Relativity. Wowsers. I didn't even go that far, and we (the roots) were the standard to how good business practice can be conducted (the move to MCA was a Segrams merger). So now I felt it was my responsibility to pull that record outta him that he always had. But what wound up happening was he pulled the record out of me that I never knew I had.

I guess in a sense, this would be the record I'd make if the roots gave me total control for an album. The funniest observation here is the art of a man dangerously walking the line of two worlds that he longs to belong to. Deep inside I think Com wants to be a soul singer. Every night at 2am com would be on the piano in the control room playin whatever song we came up with for the voodoo sessions that day (money is determined, and with 3 years he'll be straight). This album has the most usage of singing than any album I've done, but it feels so natural. Almost in an outkast type of way. Where you can't wait for the singsong chorus to kick in so that you can join in on the fun.

Fun is also on cornbreads mind. I counted at least 8 times in which Com addresses his ''bohemian'' lifestyle and his need to do the nasty. (''Because you answer the phone ''peace'' does that mean that you're not a freak?'' ''If I wanna uhh-uhh does that mean I lack respect for you''? ''Don't you want to be royalty on the streets sellin ass and oils for me?'') I could go on but then I'd ruin it. The sound of the record is the biggest change for Com. ''Time Traveling'' explores Pink Floyd's sonic bonderies while exploring Nigerian afro beat that guest vocalist femi akute. ''A film called PIMP'' brings back the spirit of Flying Start era Blackbyrds. (Uh Roy Ayers for those of you with deprived catalogues) So yeah there is the sound of live instruments throughout, but as always (braggin writes here) the boom bap is still alive and kickin.

For those concerned about the absence of No ID need not worry. Primo (who I'll admit didn't grant my wish for a ''Brownsville'' (MOP) instead of his generic ''Primoesque'' sound ) and the super team know as the Soulquarians (for the players with iq's under room tempter that's: Me, D'angelo, Jay Dee, and James Poyser) did a stellar ass job if I can say so myself.

So in the end ''Water'' represents a big small step for the good guys. We may never make it to the Promised Land, but I assure you we will keep our dignity every step of the way. ''Chocolate'' is a super bold move for a man who made his debut with Das, Naughty, LONS, Lords of the Underground, Chi Ali, and Pete Rock and CL Smooth (break out the milk cartons y'all). So the question remains will this album bring Com all the glory and fame that's due the artist who makes quality product? If history repeats itself? Nope. However, will this record insure that Com can end his career on his terms and not when the industry is ready to dispose him? Hell yeah!! LONG LIVE THE COM!!!!!!!