a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 #

wc-drs - common's uncommon rhyme schemes lyrics

the 1st midland emcee to rise to prominence, and simultaneously establish a regional scene by himself, when every other region had a mult-tude of amb-ssadors at the time. despite his stage name, there’s hardly anything “common” about him, other than writing for the commonwealth of society and for the everyday pedestrian struggling to make a name for themselves in the chi:

a star is born, in the chicago storm
my name is common, i’m anything but the norm

lonnie lynn jr.’s discography is the most prolific (10 albums, 2 compilations), has the most cl-ssics (4: “resurrection”, “one day it’ll all make sense”, “like water for chocolate”, “be”) , and also solid projects (“finding forever”, “n0body smiling”, “can i borrow a dollar?”) compared to all other illinois emcees, who are several tiers below him in excellence. even lupe hasn’t had the impact he had on the scene (well without him, he wouldn’t even have a career. his influence being present on a track they collaborated on, named “remission” which is a remix to the original), as he introduced a healthier, individualized approach to alternative rap mixed with conscious rap to his city, provided by j. dilla and no i.d.’s backdrop of signature soul-sampled warmth, in their fluid productive style of earnest beats

on his sk!lls as a technical rhymer, when he began his work it was evident this wasn’t an emcee from the west, east or south. midland emcees like him, have their own ways of doing rhyme schemes, often eschewing traditional rules and outdated methods in rhyming in the other 3 regions. this most likely explains why so many emcees from this region, aren’t even remembered among their other regional peers in the mainstream, let alone being acknowledged among well known underground ones. they’re too “boundary pushing” in rhyme schemes for the casual listener, who’s accustomed to the preferential nature the west, east and south have

as everything he does on his schemes is rather “uncommon”, other than his normal emcee name (which used to be “common sense” after “being threatened with a lawsuit on trademark copyright from a band”, which he then shortened to “common”). so, let’s get into one of his most well known displays of technical rhyming called “the corner” and the “corner (remix)” which soon followed. both of these tracks were produced by none other than fellow chicago rap artist, kanye. which west himself, was prominently credited on his most commercially successful and critically acclaimed project, as a producer and songwriter

a. “the corner”: verse 1, verse 2, verse 3

all 3 verses together

a2. “the corner (remix)”: verse

a3. remix comparisons to original verse 1, verse 2 and verse 3
signatures:
“the cornerstone”, “commonality”, “rebuilding”
new types of rhymes common used
“removal rhyme”

“-ssorted rhyme”

_______________________________________________________
for this next song, it is one of the most famous examples of both a hit and cl-ssic rap song as it had a gigantic impact on the culture at the time, and how trends were changing as far as content spearheading the mainstream at the time. elzhi from detroit, even made his own version called “s.a.r.a.h. (someone as real as her)”, from another perspective. this track is the one which began an epic beef between common and o’shea “ice cube” jackson, who was the supreme figurehead of west coast gangsta rap in the mid-late 90’s. jackson misinterpreted that lynn was talking sh-t about the west coast’s overly negative perspectives, on compromising the art form, for means of glorifying violence, misogynist views on women, etc. that’s on the surface as common was talking about a lot more than that, but how hip-hop “ho’d” itself out to be forever be left out in the music industry, purposelessly without any message to the community at large. common feminized hip-hop as an extended metaphor, to comment on how cr-ss, inhumane and remorseless the genre as become being the “mother figure” for the youth in the hood. rappers who would later abuse and degrade the genre of what good it used to have left, only to get no respect in return as a culture having given “birth to future generations” of rappers to be who they are now

b. “i used to love h.e.r. (hearing every rhyme)”: verse 1, verse 2, verse 3

- wc drs lyrics

Random Lyrics

HOT LYRICS