Pitchfork

It was May when we first heard about the eighth album from Chicago MC Common. Back then, the disc was called Invincible Summer, with plans for release in the season for which it was named. "I created this music for the summer time," Common told Billboard months ago.

But after delays Common attributes to his time on the set of the forthcoming movie Terminator Salvation and a little huddle with his creative consultant, the album that resulted is now called Universal Mind Control, and it's coming out December 9 from Geffen.

We dialed up Common earlier this week to chat about the reasons for the switch, the benefits of working with geniuses, and just what Common plans to do for our next president. Oh yeah, we even asked about the fate of the Justice League movie. You're welcome, nerds.

Pitchfork: You must be excited to have this album coming out. It's been a little while in the making.

Common: Yeah, I actually started in late February, and the process was, I guess, the fastest I had ever created an album. Because I was really close to done by the middle of May, but I got the opportunity to be a part of Terminator Salvation, and I really had to focus on that, and had to do that for the whole summer pretty much. So I couldn't complete the album, but it was next to completion. And from there, once I finished Terminator, I ended up finishing the music, and shooting the videos, and then we were able to roll and get a date set.

Pitchfork: Obviously, some things have changed since we first heard about the album, starting with the title. What was the process like changing it from Invincible Summer to Universal Mind Control?

Common: Man, the process was like me holding onto the title Invincible Summer, finding a reason why it really could still be called Invincible Summer, and then one of my creative friends-- she has been working with me as a creative consultant-- had listened to the album and she said, "Man, this album is not Invincible Summer, it's Universal Mind Control!" And I said, "Man... yes!" I remember just taking a breath, because I wanted the name to change, but I'm very particular about titles, and I'm not just gonna change it. Titles are the first thing that I come up with for an album. And then from there, you know, I start working on it. So, the titles really mean a lot to me, and I was holding onto Invincible Summer, and another title that really came up that resonated with me-- Universal Mind Control actually defines the album even more.

Pitchfork: Did you have to change the music at all when you changed the name?

Common: Nah, I didn't change the music really, since basically all the songs that I'd recorded were all on Invincible Summer. What I was describing by "summer" was just a good feeling. When I think of summer, I think of a good feeling, and that's what this music is there to generate. And I think that that's why when I did get the title Universal Mind Control, it still felt very natural, and like it was supposed to be that title, Universal Mind Control.

Pitchfork: What exactly is "universal mind control"? I've heard the song, but what about the record as a whole?

Common: I really believe that that title is saying, "What I'm thinking in my mind and wanting you to feel, you will feel, because I'm gonna create music that will make you feel it." And it's also symbolic of the global sound that I wanted to create, something universal, something that would touch all parts of the world, 'cause that's what it was inspired by. And I also wanna say, I just like the way that sounds: "universal mind control." It sounds so futuristic, like a movement.

So, as far as what I'm talking about on this album, it's not a very light-hearted album. It's simple. Some of the subject matters deal with sexual themes, deal with bein' at the beach and barbecuing and having fun, some are just open-minded rap songs, and one I'm even talking to a stripper, and it's called "Sex for Sugar". Another song deals with, in a very upbeat way, my journey of being an artist, and the things that I went through to keep who I was, and to believe in who I was. It's called "What a World". It's really a celebration of me believing in myself, no matter who said I should do what, it was like, "Hey, I believe in myself, and in sticking to what I believe in." I'm able to holla '"what a world" now.

Pitchfork: You worked with the Neptunes, and specifically Pharrell, a lot on this album. I know you've worked with him before, but this is the most extensive collaboration that you two have done. What's it like working with him now to such an extent?

Common: It's such a fun, cool experience. I don't have this with everybody, but you feel a magic that's there. You feel like you're making songs that will really turn out to be great songs. Like, from the incubation of the music to the idea for the chorus-- which Pharrell usually plays a big part in-- to Chad coming to add on to whatever we began, to me writing, it feels like Pharrell is the guide. He's the captain of the production, of the music, and in trying, it becomes the great song. Because he's just versatile and very diverse with melodies, he's so knowledgeable in music, and he just has a cool dude disposition. There's something real tasteful about him. And that in itself helps to create good music. I want to say they definitely have one of the most progressive sounds I ever worked with, and the fact that they can do it with no samples, it's really incredible.

Pitchfork: You also worked with Mr. DJ on this album. He's one of Outkast's associates, a member of Dungeon Family. What was it like working with him?

Common: Mr. DJ was one of the coolest brothers. I heard some of his music, and I definitely wanted to work with him. I always loved Outkast stuff, and I knew some of the stuff that he had co-produced and produced with them. We got the first song, which is "Make My Day", and from there he was just open to a lot of things. He would create music and I would take the lead on what I was gonna rap on, and what I thought the hook could be like, and he would add these other elements to it. His music has so many layers, it's really some of the most incredible, layered music I've ever heard. And it's always sounding, like, different.

Pitchfork: It seems like when you set out to make an album, you like to work with one or two producers for most of the album, if not the whole thing. Kanye West on Finding Forever and Be, ?uestlove on Electric Circus, etc. Is it important to you to have a cohesive aesthetic for each album?

Common: I really grew up listening to music that had a certain sound to it, and whether it was Earth, Wind & Fire or whether it was A Tribe Called Quest, or Eric B. & Rakim or N.W.A., all these acts had a sound that was distinct, and you would put on their album and you would be in their world. It would be a vibe created by the sound that they made.

I guess I learned pretty early-- or it just came with me, unknowingly-- that working with one or two producers will give your album a sound, especially because I don't self-produce. So it would give my album a sound, and also it would create a vibe, because when you and a producer are working together, it's a team. And as you continue to work together with this teammate, the chemistry grows greater and the spirits become cooler, and everything just starts to blend that much more naturally. That's always been what my goal is. One or two producers, and I'm good. But it's gotta be those original, genius dudes. I can say that I work with some of the best musicians of our time as far as production goes, from Kanye West to the Neptunes to J Dilla to James Poyser to ?uestlove and No I.D. Man, just a slew of greats.

Pitchfork: So what would you say the vibe of this album is, in terms of production? The songs I've heard seem very futuristic.

Common: Yeah, I call a lot of this sound "the future" because the style of music, and what the music sounds like, is something you never heard before. I mean obviously when people hear "future," they think lasers sometimes, they think "electronic." That's what we associate the future with. But along with that, the future is doing something that has not existed before. Like, something that does have a fresh feeling to it. And I believe, even though we have songs on this album like "Announcement" that are reminiscent of Biggie songs, it's still new elements that made it unique, that made it fresh-sounding. Then you have a song like "U.M.C." that really sounds like nothing you've ever heard before in hip-hop. But if it does remind you of something, it reminds you of [Afrika Bambaataa & Soul Sonic Force's] "Planet Rock", which is a future sound in itself.

Pitchfork: Your new song "Changes" is being touted as something of a potential inaugural song for Obama. You were probably the first rapper to name-check Obama, in that Jadakiss remix so long ago, so it's clear your support runs deep. Are you going to do anything for the inauguration?

Common: I know I wanna be there, and you know, god-willing, I'll get to perform there or do a spoken word piece. Something to let the President-elect know of the love that I have for what he's done, shown through my artistic expressions.  

Pitchfork: You were at home in Chicago on election night, right? Were you in Grant Park?

Common: Yeah, I was in Grant Park, and then I eventually had to go to an election party that I was hosting. That's where I watched the speech, but I spent most of the night at Grant Park.

Pitchfork: That was quite a night to be in Chicago.

Common: It's so... so much like a dream. So unbelievable, but you're so happy to believe it. It's one of those things that you be like, "Did this happen to me?" Something so good happened, you're wondering if it's real. So I think we all had that feeling to a certain extent, and I really felt like I was looking at a movie when I was looking at the stage that Barack was going to be walking up to. It's a magnificent time in the world.

Pitchfork: Yes, yes, it is. Switching gears, I've heard a little bit about another album you've been working on. It seems a little early to be talking about it, but it's been reported that you're working with Kanye and No I.D. on an album called The Believer. Is any of that true?

Common: Yeah. I would love to work with Kanye and No I.D. for music, because those are two of the most incredible producers. No I.D. was the first cat that I really did music with, so it would be inspiring for me to get up with him. And then Kanye is, like, that's like one of my best collaborators ever. So, I mean, to work all three of us together, I know we can create something that's going to be powerful and impactful. But The Believer-- like I said, I come up with the title before I come up with anything else, so I don't know if the project we're workin' on will be The Believer, or will it be the name of another album... whatever comes about is how I'm gonna take it. That's what's been happening with the music for me, and I've been lovin' it like that. I've been able to create from a much more free place, because it's less pressure. I don't try to over-think things or try to take over all the time.

Pitchfork: I gotta ask about the Terminator movie. What was it like shooting that?

Common: Man, that was a kid living out a dream. The Terminator movie, it's a cult classic American film. You know, everybody knows it, and for me to say, "Man, I'm a part of the Terminator," is already... just to be in the movie, knowing I'm living in part of the legacy of John Connor and, you know, fighting against the machines and saving the world... to know that's what my character was about. And my character Barnes was a good guy that was fighting with the resistance. I mean, it really was a surreal experience, especially when you're fighting against machines that really... they're not there yet. They gotta put em' in, into the film. So it's really like a kid, you know, you use your imagination. You enjoy it, and you be as true to the character as possible.

Pitchfork: What was the shoot like? You've done other movies, but it seems like this is a pretty big role for you.

Common: Well, I will say, I loved working with Christian Bale, Sam Worthington, and the director, McG. And this definitely was a big shoot for me. It was probably the longest period of time I ever spent filming a movie. And even though some of those days were just sitting in the hotel, riding around Albuquerque, New Mexico, a lot of it was spent filming and working on the movie. It was just the role that I got to play--and the character that they developed and we developed-- was really one of the most prominent roles that I've done to date. Like, that's the thing. When people ask me about the movies I've done, I guess the ones I've enjoyed the most is when I've got the most work to do. Smokin' Aces, and now Terminator... I don't want to say a lot, but I got a nice amount of dialogue. I am a supporting player in it, but my presence is felt.

Pitchfork: Do you have anything else coming up, acting-wise?

Common: I'm reading some scripts, and I think I'm gonna do some independent work. And then I'm looking at doing some more features.  

Pitchfork: You were going to be in the Justice League movie, and then that got pushed back. Sounds like trouble.

Common: Well, with that film, what happened, I was slated to be the Green Lantern in the Justice League movie, but the movie came off, got on hiatus. So basically, I can't claim that anymore [laughs]. It's not happening, and maybe when it does, god-willing, I'll be their guy.