3 min read
Like Water For Chocolate: the crate that keeps refilling itself

Common’s fourth album landed in March 2000 as a hard turn away from the boom-bap of his Chicago come-up and toward the loose, live-feeling sound the Soulquarians were building at Electric Lady Studios. J Dilla anchors most of the record’s production, with James Poyser, Questlove, and the rest of the collective filling in the spaces around him. It’s an album that sounds like a crate being dug through in real time — and, twenty-plus years on, it’s become part of the crate itself.

That makes it a good record to look at three ways: who made each track, what each track pulled from the past, and what shape the album takes song to song.

Who built each track

Every circle below is a track, sized by how many times it’s been streamed on Spotify. Switch the grouping to see the same 16 tracks cluster by primary producer or primary mixer — Dilla’s fingerprints are everywhere, but not uniformly. Click a track for its full credit list: writers, vocalists, engineers, everyone who touched it.

Like Water For Chocolate — Common

What it sampled, and what it fed

Dilla’s crate-digging shows up directly in the sample data. Each column below is a track, ordered the way it sits on the album. Above the release row are the songs each track pulled from — mostly deep ’70s and ’80s soul and funk. Below it is everything that came after: the songs that went on to sample, remix, or cover this album, stretching all the way to the present. Read top to bottom, it’s a small history of where the record came from and how far it’s traveled since.

How the record breathes

Album sequencing is its own kind of instrument. These small multiples plot energy, danceability, valence, and tempo across the tracklist in order — where the record sits back, where it pushes, where the mood lifts or drops from one song to the next.