Mos Def – Black On Both Sides (1999)
There is a real danger that more people will have seen Mos Def in a Hollywood movie than will have heard any of his music. Not that I have any issues with his preferred career of recent years, it’s just that it seems the further we get from the release of this, his debut solo album, the more it seems he’ll never be able to once again scale these heights. Given his sluggish release schedule since this came out, it’s worth noting that it followed on from the equally essential Blackstar project he recorded with Talib Kweli by only a year.
This is classic hip hop with a reliance on lyrical mastery, storytelling, slamming beats and even the ubiquitous guest spot from Busta Rhymes – this was 1999 after all. It’s an understated start with a faltering beat soon joined by a jazzy keyboard groove taking a full 3 minutes before we finally hear Mos begin to rap. And he raps in a style that calls to mind such titans of the mic as Rakim or Q-Tip. It’s with the second track Hip Hop though that things really begin in earnest, with some brilliant production from Diamond D, himself a legendary producer and MC. The music complements his rhymes perfectly, allowing his lyrics to shine – from talking about his heritage and politics on New World Water to displaying his less serious side on tracks like Ms. Fat Booty. Talib Kweli reminds us of the Blackstar days with a superb appearance on one of the standout tracks Know That – truly great stuff. There’s still time to fit in the tribute to his place of birth Brooklyn (cleverly utilising 3 different sets of beats) and call on the services of another legend, this time Gang Starr’s DJ Premier on Mathematics.
This is not just a lyrically diverse album, it’s also musically varied. Some songs are built on little more than the sparest backing tracks, others feature looped vocal samples while some are dance floor fillers. There is always a slightly jazzy laidback feel, even on the up-tempo numbers, and live instruments and orchestration help to create a unique sound throughout. Some of the sonic treats are so subtle it takes a few plays before these gems are revealed – witness the understated percussion on closing song May-Decmber.
Apparently Mos’s new album, only his third in a decade, is something of a return to form, but I’m willing to bet it won’t hold a candle to this. Like the best music it sounds as fresh today as the day it was released, I’m still hearing things I’ve never noticed before. As for anybody who thinks they don’t like hip hop, it’s ok…you just haven’t heard Black On Both Sides yet.
Stuart Preston
There is a real danger that more people will have seen Mos Def in a Hollywood movie than will have heard any of his music. Not that I have any issues with his preferred career of recent years, it’s just that it seems the further we get from the release of this, his debut solo album, the more it seems he’ll never be able to once again scale these heights. Given his sluggish release schedule since this came out, it’s worth noting that it followed on from the equally essential Blackstar project he recorded with Talib Kweli by only a year.
This is classic hip hop with a reliance on lyrical mastery, storytelling, slamming beats and even the ubiquitous guest spot from Busta Rhymes – this was 1999 after all. It’s an understated start with a faltering beat soon joined by a jazzy keyboard groove taking a full 3 minutes before we finally hear Mos begin to rap. And he raps in a style that calls to mind such titans of the mic as Rakim or Q-Tip. It’s with the second track Hip Hop though that things really begin in earnest, with some brilliant production from Diamond D, himself a legendary producer and MC. The music complements his rhymes perfectly, allowing his lyrics to shine – from talking about his heritage and politics on New World Water to displaying his less serious side on tracks like Ms. Fat Booty. Talib Kweli reminds us of the Blackstar days with a superb appearance on one of the standout tracks Know That – truly great stuff. There’s still time to fit in the tribute to his place of birth Brooklyn (cleverly utilising 3 different sets of beats) and call on the services of another legend, this time Gang Starr’s DJ Premier on Mathematics.This is not just a lyrically diverse album, it’s also musically varied. Some songs are built on little more than the sparest backing tracks, others feature looped vocal samples while some are dance floor fillers. There is always a slightly jazzy laidback feel, even on the up-tempo numbers, and live instruments and orchestration help to create a unique sound throughout. Some of the sonic treats are so subtle it takes a few plays before these gems are revealed – witness the understated percussion on closing song May-Decmber.
Apparently Mos’s new album, only his third in a decade, is something of a return to form, but I’m willing to bet it won’t hold a candle to this. Like the best music it sounds as fresh today as the day it was released, I’m still hearing things I’ve never noticed before. As for anybody who thinks they don’t like hip hop, it’s ok…you just haven’t heard Black On Both Sides yet.
Stuart Preston
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