The rest of the band proves to be a strong addition to his works, and they start the album off with a set of heavy, guitar driven songs. Unfortunately, he is a second-rate vocalist, and most of his singing ends up boring the listener, if not annoying them (“Modern Marvel” is really the only soft track that works). Mos Def has always expressed a longing to sing in his music, and with the help of the album’s house band, Black Jack Johnson (consisting of members of the bands Living Colour, Bad Brains, and P-Funk), his wish is fulfilled.
The album begins on a poor note, but I urge you to keep listening and ride it out.
The product was incredibly inconsistent, and his lyricism experienced a small drop off, but improved samples and beats as well as a diverse group of songs made this album a success. Mos took that desire to a whole new level and flirted with disaster in his second solo album, The New Danger. Smith’s quest was not for money, but to write the music he wanted to write, straight from his heart. The meticulously crafted alternative rap album and soon to be modern classic boasted tremendous lyrical inventiveness while avoiding the numerous perks of a chart-topping hip-hop record. Review Summary: Despite failing to surpass the landmark Black on Both Sides, kudos to Mos Def for recording the album he's always wanted, and doing a pretty good job too.ĭante “Mos Def” Smith’s 1999 solo debut, Black on Both Sides, quietly experienced praise amidst the releases of the much anticipated The Chronic 2001 and the universally controversial The Slim Shady LP.
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