Mos Def’s Black on Both Sides, released in 1999, is a rich and intricate exploration of sound and ideas. To understand this work, it’s important to know a bit about the artist himself. Born Dante Smith in Brooklyn, he grew up in a vibrant artistic environment. Before his solo career took off, he was involved in acting and appeared in various television shows and films as a child and teenager. This early exposure to performance likely influenced his stage presence and ability to connect with an audience. Musically, he was part of the group Urban Thermo Dynamics in the early 90s and gained wider recognition through his work with Talib Kweli as part of the duo Black Star. This collaboration produced music that offered a different perspective within Hip Hop at the time, focusing on conscious lyrics and a return to the genre’s roots. This background sets the stage for his solo debut, Black on Both Sides, which arrived with considerable anticipation.
The album opens with a spoken-word intro, setting a conversational tone. It feels like stepping into a room where a discussion is already underway. This introduction, built around a sample of Fela Kuti, immediately makes clear that this won’t be a conventional Hip Hop record. It suggests an exploration of broader themes, connecting Hip Hop to a wider musical and cultural history. The music then moves into “Hip Hop” and “Love”; tracks that dissect and examine the nature of Hip Hop itself. There’s a sense of looking inward, of trying to define and understand the art form from within. These songs present different angles and perspectives, inviting the listener to consider the various facets of Hip Hop culture.
Then the album shifts. “Ms. Fat Booty” arrives with a lighter feel. It’s a narrative track, a story told with a smooth flow and a catchy beat. The song describes a relationship, with all its complexities and uncertainties. It’s a relatable story, told with humor and a keen eye for detail. The use of the Aretha Franklin sample gives the track a warm, nostalgic feel, contrasting with the more pointed social commentary of some of the other songs. This change in tone is important; it shows the range of Mos Def’s artistry, his ability to move between different moods and styles with ease. The production across the album is diverse. There are tracks with hard-hitting beats reminiscent of classic New York Hip Hop, while others incorporate elements of soul, jazz, and even rock. This variety keeps the listening experience fresh and engaging. It’s a journey through different sonic textures, each one carefully crafted to support the lyrics and the overall message of the song.
“Umi Says” provides another shift. This track has a warm, soulful quality. The instrumentation is lush and inviting, creating a space for reflection. The lyrics here feel personal and introspective, touching on themes of self-discovery and spiritual growth. The gentle melody and Mos Def’s smooth delivery create a calming atmosphere, a moment of quiet contemplation within the larger context of the album. It feels like a personal message, shared with a sense of vulnerability and sincerity. Then there’s “Rock N Roll,” a track that directly addresses the appropriation of Black musical forms. It’s a bold statement, a challenge to conventional narratives about music history. The song’s energy is intense, with a raw, almost punk-like feel. The shift in production, incorporating heavy guitar riffs, underscores the song’s confrontational message. It’s a reminder that music is not created in a vacuum; it has a history, a context, and often, a political dimension. “Mathematics”, with its distinct DJ Premier production, is a stark commentary on social inequalities, using numerical progressions to highlight the disparities in wealth, incarceration rates, and other social indicators. The track is not simply a list of statistics; it’s a powerful indictment of systemic injustice, delivered with a sharp, precise flow.
The album also features collaborations with other artists, adding further layers to the sound. “Do It Now”, featuring Busta Rhymes, is a high-energy track with a playful, almost chaotic feel. The two MCs trade verses with infectious energy, creating a sense of excitement and spontaneity. These collaborations don’t feel forced or tacked on; they feel like genuine musical conversations, with each artist bringing their own unique style and perspective to the table. “Mr. N****,” featuring Q-Tip, offers a thoughtful examination of the use of the n-word, exploring its complex history and its varied meanings within different contexts. The conversation between Mos Def and Q-Tip is insightful and nuanced, avoiding simple answers and instead inviting the listener to consider the complexities of language and identity. The album concludes with an instrumental track, “May-December,” a quiet and reflective ending. It’s a moment to let the music breathe, to allow the listener to process everything they’ve just heard. It’s a fitting conclusion to an album that is both complex and deeply rewarding. Black on Both Sides is an album that asks questions, explores ideas, and invites the listener to engage with the music on multiple levels. It’s a work that continues to resonate because of its musical innovation and its thoughtful exploration of identity, culture, and the power of music.
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