Musical genres don't change very often. To be able to watch one metamorphose from birth is almost as rare as a solar eclipse. In hip-hop's case, it seems producers and listeners alike have barely noticed the decline of their art. Mos Def's solo debut, Black On Both Sides, is an exercise of artistry in a sea of utter filth.
Black On Both Sides reminds us of the incredible effort it takes to use words and music to express thoughts that bounce from axon to synapse at the speed of light. With this album, Mos Def comes close to what could be the male analog to The Miseducation of Lauryn Hill, complete with unfettered and witty lyricism, funky instrumentals and bluesy vocals that flow from the speakers as easily as a conversation.
Like many of his fellow musicians, Mos Def seems to feel that a great hip-hop solo record isn't complete without the assistance of other icons. Black on Both Sides features a roll call of stars such as DJ Premiere, Busta Rhymes, Q-Tip and Ali Shaheed Muhammed of A Tribe Called Quest, among numerous others. Mos Def keeps the guest MCs in check, however, letting them glorify him rather than steal his show. By keeping the focus on himself, he avoids the current plague of collaborations where guests outperform the featured artist.
The background of all the tracks is New York City, specifically Brooklyn. Against this urban backdrop, Def takes on hip-hop's precarious, commodified state, as well as the direction in which it is heading, melding hip-hop with jazz, punk and soul as well as the more typical radio-friendly beats.
Black On Both Sides does evidence a few of Mos Def's shortcomings. More than a few times, he allows his influences to subtract from his individuality. He still relies on old-school rhyme schemes, and slaps down his new lyrics atop old, overused melodies. Even his album cover bears some resemblance to those of all three Nas albums. Despite these quibbles, Black On Both Sides is a winner that proves that ultimately, Mos Def overshadows his influences.
-By Dion Warrick
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