Customer Reviews

Black on Both Sides [Vinyl]

5 star:		(235)
4 star:		(49)
3 star:		(8)
2 star:		(3)
1 star:		(3)

 

 

The full story at 10. In this day and age of Juvenile's backing that thing up, Jay-Z saying that money aint a thang, and DMX barking for his dogs, it is comforting to know that betwixt and between all that mess of predictable, same-old same-old lyrics, there is an intelligent black man named Mos Def who can put out albums that hit you in the heart, put you on your feet and make you actually use your brain. Mos Def proves his intelligence and knowledge throughout the whole album, from the deep intro, to the thoughtful "Love", to the observant hip hop-ballad "Umi Says", and even the absurd track "New World Water", he does it all. On the latter track, he miraculously spends several minutes rapping all about the simple notion of water. Other revolutionary tracks include the John Coltrane/James Brown/Otis Redding/etc. inspired track "Rock and Roll", the hot dance recording "Know that" with fellow Black Star member Talib Kweli, the other hip-hop ballad "Climb", and the masterfully written "Mathematics" about statistics related to the discrimination of black people. Mos Def can write lyrics, spit them out, and expand on his ideas with equal ability, and has jazz and soul-influenced beats to back him up. If you are a follower, and buy whatever the crowd is buying, THIS IS NOT FOR YOU. However, if you are like me, and you love well-made, revolutionary hip hop music, do yourself, Mos Def, all "real" hiphop artists, and me a favor, and buy this classic record. I'm out.

As a 34 year old black woman who was not raised on but has grown to both love and appreciate hip-hop, I can honestly say that Mos Def's CD is the most amazing hip-hop CD that I ever owned. As a lover of The Roots, ATCQ, Black Star, De La Soul, Common and many of the other underground artists out there today, I have never heard anything so prophetic, thought-provoking and moving as the words on this CD. And NEVER, EVER does he say anything disrespectful about black women. AMEN.

His LOVE for black people and his accompanying distress over the ecological, political, judicial and historical racism that we have experienced and continue to endure is simply unsurpassed.

This is the type of CD that I will be playing for my children and grandchildren one day because it is like listening to black history via spoken word. Mos Def is a 21st century Griot and prophet whose socio-political poetic words, soulful singing, and slamming beats will bring tears your eyes.

I would like to close by sharing the lyrical genius of Mos Def with my favorite lines from the song called "YOU KNOW THAT" which is a tribute he does with Talib Kweli to how much "you know that" he loves his people and respects his ancestors:

"LET THOSE WHO MAKE THE EXODUS SEEKIN THE NORTH BEACON/ FROM BEATIN AND HOG-EATIN/ FROM PUNISHMENT ALL SEASON/ FROM HANDS CRACKED AND BLEEDIN -- COTTON THORNS IN YOUR PALMS/ IT'S FOR Y'ALL THAT I SKETCH THESE SONGS/ AND IT GOES.. /YEA THOUGH I WALK THROUGH THE VALLEY OF THE SHADOW/ I FEAR NO MAN, BECAUSE FAITH IS THE AAROW ..."

Thank you Mos and God Bless you for the sharing your talent, faith and inspiration with the world.

Black on Both Sides is one of those albums that you listen to once and go, "oh." Its imperfections are ignored, and its importance is assumed. You just know it's a classic, and you don't have to try to convince people of that. This album is a landmark of conscious rap. And that's that.

Mos Def is no stranger to fans of Talib Kweli, and fans of other groups on the forefront of positive hip hop (Blackalicious, KRS One, maybe the Roots) will definitely appreciate this. Hurdles that others might face would be the assertive afrocentric ideology. Mos Def most definitely gets his opinions across here, from his critcisms of modern culture to his argument that blacks are the sole owners of rock n roll. It can come of as racist, and there are your standard stories about modern racial injustice that are certainly well worn by now. But one thing that helps is his honesty and his intention to elevate the state of hip hop.

This is a good album, not ridden with intros and outros and midtros and skits. It is inherently organic sounding; even though it has some sampling and drum programming alongside live instrumentation, it has an earthy feel rooted in hip hop, jazz, and soul, without overtly trying to converge all three in a commercial friendly hybrid. This is the album so many other forward thinking artists have wanted and tried to do, and Mos Def did it. It's like a Kind of Blue or a Sgt Pepper. Buy it.

(I wonder what the second album is going to be like...it comes out next week...)

If you're like me and you love to sit around and think of your "Top 5" albums of all time in different genres and such, then you will love Mighty Mos' debut solo effort. If you have a life and you don't sit around thinking of your top 5 albums then you're still likely to love it.
This album is so important to me because it doesn't necessarily rely on amazing production to make each track listenable. Mos Def has one of the most listenable voices EVER - his flow is tight, he's funny, socially conscious, passionate and creative. His nasal voice works so well with the production that it rolls off the boom bap like it was part of the beat.
That's not to say that this album has wack production. Speaking in April 2004 anyone who doesn't know Kanye West lives in a cave, wearing earmuffs and a blindfold. This is where I first heard from 'Ye, who produced the hot to death single Ms. Fat Booty and a couple other jams. Habitat is another track that stand out among the rest, as Mos is at his best with jawdropping flow and a really uplifting napsack-friendly beat.
While Mos Def still teases us with speculation of a sophore album dropping sometime soon, go get this album before you realize that one of the most important emcees in the game passed under your nose. Talib may be the better-known half of Blackstar, but Mos deserves just as much attention because this album's bananas and it's a must-have for so-called conscious hip hop heads.

With appearences on De La Soul and Tribe Called Quest's last albums, Mos Def seemed poised and ready to take Q-Tip's crown as the sprightly underground champion. But unlike Q-Tip's early success with Tribe, Mos Def's Black Star debut with rhyme partner Talib Kweli failed to reach the classic status that many expected. Powered by the critical and commercial sucsess of The Roots, many from down under have began to peek their heads above the ground a little. And Rawkus seems to be leading the rennaissance. This year alone they released the Soundbombing project, Pharaohe Monch's solo debut, and maybe the gem of them all, Black On Both Sides. Musically this album is head and shoulders above Black Star. Many complained of the group coming short on heads with thirteen tracks and three remakes. This go round Mos Def all but erases that problem with 17 full length tracks. The only thing close to a remake on Both Sides is Brooklyn Habitat, in which the last third of a three part track is concluded with Mos rhyming over Who Shot Ya. But even that is dope. Yes, even the intro is a track worthy of listening to. By now you've heard the all too bangin', yet smooth lead single Ms. Fat Booty. But more than anything, Mos Def's solo effort is expressive. He plays the music on some tracks, while he sings on others all while maintaining the musical focus of the record. Lyrically, Mos continues what he started with Black Star but matures by touching on a wider variety of topics such as racism, black upliftment, and water. The latter may sound corny but Mos Def's insightful lyrics makes it a standout. As is the entire record. The only low points of the album are probably of personal preferences, which everyone has. Overall, Black on Both Sides is a superb musical opus and excels in many different forms of black music.

I agree with the other reviewer, "Black on Both Sides" is easily in the Top Five Hip Hop albums of all time. From the intro, Mos Def eases the listener into the concept of Hip Hop with "Fear not of Man". His spiritual approach is reminiscent of early A Tribe Called Quest. However, his style is his own. "Ms. Fat Booty", the popular single, is perhaps the worst song on the album, and it's a great song. It's story telling fun recalls Slick Rick at his best. "Mathematics", with his direct analyzation of the facts of life could easily have been a Guru episode. The instrumental tracks are delicious as well.The album simply does not go wrong. "Rock and Roll" is a monumental track that probably disturbed his following of suburban Caucasians but it was essential to the album's concept. Relating to the true meaning of the title itself,"Black On Both Sides." The album is progressive, approachable, and intelligent. If I can compare it to any other Hip Hop album I'd have to say the underated ahead of its time "Blowout Comb" by Digable Planets. Which he sampled from on this album. Now that Mos Def has proven that he is indeed the Master of Ceremony, the world is waiting for him to show us how far ahead of us he actually is with the Black Jack Johnson Band he's been touring with for the past few years. I own everything he's released, seen all his films, seen him on Broadway performing "TopDog UnderDog", and seen him in concert several times. Being from Brooklyn myself I feel like he is the best representative of what Hip Hop is and what it can be. 'Nuff respect to the Mighty Mos Def. But...what's good with his new album? When is he gonna bless us with a new joint? Remember Mos, Umi said shine your light on the world. Shine Brethren, shine.

It's pretty tough to find a hip-hop disc to compete with "Black on Both Sides," especially in recent years. Pretty much the only joints that surpass it in my estimation are Mos' own collaboration with Talib Kweli on the venerable "Blackstar" album, TK's own projects, and perhaps Pharoahe Monch's now-unforgivably-out-of-print "Internal Affairs." Beyond that, you've got to go back to the early Wu-Tang albums to find something this intelligent, confident, complex, fresh and entertaining. I'm not complaining about the state of cutting-edge hip-hop, mind you. I love Jurassic 5, Dilated Peoples, Black-Eyed Peas, etc., but Mos is truly in another league.

And what an album he has given us. Its musical richness and variety is rivalled only by the richness and variety of Mos' lyrics and vocals--from the prophetic boom of "Hip-Hop" to the effortless high-velocity assault of "Speedlaw" to the lovely ethereal echoes of "Umi Says," "Black on Both Sides" is an ambitious and far-reaching affair. The collab tracks (with such luminaries as Kweli, Busta Rhymes, and Q-Tip) play to the guests' strengths while remaining unmistakably OF Mos, and they spice things up in all the right places.

The content is on par with the music--wise and contemplative but also relentless, it's one of those few albums that actually fulfills the promise of hip-hop to enhance social consciousness. Most would probably add "in the black community" to the end of that sentence, but I've long held the belief (espoused by none other than KRS-One himself) that hip-hop is for all people, and even white folks (like me) have a lot to learn from Mos.

Philosophically, Mos only hits one pothole on the whole album (the reason I have given this 5-star album 4 stars) on "Rock 'n' Roll." What begins as a nice change-of-pace musical interlude with some nice poetry thrown over top ("I am descended of the builders of your streets/Slave to your cotton money") degenerates into a tired, clicheed screed about how people should only be allowed to derive musical influence from artists with the same skin color. White people (like Elvis), he informs us, have "stolen" rock 'n' roll from the black man (like James Brown). White people's skin is not the proper color to play this music, apparently, and the Rolling Stones doing so is theft. When latter-day bands like Fishbone or Bad Brains play rock 'n' roll, this evidently does not constitute theft from Brown, because their skin is the correct color (interesting--perhaps I'll write a song about how white people invented punk rock and Bad Brains "stole" it from us). Mos goes on to drop the names of several unrelated artists (Brown, Fishbone, Bad Brains, John Coltrane, Jimi Hendrix, Nina Simone, Bo Diddley, Chuck Berry, Little Richard) who meet his racial qualifications and are thus valid rock 'n' roll musicians.

It's a very disappointing, ugly and narrow-minded digression on an album that is otherwise exceedingly intelligent. It also cheaply uses the names of those aforementioned great black artists, most of whom were gratified that people of different races were drawn to their work and proud that they did their part to unite people in a very racially tense era.

Other than that, though, this disc is endlessly fascinating and gratifying (and even the offending track is nice musically)--one of the ten or fifteen best hip-hop albums ever recorded and a must-own for any hip-hop fan or anyone who thinks they might like to get into hip-hop. It is the absolute gold-standard of the art form.

You know what makes me sick? When people talk about an artist who makes a groundbreaking record, and the people around you scoff in that arrogant way as if to say, "if it ain't in the charts, then its nothing". I hope it's not just me, but it makes me mad. I am a 20 year old MUSIC fan, not just a "hip hop" fan or a "metal" fan. I don't understand all this genre-limiting bulls*!t, which says that you can't use hardcore guitars in a hip hop record or people who go "hey, you're white - what you doing listening to rap music." MUSIC IS MUSIC, and it is a breath of fresh air when someone with the creativity in terms of musical rythms, lyrics and scope like Mos Def comes along and conveys his thoughts in such an unpretentious and natural way that is sorely lacking in music, in the commercial world. I listen to bands like Kyuss and Black Flag, through to A tribe called quest and the Roots, through to bands like Wilco and I think that this record is one of the most important records for a long time.

Mos Def's solo debut is simply off the hook! The best tracks on this album are by far "Mathematics," "Know That," and "Ms. Fat Booty"..it's just too hard to narrow it down. "Mathematics," however, is the underlying message of the album and the true masterpiece that if you don't listen closely, you might sleep on. Hip hop is forever in-debted to Mos and KWeli for bringin back the true meaning and substance to hip hop..I reccomend this joint to anyone seeking to hear the voice of hip hop, an all-encompassing culture as well as a state of mind.

It is difficult for me to put into words what this album means to me. I guess I can say that Mos Def is truly a friend. He's a friend to hip-hop, to Brooklyn and to the planet earth.

When I think of classic hip-hop albums, I think of BDP's "Criminal Minded", PE's "Nations", Big Daddy Kane's "Long Live the Kane", Slick Rick's "The Great Adventures" and EPMD's "Strictly Business". Midway between that generation and the current generation of hip-hoppers something got lost. Looking back, I believe that sincerity is what got lost. Sure, there was passion and there was definitely skill display, but sincerity was M.I.A.. Save for Nas' "Illmatic", Mobb Deeps's "Infamous", The WU, Tribe, BIG and X. Introspection could only really be heard in the underground. The Commons, the Roots, and the De La's of the world. But for most, they weren't accessible. Enter Mos Def.

Spawned from the Native Tongue factory, Mos Def is the child of a great hip-hop bloodline. Mos Def tells the truth as he "Sketch lyrics so visual, you rent my rhyme book at your nearest home video." His punch lines are as sharp as Jigga's, his flow is as tactical and dextrous as Nas', and his musical abilities are matched only in hip-hop by Wyclef. This album is the perfect showcase of those qualities and after listening, one could see the compromises that Mos made in his BlackStar collabo with Kweli. Nuff respect to Kweli. But this is sheer Dante' Smith. The album has great continuity as one song seems to flow into the other without seeming monotonous. He definitely hold's his own while harmonizing with the likes of Vinia Mojica and of course he and Kweli tag team a beat like the British Bulldogs. Most importantly, he has the rare ability to spit knowledge without sounding corny. On the flipside, he reps Brooklyn with the same emblematic ferver as BIG and Audio Two did. The highlight to me is when he rips "Who shot ya'?" better than BIG. Other memorable moments are the afforementioned duet with Vinia Mojica, "New World Water", and the urban survival guide "Got". With the exclusion of Havoc, he picked a my dream production team with Hi-Tek, Diamond, Premiere and Shaheed, amongst some very good up and comers. The beats are simply hypnotic. You can smoke to it, you could drink to it, make love, ride in the car or just chill with an iced out glass of Grand Marnier.

No sweeping indictments here, but if you don't own this album, I pity you.