The New Danger [EXPLICIT LYRICS]

Mos Def

Product Details

• Audio CD (October 12, 2004)
• Original Release Date: October 19, 2004
• Number of Discs: 1
• Format: Explicit Lyrics
• Label: Geffen Records
• ASIN: B00030EEO0
• Also Available in: Vinyl
• Average Customer Review: 3.7 out of 5 stars See all reviews (248 customer reviews)
• Amazon.com Sales Rank: #11,502 in Music (See Bestsellers in Music)

  Popular in these categories: (What's this?)

  #53 in	Music > Rock > Rap Rock
  #90 in	Music > Rap & Hip-Hop > Experimental Rap

Editorial Reviews

Amazon.com
More than a mere rap album, Mos Def's long-awaited The New Danger combines hip-hop, blues, soul, and rock in an 18-track package that seeks to transcend convention. In that sense, it shares a similar spirit with Andre 3000's The Love Below or Common's Electric Circus, with mixed results. Mos's reputation has been built on the strength of his lyrical charisma, and songs like "Close Edge," "Grown Man Business," and "Sunshine" show that his skills haven't faded just because he's Emmy-nominated. He's already proven that he can cut more than just street heat--best evinced on the soulful, poetic "Umi Says," a surprise hit from his previous release, 1999's Black on Both Sides. Yet, the rock- and blues-inspired songs here, while by no means poor, are acquired tastes, given their tendency to noodle--they simply can't compare with Mos's cutting verbal displays. The album's length and sometimes clunky sequencing can make for challenging listening, especially when so many of his more experimental cuts come early on. New fans might find the album's eclecticism intriguing, although older fans will likely be a bit perplexed. --Oliver Wang

Rolling Stone, October 28, 2004
(4 Stars) Ghetto rock and righteous hip-hop from dazzlingly talented Def. - Tom Moon

Customer Reviews

Most Helpful Customer Reviews

117 of 123 people found the following review helpful:

4.0 out of 5 stars I don't care who you are, this is NOT what you're expecting, October 13, 2004

By	Scott D. Gribble "scottgrib" (Baltimore MD) - See all my reviews

Let's be honest and say this off the bat. Black on Both Sides was a Hip-Hop classic. The New Danger is an experimental album, showing creative genius far from what you expect out of hip-hop. The album was primarily recorded with Black Jack Johnson, Mos Def's all black rock band. In fact the title of the album was supposed to be named that until the other Jack Johnson became popular. This album will surprise you, Mos Def fan or not.

The album starts off with the soulful poetic "Boogie Man Song." Fans can expect something along the lines of "Climb" from Black on Both Sides. "Freaky Black Geetings" is a rock/funk song, with barely any vocals from Mos. He doesn't rap or sing on this one, just kinda sounds like he's jamming out to the music. "Ghetto Rock" is a hard bass thumping track with distorted guitars. Mos raps on this one, but it's more rock-rap than hip-hop. The lyrics aren't too challenging, nor is the flow, but the song still is nice. "Zimzallabim" is just a straight up rock song with Mos rapping over it.

You might be wondering at this point where are all the straight up hip-hop tracks on a supposedly hip-hop album?? Finally Mos gives those fans what they want, although it's a bit disappointing once you here the opening of the "Rape Over". You'll be quick to note it's basically a remake of the first verse to Jay-Z's "The Takeover". The exact same beat, the flow and lyrics are meant to match and play off Jay's song also. Plus it's only a minuet and a half. This song really should have been left to a mixtape, it's not really original and certainly falls short for the first rap track. "Blue Black Jack" borrows a Muddy Water's guitar riff and attempts the whole Blues genre. (If you haven't noticed the track titles are all too descriptive of the song). The next track is more of a laid back, jam session again containing little vocals by Mos Def. "Sex, Love & Money" is a bass thumping, concert featuring what feels like a full orchestra! Mos Def drops a rap here showing off a real nice flow on this one.

"Sunshine" finally shows off the Hip-Hop in Mos Def. From the opening you'll just know Kanye West produced this one. A nice track, with some solid lyrics, but the two have done better together. "Close Edge" you might recognize from his spot on "Chappelle's Show" from season one. Mos drops some really nice conscious lyrics, although the track is really over-produced with background sounds. Still a solid track. Mos Def get's back on the Soul tip with "The Panties" which uses some violen samples with a subtle electric guitar and eventually some bass. "War" is pretty self explanatory as far as the subject matter, has several tracks of Mos's vocals chanting together the lyrics. About halfway through the song the beat changes into a hard rock song similar to the second half of "Rock & Roll" from his first album.

The next track is all too similar to "The Rape Over" as Mos Def & new-comer Minnesota rap over Nas's "No Idea's Original"... it's good, but you still just feel kinda like your listening to a mixtape with this one. Speaking of Minnesota, he handles a solid chunk of the production on this album (You might remember seeing his first production credits on Ghostface's Pretty Tony Album). With these two recycled tracks it makes you upset that unreleased tracks like "What's Beef?" wasn't put on here instead.

"Modern Marvel" has Mos again coming back to soul and appropriately singing over Marvin Gaye samples of Flyin' High & What's Going On. Mos kick some raps on the second half of the track taking the Marvin Gaye theme to the next level, asking What would Marvin think if he could see today? This is a powerful track and certainly one of the best. Following is another classic "Life Is Real" produced by Molecules. Now this is what most of you were expecting from this album. On the same page as Black on Both Sides, yet a step-up. A great sample and some real deep lyrics on this track.

"The Easy Spill" sounds like it has to have been recorded live, it's another rock track. This one gets a bit more repetitive than the other rock tracks. Chances are you'll want to skip it to check out the "The Beggar" which is a combination of Soul with the elements of a rock ballad. If you're familiar with Cody Chesnutt (wrote and sang The Roots' "The Seed", it's really similar to one of his tracks. One of the better tracks.

The album ends on a similar note to his last, with an 88 Keys track. This time, Mos Def raps over the beat, sounding more like a track on his last album. Excellent way to end the album, bringing it home with a solid hip-hop track.

I'll be honest, this was not what I was looking for at all. So, people be warned cause you'll get blown away. This is a creative experimental album, and in that sense comes off as a pretty solid effort, however it still is missing something. The music quality is really good (Mos Def can actually sing, unlike Andre 3000). I was a little dissapointed because I was waiting for a follow up to his last album for five years, but what you get is completely different. If you like N.E.R.D. or Cody ChesnuTT, chances are you'll enjoy this effort too. If you're looking for a Black on Both Sides follow up, as I was, you might have to wait another five years.

In the sense of a pure hip-hop album you might be disappointed. But, if you like good music no matter what kind of genre it is, you'll be satisfied with this album, it has almost every genre you could think of.

9 of 9 people found the following review helpful:

4.0 out of 5 stars Ghetto Rock (hip hop in '04), October 25, 2004

By	Demetrius A. Armstrong (Huntington, WV USA) - See all my reviews (REAL NAME)

The long awaited follow up hasn't had a stellar year in 2004. They were either nowhere near the quality of the previous, or they were so radically different that they alienated the core audience the previous captured. The New Danger belongs in the latter column. Those looking for Black On Both Sides redux should let this one pass and wait for the next album. The New Danger is not as consistently brilliant in execution as Black On Both Sides, but it makes up for it in it's style and feel. Several songs on the album (especially the first half) heavily features his band Black Jack Johnson. They are thoroughly impressive in the background as musicians, but it still sounds like Mos Def featuring them, that's probably why these songs ended up on his album and not more of a collaborative effort featuring his band. The songs that feature his band are good, and they are heavy in ways, but there is nothing about them that will stick to the ribs of fans of either fans of hip hop or rock. What makes this album good is the sporadic brilliance he seems to stumble upon at different points. The first two tracks (which both play as intros) break all expectations and signals the difference between this album and it's predecessor. The second one however (which features the emergence of his band) can be off-putting. "Ghetto Rock" and "Zimzallabim" are both excellent and the latter is one of the best examples of his collaborative effort on the album. There are also three or fours tracks that are "Umi Says" on this album, all of which are modestly successful in capturing the brilliance of that song, and are easy to listen to for just the sheer appreciation of the artistry involved in them. When the second half of the album comes around it emerges more like the hip hop record you'll be longing for while listening to the first half. One exceptionally stellar track is surprisingly enough "The Panties" which captures the feel of hip hop by utilizing the feel of r&b from another time. "War" is essentially the "New World Water" of this album, and just like that song, he is lyrically brilliant, but only for the first half, and it probably would have been better if there was more Mos and less Black Jack Johnson. "Modern Marvel" is the best song on this album. It's crescendos fully into it's own with Mos singing over a deftly used sample track (he sings on a few songs on the album, a phenomenon that's spread like the flu in hip hop) it then breaks into another burning Marvin Gaye sample (who this song is a tribute to) with him rapping through remainder of the song. While the album does have points where the remote does comes in handy, peaks like "The Panties", "Zimzallabim", and "Modern Marvel" reach such astounding highs, that this album, even with all of it's flaws, is still one of the best hip hop albums of 2004.

12 of 13 people found the following review helpful:

4.0 out of 5 stars Eclectism? Nah, just a sound album, December 27, 2004

By	Johnny Kwest (New York, NY) - See all my reviews

You know everytime I read a review that says something about this album's 'eclectism', it makes me uneasy. Uneasy because people make efforts to pigeonhole music in convenient packages for their listeners. Even since the Medina Green days, Mos Def had a thought process firmly entrenched in listening to the tune of his own drummer. This release, just as Black On Both Sides was, is true to the artist's vision at the time of its creation.

Does it sound like Black on Both Sides? No, it doesn't. But did Voodoo sound like Brown Sugar? Did Embrya sound like Urban Hang Suite? Did the Blueprint sound like the Black Album? If I haven't gotten my pt across with these redundant questions, then I guess its that music appreciators must be willing to be flexible with their artist as they experience growing pains and expansion.

The New Danger is an album that strikes a balance between unabashed experimentation and artistic maturity. Mos Def is not an emcee's emcee anymore. In direct contrast to the scathing social commentary found on Black On Both Sides, Mos Def's lyrics on tracks like "Sex, Love and Money" and "Close Edge" meander without stiking any lasting impressions. But that doesn't mean that he isn't exhibiting growth, it merely signals another direction.

One of the album's standout tracks, "Blue Black Jack", features a blues-riffing mos def punctuated by the brilliance of Shuggie Otis' guitar. The boogeyman song, produced by a suprising Raphael Saadiq, is a trip hoppy gem that has Mos attempting to woo the fairer sex with his desire to be the man of her dreams. Similarly, the interestingly-titled, "The Panties", once again finds the mighty Mos getting his lover-man on, cooing about the pleasures to be found in intimate experiences. "Modern Marvel", Mos Def's ode to Marvin Gaye, finds Mos experiencing and questioning the same travails that Marvin so eloquently articulated on the landmark What's Going On album.

I disagree with Amazon's primary reviewer. Do listen to this album with expectations. Expect an artist that has yet to reach his creative zenith, looking for ways to make his impression through his many prodigious talents, whether singin, riffin, rappin' or prognosticating. If The New Danger is the corporate bastardization of hip hop, then Mos Def's ambitious album is a gallant attempt to break away from what is fastly becoming the norm.