With Jay-Z's semi-retirement from making rap albums this year, several Big Apple rappers are poised to crown themselves the new king of New York.
Foremost among these is part-time actor and Brooklyn native Mos Def, whose classic 1999 album Black on Both Sides had many eagerly awaiting his follow-up.
Upon the release of the 75-minute album, it appears the winner of that crown is still as unclear as the results on an American election night.
More uneven than his first solo album, New Danger skips from genre to genre and style to style like the proverbial bouncing ball. Backed by his band Black Jack Johnson, the "Italian Job" costar veers all over the musical landscape from rock to blues, soul to R&B and beat-driven rap to soft a cappella singing.
Though his murmuring vocal style fails him occasionally, his lyrics are biting in most places, such as in "War," where he says, "Palestine/ Kosovo/ Kashmir/ No different than the avenues right here/ An increase in the murder rate each year/ Paramilitary unit keeping the street clear/ Curtains up on the theater of warfare."
A quick revision of Jay-Z's "The Takeover" - a harsh attack on the music industry Mos Def renamed "The Rape Over" - shares space on the disc with the nine-minute Marvin Gaye-based epic "Modern Marvel." The latter is one of the most innovative and successful tracks, while others, such as "The Easy Spell," are more formulaic and lacking in the energy of Mos Def's other efforts.
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The hot-date mix tape outtake "The Panties" feels out of place. Attempts at sex anthems should be hereby left to Outkast's Andre 3000.
One of the most positive trends in rap continued on New Danger is the use of live instruments and bands in addition to samples and cut beats in the style of N.E.R.D. or the Roots. Unfortunately, the success of these instrument-heavy tracks is as hit-and-miss as the album itself.
The guitar on "Ghetto Rock" and its sister track, "Zimzallabim," more than makes up for the failure of rap-metal in the form of LimpBizkit. Meanwhile, "Sunshine," produced by the ubiquitous Kanye West, manages to succeed with yet another youth gospel sample for probably the last time this decade.
The album's first single, "Sex, Love & Money" is the most straightforward track, with deep beats and a lively flow, but a second attempt at the same song, "Grown Man Business," feels flatter.
The coolest use of live music is demonstrated on the pair of blues-based songs, "Blue Black Jack" and "Bedstuy Parade & Funeral March." Any rap artist that signs on guitarist Shuggie Otis as a guest star rather than Ludacris has my vote.
On its own, this album would certainly come in above the average rap album. But when it's held up to the album that preceded it, listeners can't help but be at least mildly disappointed by the focus on musical experimentation over lyricism and flow. Mos Def, along with the aforementioned Roots and Talib Kweli, is still one of rap's great innovators, but he has yet to solidly stake his claim to greatness.
The New Danger
Mos Def
Grade: B
