Now a mega Hollywood star, Will Smith came on the scene in the ’80s as part of DJ Jazzy Jeff and the Fresh Prince. A humble beginning with a bright future, the duo brought humor to Rap, which was quickly becoming inundated with messages that were supposed to warn against violence but at the same time glorified it. Their 1988 hit “Parents Just Don’t Understand” off the duo’s He’s the DJ, I’m the Rapper album was a breath of fresh air. This was followed by 1991’s Homebase, which featured the nostalgia of “Summertime.”
After his amicable split from Jazzy Jeff on the regular, Smith went on to release four solo offerings: including 1997’s Big Willie Style that featured “Getting Jiggy Wit It” and “Men In Black,” 1999’s Willennium, which featured another title track from another Smith feature, “Wild Wild West” as well as “Will 2K.” Considering this, the 2000s saw a tonal shift in Smith’s output. Gone were the humorous lyrics, replaced by introspection and even gripes, starting with 2002’s Born to Reign that featured “Black Suits Comin’ (Nod Ya Head)” and 2005’s Lost and Found that featured “Switch.” Then, he disappeared from music to concentrate on his acting career, which lifted off when the mega-successful sitcom The Fresh Prince of Bel-Air premiered in 1990.
Now, decades ago, Smith sustained himself as an award-winning actor, but now in 2025, he returns to his roots in music. After twenty years, emerging on March 28, 2025, Smith dropped Based on a True Story on Slang Recordings. Featuring production by Angela Glenn, Ayo, Beau Nox, Chller, Days of 1993, and FnZ, along for the ride are Big Sean, Russ, Joyner Lucas, and Smith’s son, Jaden (who was also in 2006’s The Pursuit of Happyness, among others).
So, how is Will Smith’s return after all this time? Starting at the top, tune/beat-wise, the album is dope. “Int. Barbershop-Day” can easily make one think of the barbershop scene in 1988’s Coming to America, where Eddie Murphy plays all the characters cutting it up, but Smith is the voice. Here, he is back with his homie, Jazzy Jeff, with B. Simone spitting lyrics about the good and bad of fame, like his Oscar nomination to the slap fallout. In truth, Smith has always used humor in his tracks, even on important topics, which can be cringy.
Then there is “You Lookin’ for Me?”, which discusses the scrutiny of fame. Smith even raps that he can be found on Instagram. He laments that he was not allowed to screw up. Sure, he is human, but under the world’s ever-watchful eye, a defiance in his delivery could be off-putting. This is while “The Reverend (Rave Sermon)” and later “The Reverend (YCMI Sermon)” are spoken-word pieces about being motivated through struggle. Everybody struggles sometimes, but how one deals with it defines a person. We are also in this game called life together, so help where possible. “Rave on the Wasteland” features a Hip Hop version of the headbang beat, and Smith’s delivery maintains the reverendishness of the previous track. Here, he spits lyrics about letting the past lie after paying dues for indiscretions and honestly changing. Hopefully, he is reflecting rather than just preaching.
Moving along, “Bulletproof” features Jac Ross, which carries on the message of resilience while adding invincibility to the mix. The track is delivered in first person with Smith and Ross part of a posse. However, they frame it as outlaws…from what? “Hard Times (Smile)” features Teyana Taylor to complement Smith. With a thirties ballroom intro that mixes into a Disco beat, the duo, Smith raps, and Taylor brings the melody, rapping/singing about getting past hard times.
With much more, there is also “Beautiful Scars” with Big Sean, and O. Banga running a message of resilience, growth, and transformation, before “Tantrum” (a duet with Joyner Lucas) with a powerful final line, “I took my traumas and made it an anthem,” summing up the song up nicely. “First Love” brings India Martinez and Marcin along for the ride. Like his classic, “Summertime,” “First Love” rides on nostalgia, how people are all in come hell or high water. There has been speculation that it references his marriage’s transition through the years.
Lastly, “Make It Look Easy” is a reflective piece where Smith raps about his career in its totality thus far, “You Can Make It,” which brings Fridayy with help from the Sunday Service Choir in on the anthem of success in persistence and “Work of Art” bringing along Jaden Smith to the party. A spectacular final full track is a father/son duo matched with Russ celebrating their differences and similarities. Smith starts the track by listing yin-yangs through history, like Jesus/Judas.
Altogether, Will Smith’s unforeseen full-blown return to music is significant and filled with great moments. That is why Cryptic Rock gives Based on a True Story 5 out of 5 stars.
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