In similar fashion to the “Auditorium” heard earlier in the album, Mr. This isn’t a bad track by any means but more of an acquired taste that is sure to grow on the listener after a few plays. Mos delivers some nice rhymes and adequate singing on this track but it almost sounds like a reach at times over the near mainstream sounding beat. Mos attempts to bring out his rougher side on this track over some dark, dramatic, and synth filled production produced by Mr. This song has the sound and feel of something that might have been heard on The Roots latest album Rising Down and I could have really heard Black Thought spittin’ some lines on this one. Preservation returns for another track to provide Mos with a tribal feel beat that he fits comfortably with. This song was recently performed live by Mos on the Late Show With David Letterman and I can see why he selected this song to perform. This track had all of the necessary aspects to be one of the best on the album but the short track length snubs that (it’s still one of the better tracks though). Preservation delivers a well-produced beat with piano and horns that Mos Def destroys lyrically. There’s nothing too spectacular about this track as it just features a lyrical Mos Def over some nice Madlib production, kind of serving as an interlude of sort with the short track length.Īgain this track kind of feels like an interlude because of its short length but as opposed to the previous track I would have liked to hear more of this one. Madlib provides Mos with another beat on this next track as he delivers some good rhymes over the string filled production. All in all this is one of the best tracks on the album so far and hopefully there are more of this caliber to come. Wait…did I just say Slick Rick was featured on this track? Slick Rick “The Ruler”? Hell yeah, the one and only appears on the track and shows why he’s still one of the best storytellers in Hip-Hop history with a verse that maybe upstages Mos Def’s. Madlib, one of the most diverse and creative producers of all-time, produces a beat of Middle Eastern flavor that flows smoothly and complements the verses of Mos Def and Slick Rick quite well.
This track has been on repeat since I first heard it and it’s with good reason. Chad keeps the production diverse and ever changing on this track that Mos is able to ride without a problem. Mos slows things down a bit on this next track but the intensity is still there with production provided by The Neptunes’ lesser-seen half Chad Hugo. A lot of people were skeptical as to whether Mos was losing his edge and skills as a lyrical emcee but this track reassures that Mos is still an emcee to be reckoned with on the mic. Oh No provides Mos with a fast paced lead guitar filled beat that allows him to spit some rapid-fire lines. Right off the back we can see that Mos is sticking with this more experimental side in starting off the album.
Will he return back to his true emcee form seen on early career works like Black Star and Black On Both Sides or continue with the experimental path he has been traveling as of late. With The Ecstatic being Mos Def’s fourth solo album to date and three years since his last release ( True Magic), people are wondering what to expect from The Mighty Mos. I apologize for three day delay in delivering this review but that’s what happens when you’re in school and you have to pay more attention to these things in life called “priorities”, but I thank those that have been patient in waiting on this review to arrive (the impatient ones…I’ll save those thoughts and words for another time). I know that the review of Mos Def’s The Ecstatic album has been one that people have been looking for since Tuesday when it was released and I am happy to deliver it in its entirety.
0 kommentar(er)
