Musical revolution? Let's not go that far. The Ecstatic is clearly influenced by this faith, and perhaps Mos Def’s own indifference to the vacuity of mainstream Western culture. On second (third and fourth) listen, it's still a solid body of work that'll be in the car and iTunes rotation all summer (maybe longer). On first listen, the album was a lot hotter, maybe it was just exciting to see Mos drop something more representative of his talent. The Verdict: Truly inspired music this time out, and he's able to express his view of the world without being overly political.
For my money, the album could have used some more guest appearances. The Ecstatic begins with a clip of Malcolm X talking about meeting extremism with extreme methods and how he will join with anybody to make an extreme change. The Ecstatic is also overloaded with quotes and "cut scenes" that make it feel more like a mixtape than an album. Taken as a whole, its a wild and vivid dream, locked into the contemporary by Mos Defs omnipresent polemic. "Workers Comp" combines heavy piano with a reggae vibe but is otherwise forgettable.
A few good tracks on the album time in at just under or just over two minutes, which makes you wonder what happened there. The Bad: Blame it on his slur or the music but it's easy to get lost in Mos Def's flow. Don't sleep on The Neptunes-produced "Twilite Speedball," either. Whether in terms of the sound, an elastic funk-soul hybrid sprinkled with exotic samples, or the subject matter, which takes in Iraq and the ups. "Priority," "History (featuring Talib Kweli)" and "Roses" are also standout tracks. The Ecstatic recaptures the restlessness of old. "Quiet Dog" can make you love the timpani drums. (Death of Auto-Tune)' (2009), respectively. However, he lost in both categories to Eminem's Relapse (2009) and Jay-Z's 'D.O.A. Outside of the current single, "Casa Bey," which is amazing in its complexity, "Auditorium" with Slick Rick showcases a classic storytelling flow from both MCs. The Ecstatic also earned Mos Def nominations for the 52nd Annual Grammy Awards (2010) in the categories of Best Rap Album and Best Rap Solo Performance (for 'Casa Bey'). Beyond just beats, the album is musically impressive pulling from rock, classical, Latin and even Middle Eastern influences. The Good: The album is well-produced – it's almost hard to describe, but it just sounds good. From the first song, Supermagic, the authority of Mos Def s distinctive, nasal voice is evident over a feverish guitar riff. 3 stars out of 5 - ".A throwback to the sophisticated heyday of the Native Tongues Posse, with extra poignancy and a bracing Busta Rhymes cameo to boot.", ".a tightrope walk across diverse hip-hop styles.Merging old-school bravado with new-school poetics, Mos Def spouts incisive Afrocentric reality that takes all sides into account." - Rating: A-, Included in Wire Magazine's "50 Records Of The Year '99", 4 out of 5 - ".This is the return of the '100-percent intelligent black child'.and he's smarter and more independent than ever.Everyone who likes rap music even a little should hear what Mos has to say.", ".Among the genre's all-time greats.", 4 mics out of 5 - ".the mighty Mos Def leads the charge for change.an 80-year-old couldn't make an album this mature.", 3.5 stars out of 5 - ".manages the oxymoronic feat of being a humble MC.His often nationalistic rhymes are complimented by jazzy, mostly sample-free tracks.Who says that modesty and reverence don't have their place on hip-hop hits?", ".simply one of the most unhindered and aesthetically ambitious hip-hop records in recent memory.", 4 out of 5 - ".One of the best rap albums of recent years and not a lame skit in earshot.", "HipHop's most eloquent spokesman takes his rightful place on the throne.A deeply personal project.one that takes in a vast range of emotions and scenarios.a complex and many layered work.", Ranked #5 in CMJ's "Top 30 Editorial Picks for 1999.The Deal: Mos Def takes a step away from the big screen and drops an album actually worthy of someone with his skill set as an MC.