Mos Def The Ecstatic Full Album Zip
Olegario Benford
The Ecstatic is the fourth album by American rapper Mos Def, released on June 9, 2009, by the independent record label Downtown Records. After venturing further away from hip hop with an acting career and two poorly received albums, Mos Def signed a recording contract with Downtown and recorded The Ecstatic primarily at the Record Plant in Los Angeles. He worked with producers such as Preservation, Mr. Flash, Oh No, and Madlib, with the latter two reusing instrumentals they had produced on Stones Throw Records. The work of Stones Throw rapper MF Doom was also cited by Mos Def as an influence, while singer Georgia Anne Muldrow, formerly of the record label, performed as one of the album's few guest vocalists, along with rappers Slick Rick and Talib Kweli.
Described by music journalists as a conscious and alternative hip hop record, The Ecstatic features an eccentric, internationalist quality. Mos Def's raps about global politics, love, war, spirituality, and social conditions are informed by the zeitgeist of the late 2000s, Black internationalism, and Pan-Islamic ideas, incorporating a number of Islamic references throughout the album. Its loosely structured, lightly reverbed songs use unconventional time signatures and samples taken from a variety of international musical styles, including Afrobeat, soul, Eurodance, jazz, reggae, Latin, and Middle Eastern music. Mos Def titled the album after one of his favorite novels, Victor LaValle's The Ecstatic (2002), believing its titular phrase evoked his singular musical vision. For the album's front cover, a still from Charles Burnett's 1978 film Killer of Sheep was reproduced in red tint.
The Ecstatic charted at number nine on the Billboard 200 in its first week of release and eventually sold 168,000 copies. Its sales benefited from its presence on Internet blogs and the release of a T-shirt illustrating the record's packaging alongside a label printed with a code redeemable for a free download of the album. To further support the album, Mos Def embarked on an international tour with concerts in North America, Japan, Australia, and the United Kingdom between August 2009 and April 2010. As his DJ on the tour, Preservation began to develop remixes of the album's songs, which he later released on the remix album The REcstatic in 2013.
A widespread critical success, The Ecstatic was viewed as a return to form for Mos Def and one of the best albums from 2009, with reviewers applauding its exuberant musical feel, adventurous creative range, and shrewd lyrical performances. Some publications ranked it among the greatest albums of the 2000s decade, including The Times at number 30. However, it struggled to reach mainstream audiences beyond Mos Def's fan base and led the already disillusioned rapper further away from the music industry, resulting in less recorded work from him over subsequent years.
By the mid 2000s, Mos Def had established himself as one of hip hop music's leading auteurs with records that sold millions of copies while realizing a pan-African worldview, although the rapper grew increasingly wary of the music industry.[1] In 2006, his third album True Magic was released haphazardly by Geffen Records to fulfill a contractual obligation while he was devoting more time to his acting career.[2] The quality of the album, along with his repeated ventures away from recording hip hop, left "some fans wondering if Mos Def's acting accomplishments were finally affecting his music", PopMatters critic Quentin B. Huff chronicles.[3] Speaking with Spank Rock for Interview magazine, Mos Def expressed a jadedness with the commodifying aspect of the hip hop industry and elucidated his artistic goals at the time:
Along with Madlib, Oh No, and J Dilla, Muldrow had been an affiliate of Stones Throw Records; according to journalist Nathan Rabin, they collectively produced half of the album, lending its sound a "sympathetic" quality.[12] During the recording, Mos Def was also influenced by fellow rapper MF Doom, at one point improvising raps from the latter's 2004 album Mm..Food while in the studio. "He rhymes as weird as I feel", he said of Doom, citing his Madlib collaboration Madvillainy (2004) as well.[13] With The Ecstatic, Mos Def said he wanted to offer listeners sincere, uninhibited observations about life and love, "some truth and positive heart lift", without the need for club songs. "No disrespect to [the club]".[14]
The Ecstatic covers an international range of styles in a very loose and extemporaneous manner, held together by what Rabin describes as "a lyrical and sonic fascination with life beyond the Western World".[16] According to Robert Christgau, the songs average two-and-a-half minutes and segue into one another without resolution, giving it the feel of a globally influenced hip hop mixtape "with poles in Brooklyn and Beirut".[17] The music reflects Mos Def's varied interests in jazz, poetry, Eastern rhythms, psychedelia, Spanish music, and the blues.[18] The tracks on the first half are, as The Observer's Ben Thompson describes, "predominantly Eastward-looking", while the second half indulges more in Latin and reggae influences.[19] Other sounds sampled or explored include Afrobeat ("Quiet Dog Bite Hard"), Eurodance ("Life in Marvelous Times"), Bollywood ("Supermagic"), and Philadelphia soul.[20] "Supermagic" also draws on elements from Turkish acid rock and Mary Poppins, while on "No Hay Nada Mas", Mos Def sings and raps in Spanish over a flamenco-influenced production.[21] He sings elsewhere on the album, often breaking into sing-song vamps during his raps.[22] Along with his singing, the often sample-based music is unconventional in its use of what Preservation calls unusual time signatures and "awkward" breakdowns.[23]
According to The Independent's Simmy Richman, The Ecstatic's Eastern-influenced musical backdrop is reflective of Mos Def's "post-War on Terror" themes. Richman calls it a conscious rap record, and No Ripcord's Ryan Faughnder regards it as "socially conscious alternative hip-hop".[25] African-American studies and media scholar Sohail Daulatzai believes the album is informed by Black internationalist politics and Pan-Islamic ideas, while State magazine's Niall Byrne says it explores the theme of international relations on songs such as the Middle Eastern-influenced "The Embassy" and "Auditorium", which features an Iraq-themed guest rap by Slick Rick.[26] On "The Embassy", Mos Def raps from the perspective of an outsider about the lifestyle of an ambassador at a luxury hotel, while the opening song "Supermagic" critiques government treatment of minority groups.[27] Mos Def incorporates a number of Islamic references throughout the album, including samples of American Muslim activist Malcolm X, Turkish protest singer Selda Bağcan, and an Arab-language scene from the 1966 film The Battle of Algiers; additionally, the track "Wahid" is titled after the Arabic word for "oneness".[28]
The Ecstatic was titled after Victor LaValle's 2002 dark humor novel.[34] One of Mos Def's favorite novels, it was written about an overweight college dropout who fell into mental illness while living with his eccentric family in Queens, New York.[35] According to Mos Def, the phrase "the ecstatic" was "used in the 17th and 18th centuries to describe people who were either mad or divinely inspired and consequently dismissed as kooks".[34] The phrase resonated with him, as he believed no one else in hip hop had ever recorded an album like The Ecstatic. "I feel like I was the only person who was capable of making this type of music in this type of way", he claimed. "I don't rap like nobody, I don't try to sound like nobody."[36] He said "the ecstatic" also refers to "a type of devotional energy, an impossible dream that becomes reality but is discredited before it's realized. The airplane, a nutty idea. The telephone, the Internet. People who envisioned those were considered radical or extreme."[34]
The Ecstatic was packaged with few liner notes and a two-sheet booklet featuring a photo of Mos Def taken using the Photo Booth software application.[37] The front cover photo reproduced a still in red tint from Killer of Sheep, a low-budget 1978 film by Charles Burnett about African-American life in 1970s Watts, Los Angeles.[38] According to Dale Eisinger from Complex, the "subtle and still-moving" photo reflects the ideas of cultural justice and global inequality present throughout Mos Def's career while capturing the "sonic construction" of The Ecstatic's music. "The cover has hazy, dream-like movement", Eisinger said, "appearing as a non-narrative, loose collection of vignettes that are tangentially fascinating and incredibly powerful."[39] For the back cover, a 1928 photo of the Moorish Science Temple gathering in Chicago was used, which Daulatzai interpreted as another element of Mos Def's "Pan-Islamic mashup" on the album.[28]
The Ecstatic was released by Downtown on June 9, 2009.[40] In its first week, the album sold 39,000 copies and debuted at number nine on the Billboard 200, becoming the second record of Mos Def's career to reach the top 10 on the chart.[41] The following week, he became the first recording artist to endorse the Original Music Tee, a T-shirt featuring the album cover on the front, the track listing on the back, and a tag with a code to download an MP3 copy of the record.[42] The marketing strategy led to enough sales that Billboard factored the T-shirts as album units on the magazine's music charts.[43] The Ecstatic also benefited from the number of mentions it received on Internet blog posts, which peaked during the week of June 29.[44] The album reached 168,000 copies sold in March 2014.[45]
Three singles were released to promote the album: "Life in Marvelous Times" on November 4, 2008; "Quiet Dog Bite Hard" on January 13, 2009; and "Casa Bey" on May 26.[46] According to Charles Aaron, "Life in Marvelous Times" was the "most powerful and accessible song" Mos Def had ever recorded, but it could not even manage to receive airplay on radio stations in his native New York. "If [it] can't get on the radio, then I don't need to be on the radio", the rapper said in August, expressing a wavering interest in reaching mainstream audiences.[47]
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