Sure, Mos uses some tracks on The Ecstatic to convince fans that he’s still able to channel his immense talent toward relevant topics. Let’s be clear: Mos Def is not as focused here as he was on Black On Both Sides. But Mos Def‘s new album, which is set for a release date that sits 10 years after that of Both Sides, is called The Ecstatic: a title that many die-hard fans hope is an indication that Black Dante is excited about rhyming again. Meanwhile, Mos‘ acting career picked up steam arguably the same way his rap career did during his early days with Rawkus Records, as he earned numerous award nominations for his roles in movies and plays alike. The New Danger showed the Brooklyn emcee experimenting with Rock & Roll more than he was rhyming, and despite flashes of brilliance, 2006’s recalled True Magic sounded (and looked, with its lack of artwork) uninspired. But Mos has been Windex clear from the jump: he’s good at spitting that raw, but he’s got loftier artistic goals.
Jay-Z’s Reasonable Doubt or Nas’ Illmatic), Mos Def has two classics to constantly live up to: his seminal Black Star album with partner-in-rhyme Talib Kweli, and his flawless solo debut Black On Both Sides.
While virtually all of Hip Hop’s stars are critiqued for not recreating their memorable introductions (i.e.
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