It’s the patch, I’m a soldier in the middle of Iraq When Bey was in the duo Black Star with Talib Kweli, he did a reinterpretation of a Children’s Story, (aside note: the original used to freak me out as a kid–if you listen closely, the song has a very sinister undertone to it) which may have laid a path towards this collaboration years later. Even R&B singer, Montell Jordan owes his whole career to the man. Artists like Snoop Dogg and Outkast have paid homage to the legend in their own ways Snoop covered La-Di-Da-Di, Outkast had “The Ruler” guest on The Art of StoryTelling from their “Aquemini” album. His Def Jam release, “ The Great Adventures of Slick Rick” is considered one of the most classic albums of all time, and is easily one of the best from the 1980’s. People forget about the imprint Slick Rick has left on Hip Hop. Leaving no ambiguity, the hook of the song gives another nod to those out there still grinding. With the predominance of “affluent rap” getting constant airplay, it is easy to see why an artist like Yasiin was considered refreshing for this time period. Despite all of his success, one never gets the sense that he is out of touch. Bey has achieved a certain level of commercial (and monetary) success as an actor and artist, Bey still is aware of what is going on in the streets. One can hear his sincerity in past songs like Umi Says, Close Edge, and Sunshine, where Bey expresses his desire to uplift the people in his community rather than escape them. Yasiin Bey has always carried himself as a champion of his people. The rhythm and depth of the subject matter is reminiscent of poets like Langston Hughes and Gwendolyn Brooks.
This first verse is so poetic that it holds up even without a beat. Suckas trying to hide like the struggle won’t find ’emĪnd the sun bust through the clouds to clearly remind himĬradle to the grave, talk’ll lead you on a shell The world is so dangerous, there’s no need for fightin’ Shocked a small act could knock a giant lopsided I swing round, ring out and bring down the tyrant Soul is the lions roar, voice is the siren Mind is a vital force, high level right across Quiet storm, vital form, pen pushed it right across Universal ghetto life, holla black you know it well I’m everywhere: penthouse, pavement and curbĬradle to the grave, tall cathedral of a shell My presence speak volumes before I say a word That I hardly ever sleep, my flows forever deepĪnd it’s volumes or scriptures when I breathe on a beat I feel it in my bones, black I’m so wide awake I push it past the bass, know nations gotta feel me I speak it so clearly sometimes you don’t hear me The focus gettin’ clear and the light turn sharpĪnd the eyes go teary, the mind grow weary They goin’ through the motion, they dimmin’ down their focus You feel it in the streets, people breathe without hope Sometimes I try and chill, mellow down, blowin’ smoke Things are so passionate, times are so real The way I feel, sometimes it’s too hard to sit still It is smooth but it still knocks, and is the perfect wallpaper for the lyrics that get laid down by both Bey and Slick Rick. It is arguably the best beat (on his albums) that Bey has ever rapped on.
#MOS DEF THE ECSTATIC CREDITS MOVIE#
It is an amalgamation of the tracks Movie Finale and Get It Right, which are sampled from Indian artists Lata Mangeshkar (a sped up Do Jhoot Jiye Ek Sach Ke Liye), and Minoo Purshottam (Sadi Begum De Banke Banke Yaar). You may recognize the sample from Madlib’s instrumental beat tape, Beat Konducta vol.3 &4. First, you have to look at the assembly of two New York legendary emcees, Yasiin Bey (then Mos Def) and “The Ruler” Slick Rick, and one legendary producer in Otis “ Madlib” Jackson. To fully understand the scope of how perfect this song is, one must reflect on all the elements that conspired to create such a perfect piece of art. There is a magical element to the Yasiin Bey’s “ The Ecstatic” album, but none of it is quite as apparent as the track “Auditorium”. Sometimes with the right set of circumstances, magic can be created. Different combinations create different results.
Some of Miles Davis’ best work came with certain musicians, the same can be said for Bill Evans whose power trio was never the same after the death of bassist Scott Lafaro. In Hip Hop, much like jazz music, the creation process is often a very fickle thing.
0 kommentar(er)
