At first I didn’t really like the song but listening to it in the album it was kind of like ‘oh this is this one big statement and everything else is balancing around it.’” I feel that all the music worked together, I mean there were certain tracks that maybe some people were like ‘Oh, this doesn’t fit’ but I feel at the same time something like ‘Marvelous Times,’ people could be like ‘oh that beat doesn’t fit,’ but what he’s saying on it, the beat being so powerful, it was like in the middle of everything. He didn’t get a bulk of stuff, he was just kind of doing individually and though a lot of stuff that didn’t make the album sounded very similar, they were from a lot of different producers. So, sounds from the world and different Eastern sounds and stuff that was doing and rediscovering stuff through different people and just kinda finding something that he was comfortable to grow with, I guess.
So there was this one moment, it happened spontaneously on stage, where I had a good mix of it and threw it in and then Rick’s part is my remix version, so it was kind of, he rocked the original, and the remix came in with Rick.”īeyond his stage attachment to the source material, Preservation also acted as a close working partner and producer on 2006’s Tru3 Magicand The Ecstatic itself, lending him a unique perspective on its original construction and direction: “I feel like was being influenced by a lot of different sounds, sounds that were already there and that were already in the lives of everybody around but coming back around. Specifically, in the case of the original Slick Rick-featuring Ecstatic number, Pres worked out the remix in the process of switching up a live routine: “When we’re doing ‘Auditorium,’ he still wanted the Slick Rick verses to play, so he would do his part and we had an instrumental of the first part without his vocals and the second part with Rick’s vocals. Perhaps even more compellingly, some of the final remixes on the REcstatic, pronounced “re:ecstatic,” are products of naturally progressing stage performances.
What first started as a remix of a couple of the album’s tracks quickly evolved into a self-assigned challenge to give the whole release his own treatment. While the original version of The Ecstaticalbum stood out as one of 2009’s most forward-thinking Hip Hop albums ( especially on HipHopDX), Preservation has recently spent more than a year mounting a comprehensive reimagining while travelling and performing internationally alongside Bey himself. Why Preservation Decided To Remix Mos Def’s The Ecstatic That was the fun in waiting for it and I think that’s lost in a lot of aspects.” And those guys elevated that song sometimes, sometimes it wasn’t as good, but, sometimes it was better. You would hope that that 12-inch had a Large Professor remix on it, you would just wait on something like that.
Speaking with HipHopDX yesterday (June 11), Preservation fondly recalls the days when an exclusive remix was compelling in its own right: “It was so much more special. Almost entirely produced by Yasiin’s tour deeajy and musical collaborator he work is heavy on samples and imagination, made with all the original tracks from the Downtown/Atlantic Records original.
#Mos def the ecstatic sample free#
The 16-track free effort (including “Twilight Speedball”) comes from Preservation’s Mondieu Music. Just moments ago, Yasiin Bey (f/k/a Mos Def) and Preservation released REcstatic-a free remix project of Mos’ 2009 fourth solo album, The Ecstatic. Exclusive: After the 4th anniversary of Mos Def’s “The Ecstatic,” producer Preservation, who pulled several credits on the original, talks about his full-length re-imagining.
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