On it, Mos shouts out his home of Brooklyn and talks about his upbringing on the gritty streets of the borough. Now, “Habitat,” like the aforementioned “Umi Says” is a song I’ve had on repeat for nearly two decades now. Mos is an engaging emcee, with a penchant for storytelling and deep musings, and on this record he shines. It’s thoughtful and composed, yet spontaneous, and quite smart. When I started really messin’ with hip-hop in my teens this album was one I championed early, initially off the hype and respect it garnered, but over the years my appreciation for it deepened, as the tracks started to resonate with me and take on new meanings as I got older. I remember coming across this record back on release in ’99 thanks to the use of one of its most iconic listens, “Umi Says,” being used in a Nike commercial. Mos was the first up to bat with 1999’s Black On Both Sides, his solo debut, which is still a masterful listen nearly two decades on. A lot of people were waiting to see what would come next from them. The album was critically acclaimed and massively influential, and Mos and Talib became the talk of the hip-hop world, Mos especially for his eccentric style and inspired performances. Their 1998 album, Mos Def & Talib Kweli Are Black Star, is a classic, and was just what hip-hop needed in the late ’90s: An elemental, socially-conscious record which celebrated hip-hop culture and Blackness and stood out in contrast to the money, success, and bling-oriented rap albums of the day. Getting started with his younger brother and sister in the rap group Urban Thermo Dynamics in the mid ’90s, Mos’s rep grew when he linked up with the Native Tongues collective, landing the opportunity to work with De La Soul and Q-Tip, but it was his partnership with fellow Brooklynite Talib Kwelias Black Star, which propelled him into the limelight. The Mighty Mos Def (I’ll stick to calling him Mos for this) was definitely a force for hip-hop in the late ’90s and early 2000s. The dismal record, by a duo operating under the same name, was all the more disconcerting considering it was alluded to be the final release from the artist Yasiin Bey, previously known as Mos Def, a Brooklyn rapper and actor and one of hip-hop’s most celebrated and somewhat enigmatic figures.īut let’s take it back a bit. The standard deviation for this album is 15.8.Late last year an album called December 99th was released to poor reviews and little fanfare. This album has a Bayesian average rating of 77.7/100, a mean average of 76.4/100, and a trimmed mean (excluding outliers) of 78.0/100. This album is rated in the top 3% of all albums on. (*In practice, some albums can have several thousand ratings) The second average might be more trusted because there is more consensus around a particular rating (a lower deviation). However, ratings of 55, 50 & 45 could also result in the same average. Consider a simplified example* of an item receiving ratings of 100, 50, & 0. A high standard deviation can be legitimate, but can sometimes indicate 'gaming' is occurring. This figure is provided as the trimmed mean. Rating metrics: Outliers can be removed when calculating a mean average to dampen the effects of ratings outside the normal distribution. You can include this album in your own chart from the My Charts page! The Ecstatic collection Total Charts: The total number of charts that this album has appeared in. Latest 20 charts that this album appears in: Sort ranksįavorite Hip Hop albums alphabetical by artist
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