Album Review | Nas – Street’s Disciple

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This album was released on November 30th in 2004. The only thing that I know about this album is that it’s too long. Obviously there are exceptions, but, for the most part, anytime you have an album with more than 20 songs there’s gonna be a good amount of filler. This is probably the least talked about album that Nas has ever released. I really don’t know anything about it. I don’t even think I’ve heard any of the tracks from it, aside from Bridging The Gap, but that’s only because his Vevo channel on YouTube posted the music video for it 7 months ago, and I was curious. I really don’t know how people usually rank this with the rest of his work. I doubt it’s a bad album. I’m not expecting it to be great. When you add both of the disks up, there are 25 tracks on this album. This album is too long. I’m expecting it to be good tho.

Track 1: Intro

Okay, I love this beat. I don’t really know what this track is about… It’s a skit in which Nas is meeting up with someone at night secretly. “It’s chilly out here.” I don’t know who the person he’s meeting is supposed to be tho. You don’t hear anyone talking except Nas. “I know it’s hard for them to understand people like us could love each other.” This sounds like two homosexual men meeting up with each other in the early 1900s. That would actually be really dope; what if this was Nas’ way of coming out the closet? If he actually made a conceptual album about the struggles that homosexual people face, that could be really dope. That would never happen tho because Nas isn’t gay, and even if he was he would never come out the closet because Hip Hop culture is unfortunately very homophobic. It also kinda sounds like an interracial couple meeting up with each other in the early 1900s. I don’t know. This skit segues directly into the next track.

Track 2: A Message To The Feds, Sincerely, We The People (Prod. Chucky Thompson, Salaam Remi & L.E.S.)

Wow. This beat is dope af. Nas is rappin’ his ass off. This beat is crazy. Nas sounds angry as fuck on this first verse. Oh shit… The beat just switched up. This is awesome. Nas is using the notorious triplet flow that people try to say the Migos invented even tho Chuck D used it on Bring The Noise. He’s rapping about how the government does whatever it can to keep African Americans down. He compared people’s hatred towards black people to the hatred that people had towards Jesus. I really fuck with this song. The production is fantastic, and Nas did his thing. This is dope af. 5/5

Track 3: Nazareth Savage (Prod. Salaam Remi)

Oh God… This beat is cool, but Nas started the first verse off in pretty much the most unappealing way possible for me. “I had bad chicks that blow cum bubbles like bubblegum / Plus they ass-lick.” There are so many fucking things wrong with these two lines. Y’all probably already know from my Tech N9ne reviews that I cannot stand songs about sex, especially when they’re super vulgar. Thankfully the sex talk is exclusive to these first few lines. I really don’t think I’ll ever understand this whole ass eating thing. I really wish I didn’t know that Nas likes having his ass ate. That sounds like a fucking nightmare for me. I don’t even like fuckin’ thinkin’ about shit like that. The first verse was dope aside from those lines at the beginning. The second verse starts off in a similar fashion. “I squeeze nipples like pimples to get the puss; get it?” I can’t decide whether or not this line is more disgusting than the other line I quoted. The rest of the verse is dope. The final verse was great. I fuck with this song. The beat wasn’t great, and the lines that I quoted made me pretty uncomfortable, but for the most part this is a pretty good song. I fuck with this one. It’s dope. 4/5

Track 4: American Way Feat. Kelis (Prod. Q-Tip)

This beat isn’t bad. This first verse is dope af. He’s talkin’ about how he doesn’t vote because none of the candidates ever give a shit about the black community. I completely understand. This was my first year ever really paying attention to an election, and I feel exactly the same way. The only candidate who seemed to really understand people of color had the whole establishment going against him. “Who you gonna elect? Satan or Satan? In the hood nothin is changin’.” I guess elections haven’t changed much since 2004… Jesus Christ… Hillary Clinton Vs. Donald Trump. This is a fucking nightmare… Don’t get me wrong; I’m still gonna vote. I just wish I didn’t have to choose the lesser of two evils. Anyway, the first verse resonated with me way more than I wish it did. I’m really not feelin’ the hook from Kelis. She sounds like a man pretending to do a stereotypical woman’s voice. Wow… That came off way meaner than I meant it to… Damn. This second verse is real as fuck. He even throws a jab at Donald Trump’s fucking dumb ass. I really wasn’t feelin’ that outro from Kelis… She kinda ruined this song for me. I don’t know if I can fuck with this one. The only thing I really liked about it was the verses from Nas. The beat from Q-Tip wasn’t bad, but it’s not really that great either. The hook from Kelis was terrible, and so was that outro she did. I’m gonna have to use GarageBand to cut her parts out. This shit is just okay. 3/5

Track 5: These Are Our Heroes (Prod. Buckwild)

This beat is cool. Nas is basically goin’ in on famous Uncle Tom’s & coons who are basically characters in minstrel shows. The hook’s not bad. The first verse was dope. The second verse was cool. I like the song. I just don’t really have much to say. It doesn’t really stand out very much. I like it, but it’s nothing special. I don’t really have a strong opinion about this one. It’s dope tho. I guess. 4/5

Track 6: Disciple (Prod. L.E.S.)

Oh shit… This beat is actually really dope. I fuck with this hook too. This shit is HARD. This first verse from Nas is really aggressive. This is awesome. The first verse was dope. Goddamn. He fuckin’ killed that second verse. “Gloves on; where the mask at? / Too many love songs / All the thugs gone / What happened? Where’s the passion? / Rappers battlin’ non-rappers / Carryin’ on backwards / Laughin’, sayin’ ‘Nas thinks he’s Farrakhan preachin’ blackness.” He went off on that last verse. The way the percussion and piano would break after every few bars was annoying, but aside from that I don’t have any problems with this track. I definitely fuck with this one. This song is dope af. 5/5

Track 7: Sekou Story Feat. Scarlett (Prod. Salaam Remi)

This beat is alright. Honestly the production on this album has been pretty underwhelming for the most part. Nas is thankfully keeping this track interesting lyrically. He’s telling a story about his drug dealer friend named Sekou. Woah… WHAT THE FUCK? This Scarlett woman… It’s NAS. This fool pulled a Quasimoto on this shit. He just used a voice synthesizer to make himself sound like a girl. I guess this might’ve been what inspired J. Cole to make Lost Ones. Cole did it better tho. Nas probably should’ve just done what Cole did and tried to make his voice slightly higher. This effect on his voice is just annoying. It doesn’t even really sound like a girl. It just sounds like… Nas with a voice synthesizer. It was a cool idea, but the story just isn’t that interesting to me… I don’t know… I’m not really feelin’ this one. I don’t think it’s bad… I just don’t really like it that much. It’s okay I guess. 3/5

Track 8: Live Now (Prod. Chucky Thompson & Nardo)

I don’t know why, but I’m having a really hard time focusing on this album. I just can’t bring myself to listen to it. I haven’t worked on this review in like 3 days. I keep getting distracted. This is probably Nas’ least interesting album. I mean, yeah, Nastradamus fucking sucked, but at least it was fun to talk about. “Wack” & “dope” are always more interesting than “average.” Alright, I’m just gonna try to get through this shit as quickly as possible. FOCUS, NICK. FOCUS! Okay, the song’s starting now. This beat is cool. The hook isn’t bad. He’s goin’ in now. Oh. Okay, this is actually pretty dope. He’s rapping about how you need to enjoy your life because you could die any day. It’s not exactly the most original concept, but the way Nas is rapping about it is pretty dope. He’s basically describing his final moments before he dies and reminiscing about his life. “Admit I did live a little bit / Sweet pickle dick / Freaks licked on it; lips, I dripped on it / Sex, I shot pearl necklaces on necks and tits.” I uh… I coulda did without those lines… The rest of the verse was dope tho. The way the beat switched up after the second recital of the hook was cool. Oh God… Scarlett’s in this song too? Why wasn’t she… I mean… Why wasn’t Scarlett listed as a feature? This is kinda… dumb. I mean, it’s cool, but… It’s kinda… dumb. Lol. It’s like a sequel to Sekou Story, but it takes place like a thousand years in the future, so they’re old people now. It just sounds like two old ass people on their deathbeds talking about “Yo, man… I resPEK you! You ALWAYS had my back, dawg! I ain’t NEVER gonna forget that shit!” I don’t know… It’s just kinda corny to me. It’s just hard for me to take Scarlett seriously. The production is really dramatic… It was actually really cool how Scarlett was coughing in the middle of her verse like she was really dying. That was a nice touch. I don’t know if I like this song tho… I kinda enjoyed listening to it just now, but I’m almost positive that I’d never have the desire to come back to it. It was cool, but… Nah… I’m not really into this one. It’s definitely not bad. I just don’t think it’s that good. It’s alright tho. 3/5

Track 9: Rest Of My Life Feat. Amerie (Prod. Salaam Remi)

This beat is pretty cool. I wasn’t really in love with that long winded intro from Amerie, but that’s just a nitpick. The percussion sounds kinda disjointed. That’s just another nitpick tho. The first verse wasn’t bad. The hook from Amerie is alright. The second verse was dope. This isn’t really the kinda beat you can go off over. It’s really smooth, and since the percussion is so disjointed his flow sounds kinda choppy. I kinda enjoyed it tho. I guess. Actually… To be honest I really don’t know if I like this one. I definitely don’t think it’s bad, but… It’s just not really doin’ much for me. I think it’s a decent track tho. It’s alright. 3/5

Track 10: Just A Moment Feat. Quan (Prod. L.E.S.)

Just A Moment

This beat is cool. This Quan guy is goin’ in on the first verse. He kinda sounds like Pac just a little. Kinda. His verse was dope. This song is about dead people, to put it bluntly. Well, not only dead people, but people who’ve had their lives taken away. Quan did his thing on the first verse. He sounded pretty good singing the hook too. Nas’ verse was very dope. Quan’s on the third verse. Okay, the way they keep asking “Can we please have a moment of silence” is getting really annoying. The way they have this chick crying in the background of Quan’s second verse is pretty damn tacky as well. I really WANT to like this song, but I just… I don’t know. I don’t think it’s bad, but the shit I just mentioned really holds it back for me. Even if those flaws didn’t exist, it’s still not that great of a song. I definitely respect the lyrical content, but as a whole this isn’t really doing shit for me. It’s alright. 3/5

Track 11: Reason Feat. Emily (Prod. Chucky Thompson & L.E.S.)

This beat is dope as hell. Goddamn. Okay, this first verse from Nas is dope af. He’s rapping about being a kid growing up in the hood. Huh. It didn’t sound that interesting when I typed that out just now… I don’t know how to explain it. The way he’s rapping about it is just really well done I guess. “By the time of age 9 I’m already decidin’ / If I can protect mommy from the hood by fightin’ / Or usin’ a knife or a gun when I’m 21.” He killed that first verse. “I’m just a young boy; snot nose, hair nappy / Cops ride by squeezin’ their trigger fingers at me.” I even like this hook from Emily. She sounded really good singin’ that shit. Goddamn. Nas killed that second verse too. Wow. The third verse was awesome too. “There’s a officer in a squad car; he’s a prostitute serial killer / It’s odd, huh? ‘Cause he’s the same cop in Church with his wife / He’s molestin’ his son, and she ignores it at night.” He killed this whole song. I really fuck with this one. This shit is dope af. 5/5

Track 12: You Know My Style (Prod. Salaam Remi)

Oh fuck… This beat is dope af. It kinda sounds like a Clipse era Neptunes beat. Eeeehhhh… Oh gawd… Nas’ flow on this first verse was great, but the lyrics are a bit much for me. “She feels electric / her breasts, she’s touchin’ them / Wet ‘tween the legs from this thug seduction / N-A-S, bend they ass over; spank it / Whisperin’ she loves intelligent gangstas.” Maybe the second verse’ll be better. I don’t even know how I feel about this hook tho… “Mama shake ya thing / Coochie get wet while the bass beat bang.” I can’t type something like that without cringing. This is just a really braggadocios Rap song, which I guess isn’t a bad thing in theory, but Nas is rapping a lot about having sex, which is pretty unappealing to me. The second verse was better. The third verse wasn’t. I’m not really feelin’ this one. It’s just the lyrics that I had a problem with. I would’ve preferred if he bragged more about his skills as an MC rather than how cool he is or how much sex he has. This is a shockingly underwhelming way to end the first disk. Oh well. I’m not feelin’ this one. This song is wack to me. 2/5

Track 13: Suicide Bounce Feat. Busta Rhymes (Prod. Nas)

This is the first track from the second disk of the album. This beat is dope af. Okay, I think this is about to be really awesome. Nas is rappin’ his fuckin’ ass off on this first verse. He killed that shit. The hook from Busta Rhymes isn’t bad… If he doesn’t have a verse on this shit I’m gonna be a little mad… The second verse from Nas was dope af. Oh my gawd. Busta Rhymes didn’t have a fucking verse. DAMNIT. Y’all probably don’t know this since I’ve never really talked about him before, but I REALLY like Busta Rhymes. I haven’t ever heard a full album from him aside from Year Of The Dragon, which just wasn’t very good. I’ve heard a lot of singles from him tho. I love his older shit. I’m planning on doing Leaders Of The New School / Busta Rhymes & A Tribe Called Quest marathons simultaneously. I might do that after the Outkast marathon. Actually, I’ll probably wait ’til I’m done with Outkast AND Nas’ marathons before I start both of the LOTNS & ATCQ marathons. Anyway, I was pretty disappointed that Busta didn’t rap on this shit, but Nas actually did a really good job by himself. He killed this shit. I actually really fuck with this one. I’m surprised that he made this beat too. I was expecting this beat to be trash, but I actually really liked it. His flow was great on this shit. I even enjoyed the uncredited sung outro from Quan. This is dope af. 5/5

Track 14: Street’s Disciple Feat. Olu Dara (Prod. Salaam Remi)

Olu Dara is Nas’ dad. He’s helped out a few times before on Nas’ albums. He played the cornet on Life’s A Bitch & I think Dance as well. This is the first time he ever had a vocal contribution tho. It’s starting now. This beat isn’t bad. The first verse was dope. I actually really like this hook with Olu Dara. He sounded dope as hell on this shit. He was kinda doing that half assed singing shit that Drake does, but it didn’t really sound lazy. Whenever Drake does it he sounds like he’s half asleep. Olu Dara sounds much better in my opinion. My stomach hurts. The second verse was dope. I really like this song. Nas fucking killed that third verse too. His flow was fantastic. He went off. Ya know, I really didn’t think I was gonna like this song as much as I do when it first started. I REALLY enjoyed this one tho. This is dope af to me. 5/5

Track 15: U.B.R. (Unauthorized Biography Of Rakim) [Prod. Nas]

I think the title of this song is pretty self explanatory. I haven’t heard it yet, but it’s obvious that he just made a song about one of his favorite rappers. Apparently Rakim didn’t like it. “I just felt violated almost that he touched on certain things that I never touched on, ya’mean? As far as, ya know, my kids names, and, you know, my government name, and certain things, ya kna’mean?” That’s what Rakim said in an interview with Hard Knock TV about the song. It’s starting now. This beat is dope as hell. The subject matter is a little weird for me… I don’t even know why. It’s just weird. If he was talking about his own life it would be easier for me to enjoy, but something just seems off about this. I’m kinda exaggerating tho. I’m making it sound like more of a problem than it actually is. It just takes a little getting used to for me. This is some stan shit tho… I mean seriously let’s be real here. Nas was stanning like a motherfucker over Rakim. It makes sense tho. It’s not like Rakim wasn’t a legendary MC. I really like this song. It’s just one long ass verse over a hard beat. Seriously this beat is dope as hell. I REALLY like this beat. Nas is a surprisingly competent producer. His flow was dope as hell too. I don’t know if I should call this “dope” or “dope af.” I really enjoyed this track sonically, but the lyrical content just wasn’t that interesting to be… Hmmm… Yeah… This is just dope I guess. If he was rapping about something more interesting I’d definitely say it was dope af. Dog, my stomach seriously hurts like a motherfucker right now. 4/5

Track 16: Virgo Feat. Ludacris & Doug E. Fresh (Prod. Salaam Remi)

This beat is alright. The beatboxing from Doug E. Fresh is cool I guess… I don’t know if I’m gonna like this song tho… “Baby girl, won’t you come and hold my hand / Won’t you come and chill out with the Virgo.” …Naaaahhh… Nah, this hook is wack. Jesus… This is mad corny… This is honestly the wackest song on the whole album so far. This is like some Pop inspired, Nastradamus type shit. The first verse from Nas was wack as hell. Eugh… God… Luda’s goin’ in now. He actually doesn’t sound as bad. He sounds comfortable doing this trendy, Poppy shit. He does this shit well. Nas doesn’t. Nas sounded so out of place on this shit. I mean, I didn’t really like Luda’s verse, but it was better than Nas’ in my opinion. Nah. This shit is fucking awful. I hate this shit. This is wack af. I wasn’t feelin’ that outro from Doug E. Fresh. This shit is wack af to me. 1/5

Track 17: Remember The Times (Intro)

Eeeeeehhhhhh… I don’t know if I’m about to like this Remember The Times song… Kelis was like “If you could smash one of them hoes one more time before we get married who would it be?” and Nas was like “…I don’t fuckin’ know.” Kelis’ voice is really annoying to me…

Track 18: Remember The Times (Prod. L.E.S.)

Oh fuck no… This song is exactly what I was expecting it to be. Nas is literally just talking about a bunch of his different sexual encounters. This reminds me of Dennis Reynolds: An Erotic Life. That’s not really a good thing. “Chelsea used to tell me choke her while I stroke her / Stuck a Heineken bottle up in the ass; a real joker / Used to run my bubble bath / Tons of laughs; sexy chick / Nasty though; she used to try to eat my excrement.” No. No. No. These are seriously like Tech N9ne level lyrics. Not in a good way. “While I blew clouds of reefer they sucked juice out my urethra / While Marvin Gaye pumped from the speaker.” I seriously do not see the appeal in music like this. I don’t even like the production or the hook. This song is awful to me. I can’t fuck with this shit. This is wack af. 1/5

Track 19: The Makings Of A Perfect Bitch (Prod. T. Black, L.E.S. & Nut)

This beat is cool. I just listened to the whole song. I guess it’s supposed to be satire of the average man’s shallowness. It was cool, but it’s not really something I think I’d wanna come back to. It’s nothing special. I don’t even really know what to say. It’s cool I guess… I’m not really into it like that. This song does nothing for me. It’s not really my cup of tea. Absolutely nothing about this track stands out to me. I’m not really feelin’ it. I don’t think it’s really bad tho. It’s just not good to me. It’s alright. 3/5

Track 20: Getting Married (Prod. Chucky Thompson)

This beat is alright I guess… Hmmm… Well, the title is pretty self explanatory. Nas is telling a story of himself getting married. I don’t think I’m gonna like this. It’s not that he’s doing a bad job with the subject matter, but that’s the problem; the subject matter itself isn’t very interesting to me. This is kinda sad in retrospect. You can tell that he was really excited about getting married to Kelis. This song just isn’t for me. I don’t get excited about weddings. I’ve only been to one wedding, and it was in Trinidad, and I don’t even really remember it. Huh… Actually… Why don’t I remember it? It was only like 2 years ago… Whatever; it doesn’t matter. This song isn’t that good to me. I don’t think it’s that bad tho. I’ve seen a lot of people saying this is one of Nas’ worst songs, and that it’s the worst song on the album. Nah. This is nowhere near as bad as some of the other shit on this album. I’m not really fuckin’ with it tho. It’s alright. 3/5

Track 21: No One Else In The Room Feat. Maxwell (Prod. Chucky Thompson & Salaam Remi)

Oh no… I don’t think I’m gonna like this one… I’m REALLY not feelin’ this trendy Pop inspired production. Why is this making me think of You Owe Me?? If you like You Owe Me you’ll probably like this fuckin’ trash ass bullshit too. This is awful. I can’t do this… This is so fuckin’ corny. I’m not feelin’ the hook from Maxwell. Good lord… This is REALLY bad… This beat sounds like a fuckin’ Disco song. No. Nas seriously needs to stop going after this fucking Pop sound. This is fucking trash to me. Even Nas’ lyrics were corny to me. “You a sexy freak / Your moist lips negates the ecstacy / Number one in my book; no discrepancy / When you walk on the Earth, you be reppin’ me.” Hell no. This shit is wack af to me. 1/5

Track 22: Bridging The Gap Feat. Olu Dara (Prod. Salaam Remi)

Bridging The Gap

This is the only song that I’d already heard from this album prior to this review. I’m not crazy about the Muddy Waters sample, but the beat isn’t really bad. I definitely like the fast paced percussion. The first verse from Nas was dope. Olu Dara did his thing on the hook. The second verse was dope af. “Teachers in my homeroom; I drew pics to mess them up / ‘Cause none’a them would like my style / Read more books than the curriculum profile / Said, ‘Mr. Jones please come get your child / ‘Cause he’s writin’ mad poems and his verses are wild.” I even liked the bridge at the end with Olu Dara & Nas. This shit is really dope. I remember that I wasn’t super impressed the first time I heard this song. It’s definitely one of the better songs on this album tho. I fuck with this song. It’s dope. 4/5

Track 23: War Feat. Keon Bryce (Prod. Salaam Remi)

Hmmm… This kinda sounds like Christmas music to me. Just a little bit. I actually really like this Keon Bryce guy’s vocals. He sounds really good on this. This beat is dope af. It’s really smooth. The first verse from Nas was dope. I love the horns that come in during the hook from Keon Bryce. Wow. I am REALLY enjoying this one. The second verse was dope. It kinda sounded like he put his hands on his baby mama tho… That was a little fucked up… “Grabbed her by the pony tail / ‘Never disrespect me.” Yeah, I definitely could’ve done without that line, but aside from that this shit is dope af to me. I loved the production and Keon Bryce did a great job singing the hook. I really like this one. This is dope af. 5/5

Track 24: Me & You (Dedicated To Destiny) [Prod. L.E.S. & Staff]

Uh oh… I definitely respect what Nas was trying to do with this song, and it’s definitely a heartfelt track, but I’m REALLY not feelin’ his vocals at the beginning here… For those of you who don’t know, Destiny is Nas’ daughter. Remember when I said Nas was a Rakim stan? Rakim’s daughter is named Destiny. This man really named his daughter Destiny because his favorite rapper’s daughter’s name is Destiny. If you didn’t agree that he was a stan before, I don’t see how you can deny it now. It’s okay tho. I don’t have any problems with Rakim stans because Rakim actually is one of the greatest MCs. Now, if somebody did that shit with Drake, I’d have a huge problem with that. Anyway, lemme get back on track; I can’t get behind this song. I definitely don’t think that it’s bad, and there are a lot of things that I like about it. I think the production sounds really fantastic, and this song felt more fulfilling than pretty much ALL of Nas’ other love songs… However, I just couldn’t get behind his vocal performance on this song. He sings almost every line on this song. It’s not the worst singing I’ve ever heard, but… I just can’t get behind it. I really WANT to like this one because it’s really heartfelt. I’m glad this song exists. I just don’t really enjoy it personally. The production was fantastic, and the melody of Nas’ vocals wasn’t that bad. It’s really not that bad of a song. I just… It’s not something I’d return to. It’s cool tho. I definitely respect this one. If he actually rapped on this, and got someone else to sing the hook—Keon Bryce could’ve came back for this song—I’d probably love this one. It’s just not really doing it for me. It’s not a bad song tho. 3/5

Track 25: Thief’s Theme (Prod. Salaam Remi)

Thief's Theme

Hmm… This beat sounds familiar… Have I heard this song before? Oh shit I remember now; Nas sampled this song on the title track from his following album, Hip Hop Is Dead. That’s really fuckin’ dumb. Why the hell would you sample your own damn song? Especially one that was so recent? It wasn’t even an under looked album cut either; this was the lead single from this album. The beat’s dope as hell. I have more problems with Hip Hop Is Dead than this song in particular. The beat is gangsta as hell. I guess it’s kinda weird that I like this beat since it’s led by an electric guitar riff. I don’t mind the guitar at all tho. Nas killed the first verse. The hook is dope af. The scratches sound awesome over this beat. The hook itself is a vocal sample from The World Is Yours. You probably know which line it is, unless you haven’t heard The World Is Yours for whatever reason. He killed the second verse. This is easily the most gangsta track on the whole album. I definitely fuck with this album. This is dope af. 5/5

Final Thoughts:

Holy motherfuck that was one LONG ass album. Seriously I think it took me like three days to get through this one. It’s really underwhelming compared to his other work. Except Nastradamus. It’s nowhere near as bad as Nastradamus. I honestly don’t really like this album tho. I think it’s slightly above average. It’s okay. I definitely wouldn’t call it dope tho. First of all, lemme get the most obvious criticism outta the way. This thing is WAY too fuckin’ long. I coulda told you that before I even listened to this album tho. In fact, I think I DID tell y’all that it was too long before I listened to it. The songs that I did end up liking weren’t even that good. I mean, they were dope, but compared to the rest of Nas’ catalog—again, with the exception of Nastradamus—they were nothing special. This was honestly boring as hell to me. The production for the most part was average, and the shit Nas was rapping about just wasn’t that interesting. It’s not like he didn’t take risks—that Scarlett gimmick was pretty creative—but they didn’t really come out that well. The experimentation didn’t result in a better product in my opinion. This is definitely the second wackest Nas album that I’ve heard so far. It’s the second Nas album that I’m hesitant to call “good.” I don’t think it’s that bad. It’s just… It’s just average. It’s an hour and a half of average music. This album is just okay to me. It’s so fuckin’ long tho…

Favorite Song: A Message To The Feds, Sincerely, We The People

Least Favorite Song: Remember The Times

Verdict:

69%

MEH

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One comment

  1. This was when the dude lost me. Then again I never cared for his music so it’s whatever (I did like Distant Relatives though, Untitled was okay.)

    I think the intro from my personal interpretation was basically about the whole Kelis thing….. since he’s the bad boy and she’s the nice young lady who falls for our narrator/hero.

    Ain’t nothing wrong with sexuality in music holmes it’s just apart of the everlasting machismo aspect that’s been in Hip Hop since the days of NWA and 2 Live Crew. It’s going to be here as long as heterosexual men walk this earth no ifs ands or buts ese.

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