Artist: NasTitle: Hip Hop Is DeadRating: 4 StarsReviewed by: AJ FreshDue to the current trend of proclaiming Hip-Hop’s demise, Nas’ eighth album Hip Hop Is Dead (Def Jam), is pretty timely. If anything, the controversial title could make it a critical component to the success and ongoing longevity of true Hip-Hop music-if it’s any good. Nas’ impeccable delivery, and ability to manipulate verse while addressing predicaments relevant to rap music is present throughout the solid 16-track album. Hip Hop Is Dead is a stab at the current state of popular mediocrity in Hip-Hop and is a testament to why Nas is still considered-by a sizeable amount of fans and even begrudging detractors-a trend setting artistic genius. On the title track in demand producer and part time Black Eyed Peas band member will. I. am delivers a heavy rock cadence which forces Nas to drop verses in perfectly syncopated rhyme while bringing his point to the masses, Hip-Hop needs resuscitation. If Hip-Hop is dying, Nas is the electronic defibrillator only used when the blood pressure has dropped below life sustaining beats. Nas continues his life saving missions throughout the ensemble with revitalizing wit, sincere consciousness and dapper arrogance. On the morbid "Blunt Ashes", produced by Chris Webber (yes, that Chris Webber) Nas raps about the suicide deaths of Phyllis Hyman and Donnie Hathaway over macabre and hauntingly sorrowful effects. But in true Nas fashion, and showcasing his diversity, immediately following the somber number God’s Son brings you back up the emotional ladder with the Kanye West produced "Let There Be Light". An uplifting and inspirational recording, equipped with wind blowing sound effects, cymbal crashing drum riffs and background vocals delivered by street gospel crooner Tre Williams. The listener is left feeling like everything will be all right. On the LES produced "Black Republican,” the collaboration with labelmate and boss Jay-Z, Nas raps about loyalty to the hood, and being a solution in the form of a young black militant. Delivered over a beat with strong symphonic tones coupled with the stringy violins and of course the ever-prevalent old school drum pulses, the track evokes thoughts of power. Nas continues his proactive rescue of our culture on the self produced track "Where Are They Now", where he pays homage to the legends and lost rappers by shouting out names ("Redhead Kingpin, Tim Dog, have you seen ’em, Kwame, King T or King Sun…" (Ed. Note: Kwame’s been making some mean tracks for a minute) over a diced up, trumpet infused James Brown sample. After the serene, Nat King Cole sampling "Can’t Forget About You" and the chest thumping "Hustlers" with Dr. Dre outcast The Game, the album concludes with "Hope". The acapella finds Nas as raw as he has been in a very long time; straight lyrics complimented by the robust cries from singing powerhouse Chrisette Michele. Only time will tell if the qualms with Hip-Hop that Mr. Jones has infused into Hip Hop Is Dead will serve as hope and a turning point as far as the culture’s debateble creative rut. Probably not, but it will firmly stand as another quality effort added to a discography that won’t be checking out anytime soon.
Artist: NasTitle: Hip Hop Is DeadRating: 4 StarsReviewed by: AJ FreshDue to the current
trend of proclaiming Hip-Hop’s demise, Nas’ eighth album Hip Hop Is Dead (Def
Jam), is pretty timely. If anything, the controversial title could make it a critical
component to the success and ongoing longevity of true Hip-Hop music-if it’s any
good. Nas’ impeccable delivery, and ability to manipulate verse while addressing
predicaments relevant to rap music is present throughout the solid 16-track album.
Hip
Hop Is Dead is a stab at the current state of popular mediocrity in Hip-Hop
and is a testament to why Nas is still considered-by a sizeable amount of fans
and even begrudging detractors-a trend setting artistic genius. On
the title track in demand producer and part time Black Eyed Peas band member will.
I. am delivers a heavy rock cadence which forces Nas to drop verses in perfectly
syncopated rhyme while bringing his point to the masses, Hip-Hop needs resuscitation.
If Hip-Hop is dying, Nas is the electronic defibrillator only used when the blood
pressure has dropped below life sustaining beats. Nas
continues his life saving missions throughout the ensemble with revitalizing wit,
sincere consciousness and dapper arrogance. On the morbid "Blunt Ashes",
produced by Chris Webber (yes, that Chris Webber) Nas raps about the suicide deaths
of Phyllis Hyman and Donnie Hathaway over macabre and hauntingly sorrowful effects.
But
in true Nas fashion, and showcasing his diversity, immediately following the somber
number God’s Son brings you back up the emotional ladder with the Kanye West produced
"Let There Be Light". An uplifting and inspirational recording, equipped
with wind blowing sound effects, cymbal crashing drum riffs and background vocals
delivered by street gospel crooner Tre Williams. The listener is left feeling
like everything will be all right. On
the LES produced "Black Republican,” the collaboration with labelmate
and boss Jay-Z, Nas raps about loyalty to the hood, and being a solution in the
form of a young black militant. Delivered over a beat with strong symphonic tones
coupled with the stringy violins and of course the ever-prevalent old school drum
pulses, the track evokes thoughts of power. Nas
continues his proactive rescue of our culture on the self produced track "Where
Are They Now", where he pays homage to the legends and lost rappers by shouting
out names ("Redhead Kingpin, Tim Dog, have you seen ’em, Kwame, King T or
King Sun…" (Ed. Note: Kwame’s been making some mean tracks for a minute)
over a diced up, trumpet infused James Brown sample. After
the serene, Nat King Cole sampling "Can’t Forget About You" and the
chest thumping "Hustlers" with Dr. Dre outcast The Game, the album concludes
with "Hope". The acapella finds Nas as raw as he has been in a very
long time; straight lyrics complimented by the robust cries from singing powerhouse
Chrisette Michele. Only
time will tell if the qualms with Hip-Hop that Mr. Jones has infused into Hip
Hop Is Dead will serve as hope and a turning point as far as the culture’s
debateble creative rut. Probably not, but it will firmly stand as another quality
effort added to a discography that won’t be checking out anytime soon.
