Nas CD

Personnel: Johnny Polygon, Stic Man (vocals); J. Myers (guitar, background vocals); Kevin Mayer, Binky Griptite, Thomas Brenneck (guitar); Eddie Montilla, Idalia String Ensemble (strings); Neal Sugarman (tenor saxophone); Ian Hendrickson (baritone saxophone); Bruce Purse (horns, background vocals); Vincent Henry (horns); Victor Axelrod (piano); Brian Kennedy, Mikuak Rai, Jason Perry (keyboards); Homer Steinweiss (drums).
Audio Mixers: John Frye; Kevin Crouse; Mark Batson; Phil Tan; Billy Hume; Keri Hilson.
Recording information: Cinematic Studios, New York, NY; Electric Lady Studios, New York, NY; Encore Studios, Burbank, CA; Legacy Recording Studio, New York, NY; Manhattan Center Studios, New York, NY; NRG Recording Studio, Los Angeles, CA; Patchwerk Recording, Atlanta, GA; Roc The Mic Studios, New York, NY; Royal Z Entertainment, Westlake Studios, Los Angeles, C; SoundTrap Studios, Atlanta, GA; The Record Room, N. Miami, FL; Touch 510 Studios, S. Orange, NJ; Warrior Studios; Westlake Audio, Hollywood, CA.
Arranger: Stic Man.
Nasir Jones's controversially untitled LP follows the impressive trifecta of GOD'S SON, STREET'S DISCIPLE, and HIP-HOP IS DEAD. This latest record leans on gritty, often metallic production and a mission of personal catharsis, often in congress with a current sociopolitical pointedness. Nas's most aggressive eviscerations are saved for the hard-rocking rampage of "Sly Fox," which stands up for Ludacris and other MCs assaulted by conservative pundits, as if playing the role of the protective older brother. But for all the album's candid nihilism, perhaps the most moving moment is still one of hope, as articulated on "Black President." Poignantly sampling a 2Pac lyric about it seeming "heaven sent," Nas ponders the pros and cons of Obama's ascension. And the use of Shakur's words serves as a way for Nas to communicate a message to the fellow free-thinkers who inspired him, but who didn't live to see such progress in the face of relative chaos.
Having declared hip-hop dead in his last effort, the Queens rapper kicks things off by qualifying his statement on "Queens Get the Money," an impassioned rant over a minimalist piano loop. From there, the newly self-dubbed Nasty Nasdaq examines the N-word in various contexts with the Last Poets behind him ("You Can't Stop Us Now") before introducing a barrage of conceptual tracks--"Sly Fox" criticizes Fox News and the mass media culture, "Fried Chicken" is a clever, food-as-sex yarn with Busta Rhymes, while "Project Roach" sees the MC as cockroach.
Production-wise, Nas isn't aiming for heavy rotation here, relying instead on subdued soul-based beats from Salaam Remi, J. Myers, Stargate, DJ Toomp, and stic.man, among others. The record closes fittingly with musings on the possibility of a "Black President." Built around a familiar Tupac vocal sample that proclaims "We ain't ready to have a black president," the Green Lantern-produced cut counters itself with melodic vocals that calmly coo, "Yes we can." Like the rest of the album, "Black President" is fervent but conflicted, far from a clear-cut statement, but rife with pointed commentary and vivid imagery.
Never averse to getting the pants of others in a twist, Nas said in 2006 that what developed into this self-titled album was, at the time, titled the six-letter version of the "N" word. The following year, the NAACP buried the five-letter version (along with each variant, as the obituary states) at a Detroit ceremony, replete with a horse-drawn carriage, a casket, and the presence of "hip-hop legend Curtis Blow" [sic], according to the NAACP press release. Whether it is believed that the word was truly placed six feet deep or merely swept beneath the proverbial rug, the word, regardless of its last syllable or the context in which it is placed, still carries a lot of power. Millions of Def Jam marketing dollars could not have ensured as bright a spotlight on their artist. All he had to do was mRolling Stone (p.96) - Ranked #43 in Rolling Stone's 50 Best Albums Of 2008 -- "[A] battle-rhyme tour de force..."
XXL (Magazine) - "Nas delivers a 360-degree thesis on the African experience in America....With his unbridled originality and powerful prose, Nas delivers the perfect album for today's imperfect world."