Nasir Jones is certainly one of the best this genre has ever had to offer. His catalog, even with the rough spots, is pretty impeccable. It’s frustrating to some that Nas doesn’t return to his Illmatic routes, but to this reviewer, it is the more mature and smart approach. No one loves a good throwback more than your boy Deez; however, did we not get a pretty close throwback when we heard Stillmatic? Even so, I wasn’t even the hugest fan of that album, but I understand it was Nas saying that he is ‘still’ auto’matic’ally ‘ill’ and will always carry that NY State of Mind with him. With this album, you get the Nas you’ve come to love and respect in hip hop, but along with that, you get plenty of his flaws. While it already had plenty of steam behind it, Untitled had most of its talk surrounding the album name, but as Nas says on “Hero”: So Untitled it is/I never changed nothing/ but the people remember this. The album is passionate, but it is possibly too passionate and emotionally driven, which may alienate some of the listeners and the unique beat selection (but typical unsteady ear of Nasir’s) may throw the traditional Nas fans for a curve ball they can’t catch.
This album may be one of the most pro-black albums since Dead Prez’s Revolutionary But Gangsta and it is extremely politically charged and heavily aimed at Corporate America. The unique lyrical messages Nas always delivers are present, but it is clear to see that the original title of this album would’ve served a purpose. Untitled seems to have a theme of the despair, struggle, frustration and eventual overlooked up rise of the Black race. Simply from the song titles, one can see the angle he is approaching from, and it seems to be a blatant slap in the face, as opposed to the usual stealth Nasty Nas.
The good is what is expected. Lyrically, you can’t expect anything less than great from Nas, even on his worst day he can still pull out an unreal joint (Re: Nastradamus‘ “Nas is Like” and “Shoot em Up”.) “Sly Fox” takes an uppercut at probably the second most corrupt television station in North America in a blunt and fuming fashion. The topic of propaganda is tackled with ease by Nas over the rather dope Stic. Man beat. “Fried Chicken” uses the stereotypical meal of choice for black people as a metaphor to explain the bigger picture of greed and symbolic obesity of a race. Busta contributes a verse, but was it really needed? “Project Roach” already has many fans reading between the lines of this very short, but extremely in depth song that has Nas flowing beautifully over a soft piano loop.
“The Slave and The Master” was one of the first songs heard and still remains a great track. It is possibly the most complete track due to the mood fitting beat and ridiculous lyrical viscosity of every sentence Nas spits. For the hip hop nerd or academic nerd, like myself, there is so much content on this album to sink your teeth into and analyze, but it more or less has Nas being very strong on his opinion regarding a very delicate topics. With that said, it leads to a big problem of this album.
The album seems to alienate a large amount of the listeners due to its content. The original title is an obvious taboo phrase/word for most people and there is plenty of content on the album that is hard to relate to unless you are of the black race. By no means am I attempting to be racist (I live in the most multicultural city in the world, so nice try) but Nas seems to come on strong at times to a point where there would be no chance in hell one should recite particular lines. “Testify” sticks out as he attacks the white race with some pretty bold statements, however, this IS Nas, an artist who always had so much more to the line than meets the ear. Take a song like that (as well as most of this album) with a grain of salt. But, this album seems heavily directed to a particular group of people as opposed to the general universal sound that Nas displays.
From a strictly hip hop point of view, this album has plenty of flaws. The album has some pretty terrible production. One of my friends hit the spot when he said it was too “electronic”. “Make The World Go Round” features The Game, reprising yet another useless feature, and has a Cool & Dre synth-filled beat that sounds really poppy. “America” has some extremely powerful lines speaking on the faults and fails of the USA but once again has added synths that hurt the vibe and flow of the song. The single, “Hero” is another prime example of the electric sound of the album. The production was at times unbearable and once again leads me to believe that Nas has the most inconsistent taste in beats…How do you go from Pete Rock, Large Pro, and DJ Premier to Stargate and DJ Green Lantern? With that said, the album is about 2-3 tracks too long. “Queens Get The Money” has a Jay Electronica beat (who got the co-sign from Nas) that seems to have just been thrown in on an acapella and not fit the theme or even the vocals for that matter. “Ya’ll My Niggas” and “Make The World Go Round” also contribute to the faulty flow and while the former can be a stamp of reassurance for EVERY listener, by that point in the album, it proved to be a little too late.
Nas is a beast, this is a fact. However, he has more than his fair share of flaws. This album exemplifies plenty of them: overambitious, too experimental, and his ear for a good and fitting beat. By all means, I urge you to buy this album to support great hip hop. Most hip hop fans are Nas fans; just don’t expect another Illmatic or It Was Written for that matter.
Overall Rating: 68/100
Standout Tracks:
You Can’t Stop Us Now
N.I.G.G.E.R. (The Slave & The Master)
Sly Fox
Fried Chicken
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25 Comments
I’m gonna have to go cop this, what I have heard so far is really nice! I have to say that I have been a fan of Nas since “Illmatic”, and I even got enjoyment out of his less-acclaimed work. The lyrics on these snippets are some of the most polished and in-depth I have heard from Nasty. His wordplay rides the beat beautifully… It’s unfortunate to hear that his ear has not grown as maturely.
I think part of the mystique of “Illmatic” is how complete the package was for a budding artist: the flawless production, the hungry journalist flipping his best renditions with passion, the overall completeness and fluidity it had. We have seen that it has become one of the most influential albums to come out since Ra completely flipped the script for the game in “Paid In Full”. Following up an album so perfect must have been a daunting task for Mr. Jones, but I think he did a commendable job with It Was Written.
History has proven for Esco that his career has moved in waves IMO, and I think this may be another crest for him - I will know for sure when I listen to the album in its entirety.
I do have a question that I hope someone can answer though. “You Can’t Stop Us Now” sounds almost identical to an MF Doom and Mr. Fantastik release from 2003 called “Anti-Matter” from the album “Take Me To Your Leader”. The beat uses the same sample, and Nas took the same first line of their chorus. Was this blatant plagiarism or was there an agreement to allow him to use this material?
Thanks for the response G.C
Yeah, even though the score is low, this is certainly a review that encourages you to cop the album.
As for your sample question, the sample is flipped up a lot. Rza flipped it, and Might Mos used it on a track called “Undeniable”. Its a very popular sample. The song is by The Spinners called “Message from a Black Man”
how appropriate
im gonna pick up a copy when i get paid at the end of month. one thing u can neva argue with is that nas lyricsm, his flow is 2nd to none. his beats mmmmmm neva have consistently matched his verbals. its a shame. but anyway back to the album, listened to the snippets and i like it. its gonna sound great on my stereo!! ….and im feelin the vibe of the lyrics.
Deez - Thanks for the reply! I encourage you to listen to the MF Doom version, they sung the chorus the same way is singer did and everything. I’m sure the song has been sampled, but this is literally like tracing paper.
well, thats because thats how the original is sang…
http://www.youtube.com/watch?v=UqOGhcetMYo&feature=related
Gotcha, and noted Deez. Thanks again!
lol
I hope that helps G.C.
I see what you are saying though, the melodies are identical, but thats because thats how the original was done.
Interesting how the Spinners cut was never used, but the Temptations one always was
Solid Review Deez
I’m feeling the new Nas joint. I downloaded it and was at Best Buy coppin it the day it was released. As I told my esteem colleague (Deez what up) I’m over that Nas is probably not going to have Primo, Pete Rock, Large Professor, or Q-Tip/Havoc for that matter produce any tracks for him (or do the bulk of the production on his albums). I do not really understand why he never went back to Pete Rock for tracks after “Illmatic”; that’s a mystery to me.
I buy a Nas album for the lyrics. If I want to hear top notch production I just go back to “Illmatic” or “It Was Written” (I’m a big fan of this album…really think people hated/slept on this one unjustly…”I Gave You Power” and “Live Nigga Rap” defecates on just about anything you can think of for that year).
But, growing up listening to Nas IMO I don’t think he cares about beats….I think his ego is such that he feels he can spit over anything and that ish be hot. I think he has that much confidence in his lyrics (and rightfully so). I don’t really want another “Illmatic” truthfully; I think artist get trapped in trying to recreate something because that is what people want. As a fan that owns every album he has made I’m satisfied with the direction his career has gone and the catalog of music that he has (released and unreleased). Trying to recreate that “2nd Childhood” is difficult.
As we get older we should be progressing forward and not looking back and I think that is what he is doing…moving forward. IMO. I of course want that Nasty Nas, but as a man in his early 30’s (me) I can understand the need/want to move forward. I want my favorite artist to progress not regress…..in this case particularity Nas.
Now for the sample. Did he use the Spinners joint on the Whatanuts (remake). The cd booklet has the Whatanuts (as does RZA)? Someone enlighten me please.
As always good review.
Request for review.
ATCQ- “Beats, Rhymes and Life”
Canibus- “Can-I-Bus”
I think both of these albums are slept on. The ATCQ joint just knocks from beginning to end. I forgot how much I like this joint. I thought Q-Tip’s rhymes were on point (why doesn’t anyone ever include him in the “Best Rapper Alive” debate? I think critics (if I remember correctly) didn’t think this was the “typical” Tribe joint. I don’t think people like that Tip’s little cousin was featured heavy on this joint. Also if I remember correctly the beats were blasted (how ironic that Jay Dee did a lot of production with them and critics were critical of the production, but years later he was hailed as the next coming).
“Can-I-bus” if this came out now would be labeled as a “breath of fresh air”. The production wasn’t great, but it doesn’t sound any different than what a lot of (insert favorite producer) is doing now. Of course the lyrics were on point.
Well enough rambling…I think I’ve gone past my word count limit.
Great Post Thomas, I’m always happy to respond
I understand Nas’ ability to mature and want to mature, but I mean, you can do that while staying true to your roots. For example, “2nd Childhood” is easily a sequel or updated version of “Memory Lane” however, it doesn’t sound dated or silly.
To choose producers like Green Lantern over someone even like Remi, who didn’t get enough beats on this, is questionable. I think its also silly to say that Nas doesn’t care about beats, because every artist does. Its hard not to be inspired by a beat.
I’m not asking him to ‘recreate’ anything, but I think an album has to be based on an entire package ordeal.. and this is below 70 simply because its missing plenty of the package
—————
I probably won’t review Beats Rhymes right now because I just did a review for Midnight… nice call on Can I Bus though..
Thomas, I totally agree with you on moving forward. I think that lyrically he has done so. Beatwise, I think he could go with some fresher faces like just blaze, 9th, etcm and really create that feel like “This has to be heard by every person alive on the planet…”. I totally see his ego making him feel like he can spit on anything and make it fire, and I think that the remix contest has shown that there is one undisputed delivery king that can take that honor - Biggie. Holy ish, a Nas album produced fully by 9th..I’d have to change my shorts multiple times! Lol
On the other topic, I think “Rip the Jacker” was totally slept on as well. “Poet Laureate” was one of the illest rhymes I have heard from Bis, and even though his lyrical content was directed at the college educated, his delivery and wordplay was a treat for any listener, even if they didn’t know how “the maximum field rate application of runaway glaciation surrounding the ocean basin affects the population circulation on a continuous basis but that’s just the basics!!” (Don’t ask me how I memorized that, but I can explain it if you need me to LOL!)
a nice call on Rip The Jacker
that can certainly be a candidate
G.C. that was a good call on Rip The Jacker. I like that CD.
Sean I think we are going to agree to disagree on the topic of “Nas not caring about beats.” For example, on “Queens Get The Money” as we all know the lyrics were on point, but why that track? Its terrible…I think its an ego thing. I think that is what makes an artist, athlete, a good CEO, etc who they are because they have that ego to think they can accomplish something with nothing….and that track is nothing. IMO he can’t care too much about the beats if he thought that was hot. For that particular track I didn’t pay attention to the beat until I read your review today….the lyrics are that strong to me.
As far as picking Green Lantern over Remi….really don’t have an answer for that one. I’m still puzzled on why no Pete Rock after Illmatic. Nas just seems like a dude if you can get into his circle and got something “ok” he’ll give you a chance?
Maybe the problem is he is executive producing his own albums (and probably doing a huge part of the A&R of the album as well). Maybe he needs to go back to Steve Stoute and Trackmasters?
I still need the question answered about the “Message From a Black Man.
Keep Beats, Rhymes and Life on the backburner for down the line.
lol Queens Gets The Money is lyrically great, but fashionably terrible. The Jay E beat doesn’t fit at all
I’m fine with no Pete Rock. Beat has to handle his own shit first because that NY Finest album he dropped was kinda do do…
If the cd booklet says it, then yes… he probably used that
On the sample….from my brief experience compiling sample sets the CD booklet isn’t always correct (word to Ghostface…his ish is always jacked up). The RZA joint has the writers listed and says performed by the Whatanuts…the Nas joint just has the writers (same as RZA…Barrett Strong and Norman Whitfield). I know Norman Whitfield wrote for a lot of groups. But…not a biggie.
I agree the NY Finest was “do do”. My ear isn’t that good, but I think he totally jacked the track for “Watch Yo Nuggets” from Redman’s first joint…. for his “914″ with The Lox. The only difference is the ESG sample stands out more (in “914″) than in the Redman joint.
Your review is a little off base. I can probably give you the production. Everything else. No.
This album is dope. The production was fine until I read about people criticizing it. For the most part, the album is one of a message and a point. Yeah, some may feel left out because it is hard to identify with the content but it is also an insight into what the black race has to endure. This album is not made for everybody.
For years as hip-hop has turned into flat out garbage with no direction, it is nice to see one mainstream artist stay true to form. “Hip-Hop is Dead” was another album people didn’t get but that’s because they are blindsided by the trash that continually gets the publicity. I’m thankful and I believe that Nas is just the beginning. All of these great MC’s that deliver quality material may just finally get their chance to shine because people will look for meaning to the music they listen to.
I can listen to the album over and over again. It’s just that great. And if the production is lacking, so be it. I, personally, don’t think it’s that bad and the lyrics are fire enough to carry the album on it’s own because they are so powerful. You actually get lost in the lyrics. Only Nas can put out and album like this. Jay-Z or any other prominent mainstream MC would put their career on the line like this. This album has been a long time coming. In years to come, it will be a classic that people are looking for.
alright, this I really gotta sink my teeth into
Kinge, I don’t get your first point first of all, how was the production ‘fine’ until people started criticizing it. Are you claiming that I jumped on the bandwagon of bashing the production? I don’t think it takes a genius to realize that Nasir’s ear for beat is ridiculously inconsistent… but then again, i could be misinterpreting what you are saying
The fact that this album isn’t for everybody already takes away points, especially if Nas is everywhere at majority white race audience filled shows telling people to buy his album. When Orwell wrote Animal Farm you have aspects that 14-15 year olds can look at, then themes that 30-40 year olds can look at, something like that makes something universal. This album is far from being universal.
I think you are downplaying the ‘people’ too much. Nas himself seemed lost in his “Hip Hop is Dead” direction when just a few months ago he was commented simply by saying ” no no, its fine, hip hop is alive”.. lol nice.. can anyone say publicity stunt?
And as an MC you have a responsibility that goes beyond Rhyming and Writing. As an MC you are getting paid big bucks in Nas’ case to provide for the people. That includes having an ear for beats. He exec produced the album too, so, he was heavily involved. Its not fair to say that he ‘isn’t to blame’ or anything for the lack of production on this. He too has a responsibility to attend to those listener’s needs
I with thomas I buy not only Nas albums but all albums to hear the lyrical content the artist is bringing to the table. I love this album it’s a very thought provoking album and Nas always bring the lyrical content which is needed in these times in hip hop. I mean sometimes production and lyrics go hand in hand i.e. “The Blueprint” but with Nas the beats always come secondary to the lyrics. I mean if you wanna hear bangin’ beats go to the club and listen to the DJ play “A Millie” 500 times throughout the night lol. Untitled is ill!
sean, what did u think of hip hop is dead album, i loved it, i personally thought it was quite a strong album, fav tracks being hip hop is dead, black republicans, not going back, still draming and play on playa. jus wondered what ur thoughts were?
How do most approach a Gangstarr album, a Snoop album, and other artist who don’t have that great lyrical presence that Nas does?
Production is certainly important, and as the manager of one, I’d like to think it is still relevant today. If the production was better on Soul On Ice, that album could’ve easily been a classic, but that album was known notoriously for having garbage production.
Keith, I thought it was a mediocre album at best. It was an interesting thought at first, the idea of hip hop being dead, then I found that there wasn’t a strong binding theme with the album. I certainly think Play on Playa is the worst song on the album, but to each’s own. I do believe Black Republicans may be one of L.E.S’ best beats ever and Kanye came nice with the verse and beat on Still Dreaming. I’m still laughing at Chris Webber being on the album
I don’t understand this talk about Nas alienating white people. He is simply being pro-black, and this is hip hop. Hip hop is supposed to be about social justice which is what the entire album is about.
Sean i appreciate ur thoughts, even tho we differ in opinion. thats whats makes the world go around and the great thing about hip hop is theres something 4 everyone!
I’ve beat this dead horse to death….last submission….Sean I think your right to think that production is still relevant in today’s music because it is….or we all would just be listening to acapella’s of the newest releases….but for me at least….when it comes to Nas and a few others….the lyrics come first for me….if the back drop is “ok”…like most of the tracks on the new joint I’m “ok” as long as I can hear what he is saying.
When I cop a new Jay-Z album I’m expecting bangers (I’m checking for his lyrics as well, but Jay’s ear for beats is a little better than Nas’s. It’s just Nas and what I’ve grown to expect from him as a fan that first heard him on the Main Source joint in ‘92.
Anyway good work as usual. Haven’t seen this many comments since Kev dropped that Malib/Doom set…good thing.
I guess the thing is this, with this album, the production is irrelevant. I think, honestly, that the production meshes very well with the album. The album itself is so strong, that the production just fits. It’s hard to explain. Yeah, yeah, yeah, it may not be Jay or Wayne type production but then I truly believe that you would lose the content of what this album is about. It’s an album about an awakening.
My first point is that as soon as people start mentioning production, it is then a problem. I’m not saying that you are jumping on the bandwagon. Actually, this was the first site that I saw that openly criticized the production. I decided to listen to it again to see if there is flaws in the production but while I found somethings to possibly be lacking production wise, I also realized that it wasn’t my thoughts on the production. Then I wondered why? Well, the reason is that the lyrics drive the production so well, it creates a perfect synergy because the message comes across.
Look, we are in a society of production. That is why the musical content is dwindling. I know that there are fresh cats out there producing good stuff. I just think that as long as we focus on production, production, production, we will start to lose some quality. A producer cannot save everybody. For example, Kanye couldn’t put Rhymefest on the map.
Anyway, so the knock on Nas and his career will be defined by his ability to not satisfy peoples new found panache for production. Come on.
I don’t think you can criticize a record because it is targeted for a specific audience. All music in some form or fashion has an intended audience. Great albums are defined by its body of work. If the body of work is intended for a specific audience and can branch out and expand it’s arms to reach more than it’s intention, then that further adds to its greatness. The point is that Nas feels that he has a message that he wants to speak to the black race. He’s black. His audience is black. What’s the problem? Is the problem because white, Hispanic, Japanese, or a multitude of races listen to the music? Yet, while hip-hop has evolved to be multicultural, it’s foundation was in the black community. Its great that the message can reach beyond the black race. It will help the world and society.
The Dark Knight is hailed as one of the greatest movies of all time. People are entranced by this movie. If you ask me, it’s just another Batman movie. Was it good? Yes? Was I blown away? No. It was semi predictable and while Ledger’s performance was great, would it be as great if he was alive. Who knows. It would have had it’s place in history. However, while as good as this movie is, it isn’t a movie for children. Children cannot go see a superhero movie. I don’t recall people stating that it was a problem that it isn’t universally entertaining for all ages. It’s still a good movie for the audience it was intended to be and that is what Untitled is.
Nas’s comment a few months ago in regards to hip-hop is fine. Remember, Nas’s album was made for how he felt at that time. Because of him, he inconsequentially revitalized the artform. No publicity stunt. Just an expression of how felt at a time he was creating his work.
I’m not one for record sales but the chart does speak for itself. If the beats were absolute garbage, I would agree with you. They’re not. It fits the theme and flow of the album. And no one really seems to care about the production. Sometimes, you have to look at the totality of the project and not the bits and pieces.
About the sample…Norman Whitfield and Barret Strong originally wrote this song for The Temptations, who recorded it for their 1969 album “Puzzle People”. The Spinners and Whatnuts versions are covers. RZA’s track samples the Whatnuts version, while I’m fairly certain the tack Salaam Remi did for Nas is fully replayed (and therefore interpolated, not sampled).