Nas—'Nasir' Review

The last time Nas came through with a solo venture, he was declaring that Life Is Good. On his 2012 release, he reconciled with a nasty divorce, fatherhood, and poured “Cherry Wine” with the legendary Amy Winehouse. Just like the wine in his cup, this was a Nas that had aged and outgrown the topics of his youth.

It was a precursor of sorts; a prelude to the mature disposition of Jay-Z’s 4:44. Time and time again, these two former rivals continue to raise the bar for hip-hop. Artists and listeners—old and new—should take notes: as you move forward, drop wise gems for those that come after you.

Along with his personal trials, Jay-Z sprinkled gems of wealth building and economic empowerment on his album. Similarly, Nas is also business-minded. He's all for black empowerment, but he's also a witty journalist with his ear and eyes on the streets.

The Kanye West assisted Nasir finds a fiery Nas searing off ears as he reflects on his life and offers an unrepentant perspective on America’s ills. It’s sharp, cohesive, and brilliant. No doubt Nas fans will reserve a special place for this album in Nas’s discography.

The album’s cover is provocative alone. It depicts how black children are criminalized early on, and are forced to abandon their innocence. It’s a visual that communicates pain and shows the lack of humanity extended to the marginalized. Find this unsettling?

That’s the point. Don’t be blind to wickedness.

This album is “Not For Radio,” as the opening track exclaims. 070 Shake and Diddy compliment Nas’s rhymes in between verses; but there’s nothing like the knowledge being dropped. Fact check every rhyme to your heart’s content… just know that Big Brother is watching.

Nas’s revolution continues on “Cops Shot The Kid” where his pro-black attitude denounces racist police departments. Ye’s production and Nas’s lyrics are a seamless marriage. “Cops Shot The Kid” is repeated almost endlessly in the background until it numbs the ears; it’s as if they’re emphasizing America’s lack of compassion for such tragedies.

Elsewhere, Nas is devours everything in sight on “White Label.” This instrumental is one of Ye’s best on the album, as he loops an Iranian sample, backed by powerful horns. Nas is a glutton for the finest restaurants, blunts, and beats that he murders. Along the way, he lets naysayers know that he doesn’t “owe” them. Geez, don’t ask him for a handout.

There’s nothing like “Everything” though. The Dream and Kanye West serenade us (mostly The Dream) with their vocals. It strikes a similar tone as “If I Ruled The World;” except Nas isn’t waiting on reparations, he’s taking it. Nas’s best bars from this album are arguably on this track: “I can sell Alaska to Russia, no pressure…”

Who else can brag like this so effortlessly?

After splitting heads open for six tracks, Nas concludes this project with “Simple Things.” Instead of a righteous anger this time, he reminds us that he drops “lines that prestigious schools read to their students.” He’s all about his craft and “longevity,” and hip-hop is all the better for it.

Essential Tracks

• “White Label”
• “Everything” ft. The Dream, Kanye West
• “Adam and Eve” ft. The Dream
• “Cops Shot The Kid” ft. Kanye West

The Verdict

Overall, this is another win for Kanye West and Good Music; and a triumph for Nas. Considering his impact though, how could one expect anything less than greatness from Nas? Is it better than Illmatic? It Was Written? Stillmatic? God’s Son? Life is Good? The Lost Tapes?! Only time will tell where this ranks in his discography. For now, let’s enjoy one of 2018's best releases.

Nasir is an A-.