I'm liking a few tracks such as you can't kill me with the headhunters samples. Overall it's alright but definitly has some holes in it...the who killed it track is just stupid, if your going to do a character at least do a good one. He talks about gunning down dj's that are killing hiphop in the track before and then follows it up with the worst track he's ever done...
hopefully this track won't make it on the final release...
Three songs in and I'm feeling the album. Nas always says some shit I agree with. We'll see. I can't tell by my first impression. My attention span is short. The determining factor is how long I leave it in my car's mp3 player.
I have always thought Nas was one of the most talented MCs of the final days, regardless of what he actually has recorded; i'm speaking about certain patterns and verses that reveal a deeply talented rapper, but like most MC's, and I say this from years of dealing with good and bad rappers, usually the better the mc the worse they are at picking beats. I don't know if it's that they are solely focused on their rhymes or if they don't want the beats to overshadow their flow, but usually it takes an objective person choosing the beats. I don't think that person existed for this album. I think that person was Serch or someone else around the former times and those days are dead and gone. I think Nas picked these beats. For Shame! They must have been cheap.
Nevertheless, I think most of the criticism listed in this thread is unfair. Regardless of the beats being ass, I appreciate the effort Nas is taking to remind everyone that they have seriously strayed from what made Rap great. Where Are They Now is a dope track IMO. But the beats, from the outset, are bullshit. They don't swing right, it sounds like they were programmed on a laptop. And in terms of criticism from a studio standpoint there are certain things that just bug the shit out of me. For instance: The title track is mad fast. It's obvious Nas can't get the verses off without punching in at that tempo, but nevertheless if you can't hit the punches clean then slow that shit down, use more tracks or do something! When NAs starts rapping on that track, one bar in there is a punch in that makes me wince its so glaring. The irony, IMO, is that you can't talk about how great rap used to be (when rappers went for broke on one track with no punches, protools, etc.) when you can't nail down more than one bar in sequence. This is just one example of a bunch of sloppy recording on the record, the "old man singing" with distortion to make it sound like an old record? gtfoohwtbs. You're not fooling anyone. There is no old record where a guy is crying about hip hop being dead so why try and simulate one. ghey.
The James Cagney bit was annoying but yall are acting like this is the first time it's ever been done. You lot must not be familiar with Mr. Spicer's Super Rhymes or his efforts as Count Coolout (where he raps for a few minutes as Barnaby Bones in a very similar voice to this song) or Slick Rick, or a host of other MC's that have made classic tracks (see Egotrip list) in alter-ego/different voices.
That being said, this track does suck
All in all, I probably will take the time to get into this if i can ignore the beats because I'm sure there will be some Nas gems buried in here, but, IMO this album reaks of not having an executive producer.
Nas, don't stop. Just let me help you pick out your beats b/w stop pocketing the production budget goddamit.
I have always thought Nas was one of the most talented MCs of the final days, regardless of what he actually has recorded; i'm speaking about certain patterns and verses that reveal a deeply talented rapper, but like most MC's, and I say this from years of dealing with good and bad rappers, usually the better the mc the worse they are at picking beats. I don't know if it's that they are solely focused on their rhymes or if they don't want the beats to overshadow their flow, but usually it takes an objective person choosing the beats. I don't think that person existed for this album. I think that person was Serch or someone else around the former times and those days are dead and gone. I think Nas picked these beats. For Shame! They must have been cheap.
Nevertheless, I think most of the criticism listed in this thread is unfair. Regardless of the beats being ass, I appreciate the effort Nas is taking to remind everyone that they have seriously strayed from what made Rap great. Where Are They Now is a dope track IMO. But the beats, from the outset, are bullshit. They don't swing right, it sounds like they were programmed on a laptop. And in terms of criticism from a studio standpoint there are certain things that just bug the shit out of me. For instance: The title track is mad fast. It's obvious Nas can't get the verses off without punching in at that tempo, but nevertheless if you can't hit the punches clean then slow that shit down, use more tracks or do something! When NAs starts rapping on that track, one bar in there is a punch in that makes me wince its so glaring. The irony, IMO, is that you can't talk about how great rap used to be (when rappers went for broke on one track with no punches, protools, etc.) when you can't nail down more than one bar in sequence. This is just one example of a bunch of sloppy recording on the record, the "old man singing" with distortion to make it sound like an old record? gtfoohwtbs. You're not fooling anyone. There is no old record where a guy is crying about hip hop being dead so why try and simulate one. ghey.
The James Cagney bit was annoying but yall are acting like this is the first time it's ever been done. You lot must not be familiar with Mr. Spicer's Super Rhymes or his efforts as Count Coolout (where he raps for a few minutes as Barnaby Bones in a very similar voice to this song) or Slick Rick, or a host of other MC's that have made classic tracks (see Egotrip list) in alter-ego/different voices.
That being said, this track does suck
All in all, I probably will take the time to get into this if i can ignore the beats because I'm sure there will be some Nas gems buried in here, but, IMO this album reaks of not having an executive producer.
Nas, don't stop. Just let me help you pick out your beats b/w stop pocketing the production budget goddamit.
Very well put.
I think what's most surprising about that Cagney song isn't that he used a different voice/character, it's that:
A. Someone like Jimmy Spicer or Slick Rick could get away with something like that where as Nas' whole image is more of a serious, intellectual dude. So to me that just seemed way out of place coming from him.
B. It's just not good. Flow, delivery, content etc.
Aside from that, I will try to give this record the whip test and see if it grows on me. I'm a Nas fan and think what he's saying is important so I don't want to give up on the record after a quick listen. But man those beats! It's hard for me to get into a record if it doesn't have the whole package (ayo?).
The James Cagney bit was annoying but yall are acting like this is the first time it's ever been done. You lot must not be familiar with Mr. Spicer's Super Rhymes or his efforts as Count Coolout (where he raps for a few minutes as Barnaby Bones in a very similar voice to this song) or Slick Rick, or a host of other MC's that have made classic tracks (see Egotrip list) in alter-ego/different voices.
That being said, this track does suck
Yo Thes-
Just so you know, Jimmy Spicer and Count Coolout are two different dudes. I think they were down with each other maybe. I gotta say, though, homey... that Barnaby Bones Rappin' Duke schitt is ok for an old school laugh and all that but trust me, it is not THAT REAL SCHITT. I really hope Nas wasn't thinking that he was reppin' "real hip hop" by paying tribute to some Rappin Duke style schitt... seriously Nas takes chances, though... ya gotta love dude's fearlessness when it comes to trying something different. I guess. The Cagney schitt just wasn't a good idea and somebody shoulda vetoed that schitt before it made the mastering stage(at the end of the day I STILL blame it all on Jay-Z). Dude sound like the Frog from Courageous Cat.
Agreed on all counts Day. And whats so funny to me is, not only is Nas a usually serious dude, but HE takes Himself mad serious (All I need is one mic, etc.) and this shit is mad whimsical. Especially to be on a hip hop is dead record.
The more I listen to it the more I am shocked at the beat selection. Any number of dudes on this board could have made this a much better album. It is sad that alot of talented cats go by the wayside and big name dudes utilize this type of garbage.
The James Cagney bit was annoying but yall are acting like this is the first time it's ever been done. You lot must not be familiar with Mr. Spicer's Super Rhymes or his efforts as Count Coolout (where he raps for a few minutes as Barnaby Bones in a very similar voice to this song) or Slick Rick, or a host of other MC's that have made classic tracks (see Egotrip list) in alter-ego/different voices.
That being said, this track does suck
Yo Thes-
Just so you know, Jimmy Spicer and Count Coolout are two different dudes. I think they were down with each other maybe. I gotta say, though, homey... that Barnaby Bones Rappin' Duke schitt is ok for an old school laugh and all that but trust me, it is not THAT REAL SCHITT. I really hope Nas wasn't thinking that he was reppin' "real hip hop" by paying tribute to some Rappin Duke style schitt... seriously Nas takes chances, though... ya gotta love dude's fearlessness when it comes to trying something different. I guess. The Cagney schitt just wasn't a good idea and somebody shoulda vetoed that schitt before it made the mastering stage(at the end of the day I STILL blame it all on Jay-Z). Dude sound like the Frog from Courageous Cat.
Really? I stand corrected. I always assumed that they were the same dude, they sound EXACTLY the same and did the same type of shit. I don't know I kind of like Barnaby Bones I gotta check the label credits now. Good lookin though..
EDIT:
Ahh yes, I have been mistaken:
Count Coolout came out of New York.. His real name is James Minor
His style was heavily influenced by Jimmy Spicer and began his career as a background singer for him.
His first record came out in 1980 on Boss Records and was produced by Billy Nichols & the Count.
He recorded on WMOT records. "Rhythm Rap Rock" and "Here To Stay" were his two big records
What up peoples. Due to the amount of 12 year aged Jameson I've drank tonight, my sample spotting superpowers and memory are a little fuzzy! What is the sample for "Still Dreamin'" I need to know the original folls!!!!!!!!!!!!!!
I know, I know....................
But fuck that for tonight! I need to know this.
sounds like a marvin gaye thing from 'i want you' but i honestly forget.. mainly the synth at the beginning reminded me of that
What up peoples. Due to the amount of 12 year aged Jameson I've drank tonight, my sample spotting superpowers and memory are a little fuzzy! What is the sample for "Still Dreamin'" I need to know the original folls!!!!!!!!!!!!!!
I know, I know....................
But fuck that for tonight! I need to know this.
sounds like a marvin gaye thing from 'i want you' but i honestly forget.. mainly the synth at the beginning reminded me of that
Yeah, "Play on Playa" is the inst. version of "After the Dance" from I Want You.
Nas, the artist SoulStrut loves to hatt. that needs to hang it up after making a few good songs spread over a handful of awful albums.
Serioulsy, has he made a single song since Illmatic that anyone here would call essential? People here always make a point about paring down the collection. If all you had was 500-1000 records, would there be one single post Ilmmatic Nas 12" or lp in that colection?
Comments
hopefully this track won't make it on the final release...
Nas, the artist SoulStrut loves to hatt.
Sorry. I get mine from a privite philatelic trading ring.
gone.
somebody reup plaaaeeeese???
http://www.rappersiknow.com/?p=49
Nevertheless, I think most of the criticism listed in this thread is unfair. Regardless of the beats being ass, I appreciate the effort Nas is taking to remind everyone that they have seriously strayed from what made Rap great. Where Are They Now is a dope track IMO. But the beats, from the outset, are bullshit. They don't swing right, it sounds like they were programmed on a laptop. And in terms of criticism from a studio standpoint there are certain things that just bug the shit out of me. For instance: The title track is mad fast. It's obvious Nas can't get the verses off without punching in at that tempo, but nevertheless if you can't hit the punches clean then slow that shit down, use more tracks or do something! When NAs starts rapping on that track, one bar in there is a punch in that makes me wince its so glaring. The irony, IMO, is that you can't talk about how great rap used to be (when rappers went for broke on one track with no punches, protools, etc.) when you can't nail down more than one bar in sequence. This is just one example of a bunch of sloppy recording on the record, the "old man singing" with distortion to make it sound like an old record? gtfoohwtbs. You're not fooling anyone. There is no old record where a guy is crying about hip hop being dead so why try and simulate one. ghey.
The James Cagney bit was annoying but yall are acting like this is the first time it's ever been done. You lot must not be familiar with Mr. Spicer's Super Rhymes or his efforts as Count Coolout (where he raps for a few minutes as Barnaby Bones in a very similar voice to this song) or Slick Rick, or a host of other MC's that have made classic tracks (see Egotrip list) in alter-ego/different voices.
That being said, this track does suck
All in all, I probably will take the time to get into this if i can ignore the beats because I'm sure there will be some Nas gems buried in here, but, IMO this album reaks of not having an executive producer.
Nas, don't stop. Just let me help you pick out your beats b/w stop pocketing the production budget goddamit.
Very well put.
I think what's most surprising about that Cagney song isn't that he used a different voice/character, it's that:
A. Someone like Jimmy Spicer or Slick Rick could get away with something like that where as Nas' whole image is more of a serious, intellectual dude. So to me that just seemed way out of place coming from him.
B. It's just not good. Flow, delivery, content etc.
Aside from that, I will try to give this record the whip test and see if it grows on me. I'm a Nas fan and think what he's saying is important so I don't want to give up on the record after a quick listen. But man those beats! It's hard for me to get into a record if it doesn't have the whole package (ayo?).
wtf? come on now.
re-up plaese
Just kidding that's just a quote from "You cant kill me"
Yo Thes-
Just so you know, Jimmy Spicer and Count Coolout are two different dudes. I think they were down with each other maybe. I gotta say, though, homey... that Barnaby Bones Rappin' Duke schitt is ok for an old school laugh and all that but trust me, it is not THAT REAL SCHITT.
Nas takes chances, though... ya gotta love dude's fearlessness when it comes to trying something different. I guess. The Cagney schitt just wasn't a good idea and somebody shoulda vetoed that schitt before it made the mastering stage(at the end of the day I STILL blame it all on Jay-Z). Dude sound like the Frog from Courageous Cat.
The more I listen to it the more I am shocked at the beat selection. Any number of dudes on this board could have made this a much better album. It is sad that alot of talented cats go by the wayside and big name dudes utilize this type of garbage.
Did you love "Remember the Time" a/k/a "The Chelsea Song" for this reason?
Really? I stand corrected. I always assumed that they were the same dude, they sound EXACTLY the same and did the same type of shit. I don't know I kind of like Barnaby Bones
EDIT:
Ahh yes, I have been mistaken:
Count Coolout came out of New York.. His real name is James Minor
His style was heavily influenced by Jimmy Spicer and began his career as a background singer for him.
His first record came out in 1980 on Boss Records and was produced by Billy Nichols & the Count.
He recorded on WMOT records. "Rhythm Rap Rock" and "Here To Stay" were his two big records
"Touch The Rock" was released in 1980.
________________________________________
Background singer though? mad
sounds like a marvin gaye thing from 'i want you' but i honestly forget.. mainly the synth at the beginning reminded me of that
Yeah, "Play on Playa" is the inst. version of "After the Dance" from I Want You.
Sorry Chan I can't help you with the Kanye joint!
http://rappersiknow.com/media/nas/Hope%20(Dirty).mp3
http://www.rappersiknow.com/?p=49
Serioulsy, has he made a single song since Illmatic that anyone here would call essential? People here always make a point about paring down the collection. If all you had was 500-1000 records, would there be one single post Ilmmatic Nas 12" or lp in that colection?
"The Message," "Doo Rags," "Verbal Intercourse" (if that counts).