Nas - "Hip Hop Is Dead" [Album Review]

So I know this album dropped over three years ago, and people already know the deal, but I figured I'd post this one because 1) "Hip Hop is Dead" is one of my favorite Nas albums and 2) It is the first album review I ever took a stab at. Feel free to leave comments....


First showing up on the scene in 1991 on Main Source's Live at the Barbeque, Rap veteran Nasir Jones has been in the rap game long enough to live through and truly witness the transformations of Hip Hop while adapting accordingly. After a decade and then some, the emcee's dissatisfaction with the present state of our beloved culture is expressed on his latest, and much anticipated album, Hip Hop Is Dead. But who's to say Hip Hop is truly dead? The present state of Hip Hop is arguably at its peak. Its financial strength and popularity is stronger than it has ever been, with the South at the forefront. But rap veteran Nasir Jones, with a bird's eye view of it all, has a different take. The Queens Bridge native, disregarding hip hop's commercial success, takes us back to the basics on his eighth solo LP by focusing on the essential quality that has noticeably taken the backseat to the profit driven music industry.

From start to finish, Hip Hop Is Dead finds Nas's rhyme skill and flow sharper than ever. Nas is also accompanied by big name producers such as Kanye West, Scott Storch, and Dr. Dre. While these big names help boost quality of music, there are still a few forgettable tracks on Hip Hop Is Dead that leave you yearning for a DJ Premier, Large Professor, or Just Blaze track. Nonetheless, the album contains some of Nas's best production to date and each song is enjoyable in their own way.

Characterizing Nas's claim of the album, the dark and sinister opening track, "Money over Bullshit", gets the album off to a strong start. The track finds producer LES laying down some of Nas's darkest, most heart thumping and eerie instrumentals the rapper has ever flowed over. The combination of flawless production, intricate poetic prowess, and a domineering and militant chorus; "join me in war/ many will live/ many will mourn/ Money over Bullshit/ pistols over brawn/ afraid not of none of you cowards but of my own strength", makes for a bone chilling entrance.

Hip Hop Is Dead also shines bright on the B-boy themed "Where Are They Now" where Nas reminisces and pays homage to the early pioneers of the game from the 80s and early to mid 90s over the backdrop of an infectious James Brown sample. Furthermore, the creative "Who Killed It?" which chronicles the death of Hip Hop as a mystery crime investigation strays away from the norm and the expected. Producer W.I.L.L.I.A.M sets the scene on this one with a sample from the classic Eric B. & Rakim "I Ain't No Joke". The track's odd delivery may be hard to get past at first, but this is quickly bypassed with its creativity and old school feel.

As "Hip Hop Is Dead" progresses, the main claim of the album becomes less concentrated and trite and more dispersed. On "Black Republican" which features the highly anticipated collaboration with past time rap foe Jay-Z, Nas and Hov exchange verses over theme music from The Godfather, while the dreamy Kanye collaboration "Still Dreaming" finds Nas getting philosophical foretelling the consequences of living a passive life. While these songs may almost feel like the beginning of an endless tangent, Nas's energy and prowess is quickly refocused to the core with "Hold down the Block" which creatively elaborates on the lack of creativity and innovation in Hip Hop and where it has gotten us thus far. Furthermore, songs such as "Not Going Back", "Blunt Ashes", and "Let There Be Light" are of the few occasions where Nas finds himself at somewhat of a standstill. While these tracks may be minor road bumps along the way, they are definitely far from terrible.

With such a bold title, Nas has undoubtedly put himself at a vantage point of harsh criticism and opposition. Already, Rappers, fans, and radio DJs alike have scolded the rapper. Big names from the south such as Young Jeezy, whom Nas smashed on the Billboard charts the first few weeks, and others have verbally let Nas have it in interviews and talk shows aired nationwide. However, when its all said and done, it is uncertain whether Nas really proves anything at all. Nonertheless, whether you are for him or against him, Nas once again bears another gem to shine for decades and beyond, illuminating even the furthest reaches of the faint and uncertain future of hip hop music with a brilliant light of hope.