I’ve had this song on repeat since its release, as have many other hip-hop heads, and Nas now comes through with the visuals for the lead single from Life Is Good.
Stepping away from the grittier videos that feature heavily in his back catalogue, this one is full of luxuries, lavish living and a general air of celebration that adds a little more affability and positivity to Nas’ generally-serious image. Themetically though, it’s nothing groundbreaking as once you look beyond the change in style, it’s essentially a standard hip-hop video, though credit for the stunning aerial shots of NYC that are interspersed throughout the clip.
So I’ve been meaning to post this up for a while now, but every time I go to do it I get distracted watching the entire Illmatic performance from Nas’ SXSW set. I’ve gone with his AZ joint venture here, but you’ll have to head over to YouTube and battle with that VEVO thing to watch the rest.
Things to note from this:
1. PREMO is on the decks!
2. AZ spits like it’s 1995 all over and I’m salivating for a potential new collab on either his or Nas’ upcoming LP.
3. The crowd is horrible. Like horrible. I feel bad for Nas. I mean, there he is performing the best hip hop album of all time. Live. With AZ. With Premo. And nothing.
Will.I.Am jumps behind the boards to give the original a revamp.
Accompanied with the black and white visuals, the remix gives us a totally different feel, somewhat more classical and throwback. I feel this version suits the verses better, Nas’ obviously a particular highlight. This is the kind of thing I’d like to hear on whatever his new album is called. But alas, I expect trademark Nas with his terrible beat selection whilst trying to ‘push the envelope’.
This has that distinct Premo/Nas flavour, but yet still leaves me with a disappointing taste in my mouth. I haven’t listened to the album yet (which is out tomorrow, you can pick that up over here.) but from the several leaks we’ve heard, I’m yet to hear anything groundbreaking from your favourite producer’s favourite producer.
Nasty Nas returns with a heater! The Don has been causing waves amongst fans across Twitter, and it’s not hard to see why. Nas has been pretty quiet over the last few years, passion projects aside, so when a new track of his does emerge – people listen.
It’s great to hear Nas rap with such energy, there’s certainly been a void in hip hop without him; one hopes this is a sign of what is to come.
Whenever Mick pops up in my inbox, it’s always a source of excitement at what the gifted DJ has in store for us. Today, it’s a very intriguing project, as he pulls together an enticing collection of tracks from the vault, in addition to some unique reworks of popular tracks from both acts.
A huge 36-track lineup awaits those who give this one a go, as Mick excavates some interesting material from both Nas and The Roots that features the likes of Q-Tip, Slick Rick and more, in addition to a few collaborative Nas/The Roots tracks. The mixtape is ‘for Madden Bowl 2012–part of this year’s Superbowl events–which takes place Thursday in Indianapolis. Madden Bowl 2012 features live performances from Nas and The (Legendary) Roots Crew and Mick‘. Check it out below.
I must admit I slept on this track a little bit when it dropped a few weeks ago. But oh how I was wrong.
The visuals immeasurably add to the epicness of this track and paint a vivid picture of Premo’s journey in creating this envelope-pushing piece of history. After brief shots of Premo learning how to compose, the visual cuts back between the symphony hall and Preem’s studio equipped with Nas spitting his infectious poetry. I know this wasn’t supposed to be about Nas, but I just wished there was another verse floating around out there somewhere. We can only wait and hope.
Follow DJ Premier, Mark Ronson, Skrillex, Pretty Lights and The Crystal Method as they remix, recreate and re-imagine five traditional styles of music. Our five distinctive DJs collaborate with some of today’s biggest musicians to discover how our musical past is influencing the future.
An incredible blend of styles here, as Preemo and Nas reunite over an excellent classical production. Dramatic strings swing the track across a variety of moods to open with, before focusing into a driven, uplifting style to back Nas’ ever-replayable raps. The orchestral work once again excellently shifts moods, whilst Preemo laces the symphony with some trademark scratches, enhancing that excellent crossover feel. Interestingly, ‘of all the takes, the one you hear is the “wild” version (which means they recorded it without the metronome in their headphones) and DJ Premier conducted himself’. Genuinely excellent, and a superb slice of eclecticism.
Taken from the upcoming Tower Heist film (starring Eddie Murphy and Ben Stiller), Nas hooks up with Rick Ross and Salaam Remi for an good all-rounder.
Remi serves up a bouncy production that boasts horn-influenced melodies and a simple, easygoing percussion, providing a smooth yet lively backdrop for both rappers. Nas opens with a decent verse, dropping off some smart lines in a slower flow, and pulls double duty with a memorable hook. Ross follows up with a solid verse of his own, with his hoarse delivery contrasting nicely with Nas’ slicker raps. Nothing particularly groundbreaking or game-changing, but a decent track that may rack up a few plays in the hip-hop listener’s library.
Much delayed visuals for Nas’ excellent single from way back in June, and hopefully a sign that the album is on the way.
The track only dropped out of my rotation recently, and Nas does a fine job at ensuring it’ll be re-entering with a solid video. Opening with a dichotomy of images as his more lavish side is interspersed with scenes of more basic studio shots, as the video evolves a bridge is built between each side in an extremely simple, logical manner. The extravagance is slowly shifted aside, as Nas returns to the streets in a celebratory mood, with the middle section in particular going some distance to add some positivity to ‘hood’ scenes that are usually presented in a darker, more aggressive manner, whilst the video closes with the very studio footage shown throughout, finishing the piece off with a clever, holistic ending. Uncomplicated, simple and fantastically effective, it’s a feelgood video that does the audio justice.
From Common’s upcoming The Dreamer, The Believer album, I’m still giving this track some regular rotation, and I’m glad they’ve capitalised on this delicious slice of hip-hop with some solid visuals.
Kicking off with a heavily-bearded Common (yes, more than usual!) and Nas quite literally slipping away into a dream, the video then descends into a busy, monochromatic video with lots of focus on the two legends. Nothing overly complicated, and no unnecessary addtions: we’re treated a visualisation of the lyrics in the form of a leading lady and lots of rapping, and hence the video is rightfully efficient, keeping the focus on the raps and that ear-shattering percussion.
A cool, easygoing video from two of the most talented rappers to ever grace the game. For some very bizarre reason, the audio isn’t on UK iTunes or Amazon, but we’ll keep you posted on that.
Good to see these kind of tracks getting visuals although scanning YouTube reminds me that Rae isn’t scared of dropping videos for the more ‘street’ tracks too.
We know the drill with the audio thanks to Indi back in March and the visuals, which clearly didn’t break the bank, do enough to demonstrate the lyrics on hand here. Nas and Rae drop their respective verses amidst a sea of homies, chains and bitches.
This sets things up nicely for a Rae feature on Nas’ upcoming LP, although with Nas the logical never quite seems to register.
Raekwon’s Shaolin Vs Wu-Tang can be purchased in a variety of places of your choice but I’m going with this one for ease/routine/laziness.
Imagine my sheer joy at waking up this morning afternoon and finding not only the first single from Common’s upcoming The Dreamer, The Believer album had surfaced, but also the much-anticipated collaboration between two of the all-time greats (both are nestled comfortably in my top 5).
A rugged, throwback production is served up by the incomparable No I.D., boasting a hypnotic boom-bap percussion along with a lively yet smooth sample on the melody, combining for a real head-nodder of a beat that makes no secret of its 90s roots. The structure of the song is clearly anchored around the superb verses from both MCs, with Common bringing some well-delivered raps about his ‘Cinderella’, whilst Nas moves from a general ‘dimes’ subject to his own ‘African Queen’ in an energetic verse. Both certainly bring the goods, as does No I.D., and this is frankly unmissable for the hip-hop fans. UPDATE (6th July): Available to buy on iTunes right now for US fans!
Nas keeps the momentum of his forthcoming tenth album, Life Is Good, rolling with a delightfully ‘Nasty’ track. The Salaam Remi produced single contains a gritty, funky jazz sample and Nas rapping with determination and fire that doesn’t ease up for a moment. The omission of a hook or chorus in the song adds to the overall grittiness and makes Nas’ verses feel even more unrelenting.
Nasty will stay in my Itunes “Recently Played” for a good while, and it’s been years since I could say that about a Nas song. Got me all giddy for the album!
In a somewhat more jovial mood than we are used to with Nas, the man himself speaks on his new album Life Is Good and what to expect on that front. The first single will be a joint called Nasty which holds its roots in Nas’ former alias.
He sounds like he’s in a good place, the album is nearly done but let’s wait and see what he brings to the table this time around because Untitled was disappointing to say the least.
MTV sit down with Nasir to talk about P’s new book, squashing the beef once P left prison and whether there are any more collaborations in the works.
Don’t want to divulge too much more information as it will ruin the interview for you, but if you haven’t done so already then get your hands on that Mobb Deep/Nas’ Dog Shit joint.
After the track hit the streets only a few days ago it didn’t take Elzhi long to release those visuals.
Those who follow my posts will realise I’m a big fan of black and white when it comes to hip-hop as it perfectly demonstrates those gritty undertones the genre found itself in during the mid 90′s.
With all that said, ELmatic is Elzhi’s tribute to Nas and his classic debut, but I wonder what Nas himself makes of it all?
Swag Elzhi’s audio here and why not take a watch of Nas’ original Halftime over here.
ELmatic becomes available to the masses on 10th May. Stay tuned.
I’ve turned up late to the party once again, so I’m not going to mess you around with a long intro here. That’s helped by only having one relevant and noteworthy post from the week gone by, that being Erin Christine’s latest single.
Click below to fill your empty stomachs with R&B/pop/soul nourishment.
DAMN. Prodigy’s wasted no time in getting back on that ‘murda muzik’ tip with his Mobb Deep cohort Havoc, and here they’ve combined with The Alchemist and the almighty Nas for a throwback slice of hip-hop that will undoubtedly satisfy the real heads over here.
Al serves up a haunting production comprised of creeping keys, intense synths and a quiet yet threatening production, all combining to set up the dark, gritty sort of backdrop that suits Mobb so well. The raps are fitting from the duo, with sombre deliveries highlighted that soft, quiet threat of the production, and Nas comes through with a short but enjoyable verse of his own. The hip-hop heads know not to question a line-up of this calibre, and it certainly delivers the kind of hip-hop I’ve not heard in quite some time.
The one track I was most looking forward to from Raekwon’s new album, Shaolin vs. Wu-Tang (which is out next week!) has been liberated.
That’s right, Nasty Nas and Raekwon collaborate once more to great effect. Whilst the Damian Marley collaboration project that Nas involved himself with last year was excellent, I’ve certainly missed his old gritty sound. This is a track that’s a return to that particular sound, one that Raekwon is most definitely familiar with.
One for the hip hop heads, audio is available for your ears by clicking right here.
A version of this without Nas featured on the computer game Grand Theft Auto IV, it had always been a track intended for Nas but Swizz had this to say at the time:
“The record was originally for Nas,” he explained. “I got Nas’ vocals already. But I can’t do Nas, and his energy is not right on there. It would be dead weight. No disrespect, but it can’t be dead weight if I can’t make it feel like reality. I need the sh*t crazy. I need to shoot a video! It’s gotta be another ‘It’s Me B*tches,’ but bigger. I could easily pull a Nas card and have people be like, ‘Nas is spazzing on the verse.’ But it has to be a movie. I got it. It just gotta make sense.”
This week’s #MonsterMondays sees Swizz unleash the Nas version in all its glory!
New video from one of the best releases of last year, probably one of my favourite tracks from Nas & Damian Marley’s collaboration album too. The visuals for this have been shot superbly and we’re given some great effects which really capture the mood and essence of this sombre and thought-provoking song.
Nas fans pay attention because without Main Source and Large Professor, we wouldn’t have had Illmatic. You see Main Source were the first act to put Nas on. Remember the intro to Illmatic? Well those Nas vocals were from Main Source’s Live At The BBQ from their brilliant 1991 debut Breaking Atoms. Anyway, I digress.
Here’s (perhaps) my favourite joint from Main Source; a cut from the somewhat politically-incorrect titled motion-picture White Men Can’t Jump. (N.B. Some Heads get caught up between the original and this remix but the differences are minimal so we’re rolling with this as it happens to be the audio I have).
Apologies for the lateness: I didn’t know it existed until I saw an email from Mick earlier!
“Mick Boogie, known for his eclectic DJ sets and amazing mixtapes, is also an avid basketball fan and a video game junkie. With the recent return of the classic 90’s arcade game NBA JAM (now refreshed and remixed for 2010), Mick was inspired to put together a mixtape of classic and rare 90’s remixes that serve as the soundtrack to where we were back in the day. Being that NBA JAM dropped in 93, Mick’s decision to call the mix “93 Til’ Infinity” was the only appropriate choice! In addition to the mixtape, Mick collaborated with vintage t-shirt designers Homage to create a limited edition NBA JAM/93 Til Infinity inspired tee to celebrate the release of this mix and the videogame. You can find the shirt here”.
The lyricism is out of this world as we witness two greats of the game go back and forth. However, the original beat often leaves a lot to be desired and sounds somewhat tame in comparison with the hard-hitting opening that 4,5,6 offers. Buck’s darker undertones therefore makes this an unmissable addition to Heads’ collections. This remix is so good it will be finding its way onto the end of my 4,5,6 playlist.
The legendary Carlos Santana is the latest act to hop on the ever-growing ‘covers album’ bandwagon, and kicks things off with a risky one. I’ve not listened to it yet, but it’s an obvious risk given the iconic status of the original. Same goes for the Nas feature: not sure how that’s going to play out, but either way it’ll make for interesting listening!
Off the very first release from Dr. Dre’s Aftermath Entertainment (back in 1996)! It was a compilation cd that was criticised a fair bit at the time. This was referenced a few years later on tracks such as Forgot About Dre and Still Dre: “When my last cd was out you wasn’t bumpin me” & “Ladies, they pay homage, but haters say Dre fell off, How? My last album was The Chronic“.
Anyway, I had only became aware of this track recently thanks to Murray! But I’m told this is a track that was one of the standouts from that compilation. Titled East Coast/West Coast Killas and with a lineup containing RBX, KRS-One, B-Real, Nas & Scarface, it was a retort to those in the media (and fans) perpetuating a West Coast/East Coast beef that culminated with 2Pac & Biggie’s murder.
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