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Rappers and fans alike have been complaining about the slowly declining degree of originality in hip hop for over a decade; and let's be honest, the aspect of today's mainstream hip hop music that involves lyricism and conceptual creativity is considerably impaired. If complaints have been made, why hasn't there been much of an improvement? A possible answer could be that no one with any real clout has been one of the dissenters. That is, until now.
And who has more clout than Nas? This is a guy who's been through it all, and is respected by nearly every hip hop critic and fan. Not to mention he recorded an album that changed the face of rap music as whole--when he was a teenager. Nas's Hip Hop is Dead addresses a problem that almost no successful rapper has had the balls to confront, and while the album isn't nearly as groundbreaking or flawless as Illmatic was, it's a step in the right direction.
"Money over Bullshit" and "You Can't Kill Me" are typical 'life in the streets' Nas songs, and like most typical Nas songs, only die hard Nas fans are going to think they are excellent. The lyricism is there, as always, but other than that, these songs don't offer much in terms of grabbing the listener; not to mention they don't have much to do with the "Hip Hop is Dead" theme of the album.
For the rest of the album, Nas gets back on topic, for the most part. You have "Carry on Tradition" which confronts most rapperss quest for money and status that overrides a desire to create true art and "carry on the tradition" of rap legends like Rakim and Big Daddy Kane. He offers a old-school sounding tribute to those same legends on "Where Are They Now?", its title asking the question whose answer may be the key to Nas's solution to rap's problem.
There is, of course, the obligatory collaboration with "Bossy" wife, Kelis, "Not Going Back," which is good enough considering the fact that Kelis's presense is basically expendable; but you knew he'd do it. As a matter of fact, for an album that seems like it is intended to express a personal qualm with the music industry, there are a whole lot of guest artists. The aformentioned Kelis, The Game, Jay-Z, and Snoop Dogg all lend their voices to the project. Then there is the Kanye West production, which seems like a must nowadays for every east coast album to be released. What these east coast rappers don't seem to realize in their excitement of working with the hottest new producer around is that Kanye is giving them his throwaway beats. While "Still Dreaming" is significantly better than uninspired productions like Rhymefest's "Brand New" or Mos Def's "Sunshine", something is still left to be desired from a guy who created the beat-making masterpiece album, Late Registration. Even with that being so, "Still Dreaming" is one of the better productions on the album, which exemplifies a ongoing problem for Nas's albums: the beats! Hip Hop is Dead is no exception. The album is plagued with elementary drum patterns and drab r&b samples which make the album all the more unentertaining. From an old school perpective, this may have not been such a problem, because back then dj's and producers were still experimenting with their drum machines and turntables. But this is 2006, and when you have Timbalands and Just Blazes running around, there's no excuse for an album to not be musicially sound.
An example of a good production is the will.i.am produced titular track "Hip Hop is Dead", which recycles the "In-A-Gadda-Da-Vida" sample from Street's Disciple's "Thief's Theme". The result is a more fast-paced, more unique, and ultimately better song that requires Nas to show off his double-time flowing abilities.
This review wouldn't be complete without mentioning the much anticipated collaboration with Jay-Z, "Black Republican", which is rapped over a fitting "political-sounding" beat. Both emcees drop good verses, and you'll forget that they used to hate each other with how seamlessly this song is delivered. With all that being said; while "Black Republican" is definitely a solid track, it is by no means a ground-breaking or classic one, and you can tell that it didn't take very long to make it; it was just something Jay and Nas felt they had to do, as Jay-Z says in the beginning of the track, "it's what you expected, ain't it?"
Hip Hop is Dead addresses a problem that, prior to this year, only Jay-Z has been able to admit exists. Unlike Jay-Z, however, Nas doesn't take on the ridiculous task of attempting to save hip hop all by himself. This album answers something that we all have been wondering for years: is Nas in it for the money? Maybe at one time, he was, but as of now, it's clear that Nas is more concerned with being artistic than going platinum, and that's what Nas wishes everyone else in the rap game would do.
As admirable as that ideal is, his campaign for it could have been delivered a bit better if some of the filler was shaved off and as much time was put into the production as was put into the lyrics.
The Report Card
Production: C
The beats are consistently unimpressive throughout the album, and while some tracks like "Hip Hop is Dead" and "Still Dreaming" are above average, they don't distract from the overall presentation.
Flow/Lyrics: A
Nas's flow, lyrics, and rhyme schmes are as good as they've ever been.
Originality: B-
Some tracks get stuck in the "life in the streets" subject matter that Nas has been talking about for years, but for the most part, Nas takes a unique approach to an already taboo concept.
Overall: C+
The uninspired production takes away from the album big time. Most every beat is organized the same way, the drum patters are mind-numbingly elementary, and the sounds and melodies themselves aren't ear-grabbing. But Nas fans, and lyrical fans are going to love it because it is solid lyrically, and his flow has improved since Street's Disciple.
And who has more clout than Nas? This is a guy who's been through it all, and is respected by nearly every hip hop critic and fan. Not to mention he recorded an album that changed the face of rap music as whole--when he was a teenager. Nas's Hip Hop is Dead addresses a problem that almost no successful rapper has had the balls to confront, and while the album isn't nearly as groundbreaking or flawless as Illmatic was, it's a step in the right direction.
"Money over Bullshit" and "You Can't Kill Me" are typical 'life in the streets' Nas songs, and like most typical Nas songs, only die hard Nas fans are going to think they are excellent. The lyricism is there, as always, but other than that, these songs don't offer much in terms of grabbing the listener; not to mention they don't have much to do with the "Hip Hop is Dead" theme of the album.
For the rest of the album, Nas gets back on topic, for the most part. You have "Carry on Tradition" which confronts most rapperss quest for money and status that overrides a desire to create true art and "carry on the tradition" of rap legends like Rakim and Big Daddy Kane. He offers a old-school sounding tribute to those same legends on "Where Are They Now?", its title asking the question whose answer may be the key to Nas's solution to rap's problem.
There is, of course, the obligatory collaboration with "Bossy" wife, Kelis, "Not Going Back," which is good enough considering the fact that Kelis's presense is basically expendable; but you knew he'd do it. As a matter of fact, for an album that seems like it is intended to express a personal qualm with the music industry, there are a whole lot of guest artists. The aformentioned Kelis, The Game, Jay-Z, and Snoop Dogg all lend their voices to the project. Then there is the Kanye West production, which seems like a must nowadays for every east coast album to be released. What these east coast rappers don't seem to realize in their excitement of working with the hottest new producer around is that Kanye is giving them his throwaway beats. While "Still Dreaming" is significantly better than uninspired productions like Rhymefest's "Brand New" or Mos Def's "Sunshine", something is still left to be desired from a guy who created the beat-making masterpiece album, Late Registration. Even with that being so, "Still Dreaming" is one of the better productions on the album, which exemplifies a ongoing problem for Nas's albums: the beats! Hip Hop is Dead is no exception. The album is plagued with elementary drum patterns and drab r&b samples which make the album all the more unentertaining. From an old school perpective, this may have not been such a problem, because back then dj's and producers were still experimenting with their drum machines and turntables. But this is 2006, and when you have Timbalands and Just Blazes running around, there's no excuse for an album to not be musicially sound.
An example of a good production is the will.i.am produced titular track "Hip Hop is Dead", which recycles the "In-A-Gadda-Da-Vida" sample from Street's Disciple's "Thief's Theme". The result is a more fast-paced, more unique, and ultimately better song that requires Nas to show off his double-time flowing abilities.
This review wouldn't be complete without mentioning the much anticipated collaboration with Jay-Z, "Black Republican", which is rapped over a fitting "political-sounding" beat. Both emcees drop good verses, and you'll forget that they used to hate each other with how seamlessly this song is delivered. With all that being said; while "Black Republican" is definitely a solid track, it is by no means a ground-breaking or classic one, and you can tell that it didn't take very long to make it; it was just something Jay and Nas felt they had to do, as Jay-Z says in the beginning of the track, "it's what you expected, ain't it?"
Hip Hop is Dead addresses a problem that, prior to this year, only Jay-Z has been able to admit exists. Unlike Jay-Z, however, Nas doesn't take on the ridiculous task of attempting to save hip hop all by himself. This album answers something that we all have been wondering for years: is Nas in it for the money? Maybe at one time, he was, but as of now, it's clear that Nas is more concerned with being artistic than going platinum, and that's what Nas wishes everyone else in the rap game would do.
As admirable as that ideal is, his campaign for it could have been delivered a bit better if some of the filler was shaved off and as much time was put into the production as was put into the lyrics.
The Report Card
Production: C
The beats are consistently unimpressive throughout the album, and while some tracks like "Hip Hop is Dead" and "Still Dreaming" are above average, they don't distract from the overall presentation.
Flow/Lyrics: A
Nas's flow, lyrics, and rhyme schmes are as good as they've ever been.
Originality: B-
Some tracks get stuck in the "life in the streets" subject matter that Nas has been talking about for years, but for the most part, Nas takes a unique approach to an already taboo concept.
Overall: C+
The uninspired production takes away from the album big time. Most every beat is organized the same way, the drum patters are mind-numbingly elementary, and the sounds and melodies themselves aren't ear-grabbing. But Nas fans, and lyrical fans are going to love it because it is solid lyrically, and his flow has improved since Street's Disciple.
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