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Review: Nas’ “Untitled”

July 17, 2008 11:48 AM

  Nas can’t just make an entrance; he has to cause a stir.  It’s been that way ever since 1994 when he dropped his instantly classic album “Illmatic.”  Back then, the fuss was around his seemingly effortless lyrical skill and tales of his life in Queensbridge. He was able to make a defining statement within the confines of a lean ten track set.  The album’s brevity made it all the more impressive.

In the years since, he has figured out other ways to get everyone’s attention.  In the video for his song “Hate Me Now,” he appeared on the cross, thus causing a stir.  He’s always had a bit of a god-complex.  He’s even called an album “God’s Son.” 

Two years ago he got tongues wagging by calling his album “Hip Hop is Dead,” but that was nothing compared to what he’s done now.  This album, which remains untitled, nearly received the n-word as a title.  With a picture of his bare back on the cover with what look like whipping wounds, this is not meant to be a statement taken lightly.  It’s a bold and dangerous move, especially at a time when many African-Americans are debating the use of such an ugly word, even within the altered confines of hip-hop. If he was going to use that name as a title, paired with such a powerful image, he’d better be able to give his listeners something compelling, infusing strong sociopolitical commentary and showcasing a firm knowledge of African-American history.  Without those elements, such a name and cover would trivialize one of the biggest, most defining tragedies in American history.     Nas is a gifted MC, though, and thus he understands every move he is making.  He knows the stakes are high here, and for the majority of the record he delivers a well-thought out thesis on his perceptions of what it is like to be an African-American in today’s society.  The picture he paints isn’t a pretty one.  This is a nation in turmoil.  We may like to think that we’ve made a lot of progress since the Civil Rights Movement, but there are still an awful lot of inequities. 

The album begins with a low-key sounding, drumless piano loop, which skips along with the regularity of a scratched record.  This is the backbone of “Queens Get the Money.”  Within a matter of seconds, Nas sets the scene with images of “wars with other nations,” “pregnant teens,” and children growing up with “faceless” fathers.  By the end of the two-minute, twelve second track, he’s attacked his critics’ claims that he has lost his skill, he’s declared, “bring back Arsenio,” and he’s made mention of Huey P. Newton, Emitt Till, George Foreman and the fallen twin towers. Ah, yes, this is a dense record, and his flow is as tight and skillfully baffling as ever.    

The history lesson continues on “You Can’t Stop Us Now,” which features the Stylistics’ Eban Thomas and hip-hop godfathers the Last Poets.  What a way to show Nas means business by placing himself amongst such legends.  On this track he discusses African Americans throughout the ages from all walks of life and points out that many most likely didn’t get credit for their achievements. “Betsy Ross sewed the first American flag.  Bet she had a ni__a with her to help her old ass.”   His terms are rough, but then again, so is the subject. He discusses the bling-obsessed culture of today’s hip-hop universe as “from gold to shackles and back to gold.” He makes passing references to slavery and minstrel shows.  This is a pretty heavy record, and it needs to be.  Throughout history there are plenty examples of injustice to draw upon. 

“Breathe” has all the elements of the first two tracks, but it’s not quite as sharp.  His cries of “In America you will never be free,” and his disdain for the police force (and for that matter any other governmental authoritative force) are felt, but it gets rather repetitive.  Plus the production and feaux-jazz beat make it sound cheesy, thus diminishing its persuasive pull. 

On “Make the World Go ‘Round,” Nas does himself another slight disservice by having Chris Brown on the track.  This shouldn’t be a pop record.  Nas does his best work when he’s backed by scratchy, organic sounding old-school beats.  If you add a pop-flavored  R&B singer in the mix, usually that kills the track’s gritty dynamic.  Think back to classics like “The World is Yours” and “It Ain’t Hard To Tell.”  I guarantee those songs wouldn’t have had the same pull with a flavor-of-the-month R&B singer singing the hook.  It’s an unnecessary move made in the name of airplay.  The Game’s guest verse adds very little of note except for tired bling-glorification and what sounds like an edited out homophobic reference. His presence brings nothing positive.    The main problem with the track as a whole is that it doesn’t fit the political mindset of the majority of the album.  It seems like a distraction or an unneeded intermission from the higher quality material.

“Hero” sounds good with its techno-tinged, glitch-driven marching band sound until guest vocalist Keri Hilson sings over the chorus.  Hilson has a good voice.  No disrespect to her, whatsoever, but this is not the place for a sing-song-y hook. It distracts from Nas’ raw power as a lyricist.  Once again, this song isn’t as political, which might be why it’s the single. The only reference he makes is how he feels he’s been censored. (“Tell Bob Dylan, Bruce or Billy Joel they can’t sing what’s in their soul!”) In general, though, the track seems a little too safe.  It is infectious, though.

On “America” he gets back on tack, discussing how he wishes his people got more respect.  Here he wonders why there are so few black astronauts and he criticizes the country for being built on hypocrisy. His point is that we claim to be a nation of freedom, but our imperialist past built this nation on the backs of black slaves.  He talks about unjust sexism too in the culture and how it goes back to the bible (and Eve biting the apple) where women are “the reason sin is here.”  His point is not to criticize the country as a whole, rather he wants us to “pay attention” and stand for our ideals.  He wants justice and the end of double standards. 

Nas’ next and sharpest target is Rupert Murdoch.  On “Sly Fox,” not only does he attack Fox News for being unbalanced, but he also has similar criticism for Fox 5 in New York and “The New York Post.”  Nas says, “A fox’s tail is bushy, Bush lies and Fox trots,” thus accusing the network of spouting the Republican administration’s agenda.  He also accuses Fox of promoting racism, saying, “Only Foxx that I loved was the Redd one. The only black man that Fox love is in jail or a dead one.”  He comes out blazing and combined with the rock-edged backdrop, the track is full of energy.  He criticizes Murdoch for owning Myspace and making money off of hip-hop culture and then allowing his company (and people like Bill O’Reilly) criticize the genre. He says nothing about Murdoch’s newly acquired “Wall Street Journal.”

On “Testify,” Nas targets “bigots” who wave the Confederate flag and talks about rap fans in suburbia.

On “N.I.*.*.ER (The Slave and the Master),” Nas discusses how African Americans need to look at themselves and the culture.  “We trust no black leaders,” he cries, while talking about young men in the ghetto who get shot and killed and old women who have diabetes.  “We are the slave and the master. What you looking for? You’re the question and the answer.”  He urges people to stand up and look at their surroundings. “This history don’t acknowledge us. We were scholars long before colleges.”      

Next is an untitled track which prominently mentions Louis Farrakhan.  He’s a polarizing figure, so no doubt this could even make some of the people who have agreed with some of Nas’ other points uncomfortable.

Next we get another break from the politics with “Fried Chicken.”  It’s a rather routine sex rap featuring Busta Rhymes.  It does stand out however because it’s produced by Mark Ronson who brings the same funky horn-driven soul here that he did on his album “Version.”  If not for Ronson’s contribution, this track wouldn’t belong here. 

The break doesn’t last long, though, because next is “Project Roach” which compares racism and those who perpetuate it to roaches that won’t die.  It’s a sad statement indeed. 

On “Y’all My Ni**as,” it is discussed how the n-word is used, sometimes without decent knowledge of the word’s roots.  But at the same time it’s like the culture has a love/hate relationship with the word.  Its beginnings are ugly, yet some have tried to reclaim it and suck the juice out it.  The fact that this album’s title was changed speaks volumes on the subject.  Lack of understanding about the word is a topic here, yet it is peppered all throughout the album.  In the chorus Nas speaks as the word itself. “Try to erase me from your memory. Too late, I’m engraved in history. Speak my name and breathe life in me. Make sure you never forget me. ‘Cuz y’all use my name so reckless, whether it be accepted or disrespected. And I love it, especially when I do it in public.”  What he is saying here will no doubt cause debate amongst people of all ethnicities.  It’s an ugly word, but then again, the history is ugly too.  Perhaps his point is that if you forget history, you are more likely to repeat it.

On “We’re Not Alone” Nas talks about everything from governmental wire-tapping to hidden U.F.O.s.  The most important part of the track comes at the end where he essentially gives the album’s thesis statement.  He says, “I’m American born. I love America. I love my people. I love all mankind, all nationalities. I think it’s just been  recent, that everybody’s starting to feel like there was an elite group that controls everything and everybody else was sheep, ignorant, making all ethnicities, colors and creeds Ni**as, blind to what’s really going on.  So I say take off the wool from your eyes.  Out with the old America, in with the new. End all racism, all injustice, all oppression, to poor people, any people, anywhere on this planet. Let’s come together. A new day is rising.”

With that, he ends the album on an optimistic note.  On “Black President” he talks about his hopes for Obama and he hopes that if Obama wins he doesn’t forget about the injustices in the nation.  The song’s chorus borrows from Obama’s slogan, singing, “Yes we can change the world.”  Considering how many ugly subjects Nas attacks on this album, it’s a fitting light at the end of the tunnel. 

This album is sure to cause controversy, but when it hits its marks, it is very thought-provoking.  Nas addresses issues of race (and actually to an even deeper degree, economic power) in ways others might be afraid to.  Even if you don’t agree with everything he says, you can’t deny that he’s making the record he wants to make.  He’s true to his own vision.  He wants his country to be true to its ideals. This isn’t an all-out classic like “Illmatic” was.  He may never reach those heights again, but this is still quite an important album which makes bold claims about the state of race and power in America.   

July 17, 2008 | Permalink | User Comments (7)

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