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Nas dedicates the first third of the album to paying homage to the greats of yesteryear (“Where Are They Now”) and lamenting the state of the industry (“Carry On Tradition”), and he spends the rest of his time leading by example with artists who are up to the challenge. The title of Nas’ eighth solo album started more conversations than the music did itself, with his “Hip Hop Is Dead” assertion jumpstarting industry-wide debates about the genre’s vitality in the mid-2000s. The album has concepts like “The Makings of a Perfect Bitch” and “Remember the Times” that come across as contrived and awkward, and its sprawling nature of more than 87 minutes is a lot to sift through. (Unauthorized Biography of Rakim),” but it’s largely an album that hurts from a lack of restraint.
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Street’s Disciple has highlights like “Thief’s Theme” and “U.B.R. It seems like every rap great eventually gives in to their whims to make a double album, and Nas is no different. Nas’ fourth album suffers from identity crisis, with thoughtful songs like “Project Windows” and “Last Words” being offset by trite, predictable records like “You Owe Me” and “Big Girl.” It seemed like Nas was still appearing to discover himself here, and while he would redeem himself a couple years later with Stillmatic, Nastradamus lives as a blemish on an otherwise godly resume. “Is it Oochie Wally, or is it One Mic? Is it Black Girl Lost, or shorty owes you for ice?” JAY-Z’s later barbs at Nas on his song “Blueprint 2” held true for Nastradamus, Nas’ second album in 1999, after releasing I Am… months earlier. Nas Lights Up Queensbridge Park for 'Nasir' Album Listening Party: Recap