“Half man Half Amazin” The saga of God’s son Pt 1

here’s some old writing i did as part of a music group (go ahead and laugh if you want) going through Nas’s discography there’s parts of this i look back and gawk at but i’m still pleased with it

i’ll be posting them hopefully on a week by week basis, but as of right now let’s start at the beginning looking on it this ones the lone anomaly cause i didn’t pick a song off of it :

I was having a discussion with somebody on here where we talked about Illmatic and how Nas’s later catalouge doesn’t match up, so for this i’m gonna highlight a song from each of his later albums that i think is as equal or at least deserving as just as much praise as his 10 track masterpiece.

We’ve all heard the praises sung about this album, 10 tracks, first album to get 5 mics in The Source although according to Byron Crawford’s ‘Nas Lost’ the only reason the album got that rating was because the then head of the magazine Jon Shecter got the album 8 months early and wouldn’t stop raving about it and practically lobbied it for a 5 mics rating(so kind of a ‘i believe in this guy so much there’s no way you could give him anything LESS’ situation.

It’s the rap album i think that’s been canonised as a ‘great work’ for so long it practically exists as it’s own entity transcending where it originally came from.

But in my opinion what gets forgotten is that the very fact that Nas doesn’t have any guests on the album besides AZ and that no song sticks to what was then archtypal rap tracks (the party track the posse cut etc etc) was a great deviation at the time hell the fact that the beats at at a slower BPM compared to alot of songs at the time was major change it’s a 10 track impressionistic diary, one that you can get intoxicated and lost into.

i guess what i’m trying to say is Illmatic is a classic yes but it’s a very specific kind of ‘classic’ album one that doesn’t exactly manifest in other rap albums and to hold it up as the be all end all tome isn’t exactly right.

not only that but in a way what i don’t think is highlighted with this album is as much as it embodies everything that was great about this specific time in rap it was as much a death knell for this particular sound and people who were involved in rap at the time.

By 1996 2Pac was dead in Las Vegas which was the biggest nail in the coffin for Death Row Records, Outkast would put out ‘ATLiens’ proving to the rap world and the world at large that ‘The south had something to say’ and Jay Z would’ve put out his first album ‘Reasonable Doubt’ an album that now is regarded as a fantastic debut and classic in it’s own right .

In some way i think Nas knew that something was changing and rather than trying to recapture that moment, he sought to move onward, looking back to never forget where he came from mind you but to experiment and try something anew, sure i think his career is associated with a specific kind of artistic failure but the fact that he still carries on even in spite of all his failures i find something really admirable about.

Consider this post the starting point at which we lead off.

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Happy 44th P Body

It took me a long while to start listening to Sean Price’s music again after he died,selfish as it sounds but when the collective revelation took place that he had passed, i felt like i got winded in a way i hadn’t felt since the fights i had back at school.

He was like that one black uncle in the family where he had jokes but would still kick the shit out of you if you tried to test him and at a climate where people are still trying to get out of the goddamn door in terms of understanding one another had views that were down right horrid at times but while everybody else was trying to be out of this world,here’s a guy who kept things grounded.

back when he was in Heltah Skeltah he was good don’t get me wrong and it was obvious that him and Rock had chemistry in that way only childhood friends had but he was just there.

but after a failed follow up album, working construction for a few years and a name change he was back still the same guy but very different at the same time.

I maintain that ‘Monkey Barz’ is a classic album both unreletingly hard and silly in places some of the beats don’t work in places but it doesn’t matter through precense and sheer battering ram force he makes things work. I know to some people “Mic Tyson” was a disappointment but i still think that it had it’s moments.

P made ‘grown man rap’ and like my man Hans once said being grown isn’t a monitary thing it’s a state of mind and in rap it’s damn near a oxymoron, a rapper the same age as me will show a little bit of world weariness on a album and critics will fucking tumble over themselves to say they give ‘great piercing insight into the black condition’ or some nonsense like that.

P just wrote about slapping dudes, spazzing on E pills, bits of godbody knowledge here and there and maintaining that same barbed pitch black sense of humour he had. i could easily write up a list of my favourite punchlines but that would be defeating the point.

He exhausted every Ruck/fuck/duck/suck bar he could possibly get out of it,put out a couple mixtapes (like this one) found himself a new audience who may not have been familiar with his prior work and even well into his early 40s was still putting decent verses out, he was one of those guys you kinda took for granted because he was everywhere and then out of nowhere he died in his sleep.

fuck “The history of the culture” if NY rappers of his generation were not only putting out music as good as Sean P but were at least AT LEAST a third as funny as him i’d happily be that insufferably weird 22 year old who stans for rappers from a generation 2 decades divorced from when he was born.

Dude kept the lights on at a rap label while everything else was in the dumps, he swindled dumb indie rappers back in the Myspace days and in return he’d write up a verse in an hour and sometimes on the same track diss the rapper in question on their own song and he gave just as much equal scorn for flavour of the month dumb as shit trap rappers that he did for logorrhea ridden indie rappers.

He was one of the few dudes i could vouch for who really got what Ghostface circa Supreme Clientele and DOOM were really trying to do in that being “lyrical” in terms of a pen game is fantastic and all but just knowing how to put words down in an interesting way will only get you so far it’s how you freak those words on the mic in an imaginative way sometimes just going fuck it a literally starting a verse by saying “Botswana” and just letting the rhyme go where ever it needs to go.

I defo wouldn’t say he was my favourite rapper but he ranked really high and it’s still weird knowing the fact that he’s not around anymore.

Happy 44th my man,rap music hurts

DJ Enuff freestyle –¬†https://www.youtube.com/watch?v=IKQt7IbFlmI

‘I got nuffin’ – Intro

Morning/evening where ever you lot are.

This is my intro of sorts a way of saying ‘hello how are y’doing’

Thought i’d do it on here,because tumblr seems dead and i ain’t interested in starting one, twitter is starting to get on the slow painful decline now that the well of jokes, memes have dried up, and all that seems to be left is a bunch of sad angry people who 99% of the time feel powerless and the other 1% indulging in the worst trash.

Not exactly sure what the main focus of this thing will be doubt i’ll be going after one specific, but expect alot of talk about rappers that’s for sure.

It’s 11:43 and i’m listening to Teena Marie so for this one moment things aren’t too bad.

(The pic at the top of the page is from the De Palma flick ‘Blow Out’ for those of you wondering)

"It has been so long since she used a metaphor!"