[FULL ‘NASIR’ ALBUM REVIEW] SLAVERY ISN’T A CHOICE ANYMORE?
- mobadeproductions
- Jun 18, 2018
- 4 min read
[FULL ‘NASIR’ ALBUM REVIEW] SLAVERY ISN’T A CHOICE ANYMORE?
June 18, 2018 by mobadeproductions, posted in Music Reviews
After spending a good hour listening to the wrong album on Youtube because Nas didn’t upload it to Spotify until after the official release, I have finally finished the entirety of NASIR. This is Nas’ first album since 2012’s Life Is Good so it has been five years since he has had a release- and it is certainly G.O.O.D.. He should take some tips from Kanye since he is set to release a Teyana Taylor produced project next week. It is a really d*mn exhausting time to be a music reviewer right now.
At midnight a listening party was held in Queens near Queensbridge Park and instead of turning up like at the Ye release, attendees experienced every range of emotion human beings can possibly feel with a liberating callout to God.
As the fourth G.O.O.D. music release, NASIR follows the highly interpretive album KIDS SEE GHOSTS that follows Kanye West and Kid Cudi as they take us on a trip through purgatory as they live out their final moments before they die after experiencing an ego death on the second solo Kanye release, Ye. NASIR doesn’t act as the follow-up or explanation for KIDS SEE GHOSTS but rather a stand-alone project that acts more like a poetic statement that speaks volumes. Holding the same level of energy behind Pusha T’s DAYTONA the message stays strong and angry with a very literal theme that covers more than just police brutality but touches on broader subjects that apprises a much harsher truth. It leads with a bigger commentary about the world today that could classify this release as an undercover conceptual album.
Kanye West really told TMZ a month ago that “slavery was a choice” and then a month later he puts out a concept album about black excellence. I’m just trying to keep up with him at this point. Instead of having a poorly worded and almost career-ending statement- Kanye West finally put his thoughts into articulate themes and messages to fully portray what he meant by that his people were mentally imprisoned. Despite being an exceptional producer, he doesn’t really have a way with words so NASIR will rightfully speak for him. The album cover is meant to shock. With a black and white horizontal shot, it shows five boys of color up against the wall simulating a police lineup- clearly being too young to experience this sort of profiling.
The scene is under a sign that states, “there will be no drinking, loitering or standing on these premises” to show that they have been arrested for playing with their toy robot which is now being shot at by the guns, representing the death of their childhood. Two boys are shown with their backs against the wall with only two of the boys looking directly into the camera. Underlying fear can be depicted if you read into their eyes but also confusion leading to much deeper emotions of internalized anger. The image carries more than just a dark undertone but tells the harsh reality of the complete loss of innocence due to the injustice of racial profiling kids must face before they can even pick up basic social cues. This not only signifies a loss of a fair life but also highlights the absence of childhood- shouting the quiet things that no one ever knows.
The black and white image takes us back to a time where police brutality wasn’t something that was swept under the rug but instead full and center- and socially accepted.
As told in the intro to “Cops Shot the Kid” the picture visually depicts this Richard Pryor sample:
“The cops used to come around in my neighborhood
“Alright, you kids, stop having so much fun, move along!”
Oh they’d arrest me, you know, especially at
They had a curfew, niggas had to be home at 11, negros, 12
And you’d be trying to get home, doing your crew runs
And they’d always catch you out in front of a store or something
‘Cause you’d be taking shortcuts, right
Cops, “Ree, put your hands up, black boy!”
The seven-track album, which has been confirmed to be a reference to the seven deadly sins enters with greed for “Not For Radio.” Nas makes his entrance with, “escobar season begins” referencing the infamous Pablo Escobar, the drug lord who ran the cartel to signify complete takeover and Marxist themed rebellion. Completed with features from 070 Shake, she once again steals the show on the bridge with, “I think they’re scared of us.” The track holds raw anger that has been brewing for over 400 years- personifying the struggle that people of color face in all aspects of life, including Nas’ own struggle within the industry. The title of this track is self-explanatory as it tells the true story behind the false headlines- bringing up political corruption, racial and financial issues. Not only does the title reference the injustice behind fake news, but also hints at the corruption behind the music.
That’s why they feel uncomfortable around us
‘Cause of our greatness
You’re lucky God made us compassionate
And forgiving
Pssh, man, they scared of us, Nas
We see that bitch in your eyes”
His tone is unforgiving with fast lyrics, quick shots and
and commentary to take out the listener- hence the gun samples.
This is a brilliant transition to “Cops Shot The Kid.”
“Cops Shot The Kid” opens with the high strung repetitive Slick Rick sample of, “the cops shot the kid” which acts like the beat on this track. Working off the cover art, Kanye West once again proves that he is a trendsetter with this Trayvon Martin themed track. With lyrics like, “tell me, who do we call to report crime, If 9-1-1 doin’ the driveby?” to make this track an obvious highlight on the record. The Slick Rick chorus then grows more intense as it takes over the track- repeating until the closing with desperate call outs from Kanye- proving that his voice isn’t loud enough to break the injustice.
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