It Was Written turns 20 today
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‘It Was Written’ Took Nas From Underground Sensation to Superstar
by Preezy July 2, 2016 10:57 AM
It's not too often that a once in a generation type of talent comes along in any field, but in hip-hop, those crowned as a messiah can be prone to flaming out before ever making good on their promise. However, Nasir Jones ( better known as Nas) is not one of those cautionary tales of not being able to handle the weight of the expectations thrust on his back. Sure, he’s had his lesser moments (Nastradamus) but overall, Esco has answered the bell time and time again and has remained relevant over more than two decades, making him one of the more tenured artists in the mainstream today. And with a litany of business moves, endorsements, and other ventures, it doesn’t look like Nas will be taking a reprieve from building on his legacy anytime soon.
But anyone familiar at all with Nas is likely aware that much of the mystique surrounding him and the reverence he commands largely stems from his debut album, Illmatic. Released in spring of 1994, the album was greeted with endless praise, earning a perfect 5-mic rating in hip-hop magazine The Source, as well as helping alter the art of lyricism, taking the template his hero Rakim had introduced in 1986 and adding his own wrinkles, all of which culminated in what many claim to be the greatest hip-hop album of all-time. But Illmatic would fail to garner much commercial success, stalling out at gold, leading Nas to link up with industry veteran Steve Stoute, who would become Nas’ manager and introduce him to Trackmasters, the production duo that would produce a large chunk of his sophomore album, It Was Written.
Released in the summer of 1996, It Was Written arrived under largely different circumstances than Esco’s previous effort. While Illmatic debuted at No. 12 on the Billboard 200 with 59,000 copies sold in its first week, It Was Written instantly shot to the top slot on the album charts to the tune of 268,000 units sold, largely off the strength of the Lauryn Hill-assisted lead-single, “If I Ruled The World.” The radio-friendly track may have turned off those more accustomed to the stylings of “It Ain’t Hard To Tell,” but would become Nas’ most successful single to that point, marking his first entry into the top 20 of the Hot R&B/Hip-Hop Songs chart. Polarizing as it was, “If I Ruled The World” afforded Nas all of the tangible commercial success that had eluded his previous album and set the stage for what would prove to be a seismic release for hip-hop.
Nas sets off It Was Written with an introductory skit that sees the MC on a slave plantation and rebelling against his captors before being assaulted and lynched for his transgressions, a stark contrast from the onset of his previous offering. But those clamoring for the exuberant commentary of AZ, Nas’ co-star on the Illmatic intro, “Genesis,” as well as standout collaborations like “Life’s A bytch” and “Mo Money Mo Murder” get blessed during the latter portion of the track, which sees the two briefly basking in their newfound success before Esco jumps into the festivities with the opening salvo, “The Message.”
Produced by Trackmasters, the beat, which contains a sample of “Shape of My Heart” by Sting and sees him showing a more refined flow while taking aim at rival New York rap phenom The Notorious B.I.G. After both released their landmark debuts within months of each other and simultaneously become the golden children of New York City rap, a rivalry between the two began to brew over who was the rightful owner of the bragging right that is being the King of New York. WhileIllmatic had brought Nas critical acclaim and made him just short of a deity to progressive rap fans, Biggie, whose own commercial successful dwarfed Nas’ at the time, was had managed to capture the mainstream appeal that had eluded Nas to the point.
With all indications pointing to a highly success sophomore release, Nas decided to throw down the gauntlet with the lines “Red dot plots, murder schemes, 32 shotguns/Regulate with my Dunns, seventeen rocks gleam from one ring/So let me let y’all nikkas know one thing/There’s one life, one love, so there can only be one King.” The jab was perceived as a clear shot at Biggie, who had taken to dubbing himself ‘Frank White, the King of New York,’ a shot the Brooklyn heavy would return on his own sophomore album, Life After Death, on the song “Kick In The Door,” on which he mocked Nas’ contractual stipulations while reasserting himself as the undisputed top dog in the five boroughs.
Unfortunately, the fans would be robbed of the opportunity to witness what had the makings of a historic war of words when the Notorious B.I.G. was slain in Los Angeles in 1997 while promoting Life After Death. In addition to provocation, “The Message” drew the ire of Tupac Shakur, who took umbrage with the song’s second verse, in particular, during which Nas rhymed about being shot in an ambush, with the lines “I got stitched up, it went through/Left the hospital that same night, what,” prompting Pac to return fire on his scathing cut, “Against All Odd.” Calling out Nas by name and writing off “The Message” as a “fairy-tale,” 2Pac flung the QB prodigy into the ruckus that was the war of words between the east and west coasts, but cooler heads would allegedly prevail the two rappers met in Times Square to discuss their differences, ultimately squashing the beef.
“The Message” may rank high on the list of iconic openers to a rap album of the past two decades, unresolved rivalries and bi-coastal friction barely scratch the surface of the masterpiece that is It Was Written. “Street Dreams,” the second single released from the album, may have been a blatant attempt at garnering radio and video airplay, but in hindsight, is far from criminal in sentiment and contains tons of insightful gems on the mindstate of young and ambitious black and brown men in urban America. From detailing his plans of wanting to wash his hands of the street life and go legit on the first verse, to reminiscing on his days as an impressionable pre-teen yearning for spoils of the criminal life with the couplet “Young early 80’s, throwing rocks at the crazy lady/Worshipping every word them rope-rocking nikkas gave me/The street raised me up giving a fukk/I thought Jordan’s and a gold chain was living it up.” The vibes of innocence and naivete are exchanged for conceptual exploits on the visceral offering, “I Gave You Power,” with Nas rapping from the perspective of a gun.
While firearms are viewed simply as an instruments or a means to get to the ends, Nas entices the listener to have a regard for its own journey, experiences, and emotions, making for one of the most brilliantly executed records in the history of hip-hop. Known for his sharp attention to the details and his inquisitive nature, Nas allows both to shine through on “Take It In Blood,” a track that brings to mind vintage musings from Rakim. Musing “I never brag how real I keep it, cause it’s the best secret/I rock a vest prestigious, Cuban link flooded Jesus/In a Lex watching Kathie Lee and Regis/My actions are one with the seasons,” Nas’ flows with a steady precision that making his bars feel wise beyond the years of a kid barely out of his teens.
But two tracks that were among the more highly anticipated songs on It Was Written was Nas’ collaboration with Dr. Dre, “Nas Is Coming,” and the posse but, “Affirmative Action,” which featured a murderous lineup that included newly minted superstar Foxy Brown, AZ, and rising QB rhymer, Cormega. With the rampant animosity between the Death Row camp that Dr. Dre co-founded and the East Coast, the pairing was an unexpected, yet intriguing one, with rap enthusiasts drooling at the thought of the west coast’s best producer laying down a track for one of the east coasts most skilled lyricists to spill thoughts over. Despite being deemed as underwhelming due to the hype and expectations surrounding it, “Nas Is Coming” includes some of Nas’ most stylistic lyrical outings on It Was Written and although it rarely gets mentioned among the most memorable cuts from the album, its remains a riveting one. Speaking of memorable performances, “Affirmative Action” certainly fits that bill. A precursor to the firm album, the song sees the four MCs going for broke atop string-heavy production, courtesy of Trackmasters, and Nas and Foxy Brown turn in worthy performances, with the latter cementing her status as the preeminent female spitter in the mainstream at the time. “Affirmative Action” would set in motion plans for the ill-fated Firm album that would drop in 1997 and fail to resemble the classic in the making many envisioned when news of the project first broke.
Whereas Illmatic was an album strictly from Nas’ point of view, which was inspired by his immediate surroundings, It Was Written finds him trying out different scopes, mostly with favorable results, like “Black Girl Lost.” Featuring Jo-Jo Hailey ofJodeci delivering vocals on the hook and elsewhere throughout the song, “Black Girl Lost” is an open letter from Nas to young black girls that are physically overdeveloped, but emotionally and mentally stunted. Rapping “Could you believe Eve, Mother Earth of the seas/nikkas thirst you, you just let em hurt you and leave/What up mah, frontin like you naive/Push your man’s whip, calling police when you flip,” Nas certainly recorded this with the bottle popping, crew-hopping, women that often find themselves the object of affection to those within the hustler lifestyle and criminal element.
It may go unsung when measured against the fanfare that other choice selections on It Was Written gets, “Suspect,” which is produced by L.E.S., is also a superb composition that sees Nas doing what he does best, playing street reporter from the frontlines of the ghetto. Giving commentary on the daily occurrences that transpire atop the crack pavement, Nas is as earnest as can be as he recalls stumbling across a crime scene in his projects after someone’s been murdered. “I puffed the lila, just before I hit the scene for rilla, I’m all high/It’s late I’m looking down at the fella/shyt’s pushed in, ambulance placed him on some cushion/His mom’s had a stare I wouldn’t dare second look when I murk,” the ghetto griot spits as he gives the play-by-play on the grisly scene.
But in terms of cinematic value, It Was Written gets no better than “Shootouts,” as Nas weaves together two instances in which guns go ablaze, the first of which involves a crooked cop that him and his crew have marked for death after getting word that he’s been getting cozy with a neighborhood fiend. The latter portion is centered around a dice game gone wrong, the aftermath of which sees casualties lost. Perhaps in a act of foresight, Nas tops off It Was Written with “If I Ruled The World,” as if he felt vindicated enough by the previous thirteen tracks’ to feel comfortable enough to throw it in the mix for good measure.
At the time of its release, It Was Written received generally glowing reviews from most high-profile publications. The Source, which was hailed as the most respected rap zine at the time, spoke favorably of the album, with Marc Landas gushing “If ever there was a straight up genius in hip-hop, par excellence, his name would have to be Nas. Not just a hip-hop artist or rhymer or celebrity, Nas Escobar is a hip-hop visionary.” Critic Christopher John Farley also waxed poetic in his 1996 review of the album for TIME. “Nas, who hails from New York City’s Queensbridge housing projects, is clearly saddened and outraged by the violence he sees around him, and he’s out to create songs that are more than cathartic cartoons.”
Cheo Hodari Coker compared It Was Written to a lyrical version of Claude Brown’s Manchild in the Promised Land, a testament to the album’s layers of death that encapsulates what it means to make music that mirrors your environment, but Nas goes a step further, drawing from the stylings of Raekwon‘s Only Built For Cuban Linx, to bolster the storyline’s pizazz, ’cause what’s a good story without a teaspoonful of embellishment? It Was Written may not be as endearing or flawless asIllmatic, but neither is the class clown. And while the perfect student may get all of the good grades and be beloved by the faculty, the class clown is the one that the classroom gathers around when looking for entertainment or a good story that will keep them on the edge of their seats.
Sure, the class clown may be a little rough around the edges and can come off as contrived at times, but when you have to decide who will show you a good time, being perfect and refined can cause for a lack of excitement. Illmatic may be the standard bearer of all things lyrical and boom-bap in hip-hop, but It Was Written is the more engaging album and looms even larger in stature as the years pass by.
Read More: 'It Was Written' Took Nas From Underground Sensation to Superstar | 'It Was Written' Took Nas From Underground Sensation to Superstar
by Preezy July 2, 2016 10:57 AM
It's not too often that a once in a generation type of talent comes along in any field, but in hip-hop, those crowned as a messiah can be prone to flaming out before ever making good on their promise. However, Nasir Jones ( better known as Nas) is not one of those cautionary tales of not being able to handle the weight of the expectations thrust on his back. Sure, he’s had his lesser moments (Nastradamus) but overall, Esco has answered the bell time and time again and has remained relevant over more than two decades, making him one of the more tenured artists in the mainstream today. And with a litany of business moves, endorsements, and other ventures, it doesn’t look like Nas will be taking a reprieve from building on his legacy anytime soon.
But anyone familiar at all with Nas is likely aware that much of the mystique surrounding him and the reverence he commands largely stems from his debut album, Illmatic. Released in spring of 1994, the album was greeted with endless praise, earning a perfect 5-mic rating in hip-hop magazine The Source, as well as helping alter the art of lyricism, taking the template his hero Rakim had introduced in 1986 and adding his own wrinkles, all of which culminated in what many claim to be the greatest hip-hop album of all-time. But Illmatic would fail to garner much commercial success, stalling out at gold, leading Nas to link up with industry veteran Steve Stoute, who would become Nas’ manager and introduce him to Trackmasters, the production duo that would produce a large chunk of his sophomore album, It Was Written.
Released in the summer of 1996, It Was Written arrived under largely different circumstances than Esco’s previous effort. While Illmatic debuted at No. 12 on the Billboard 200 with 59,000 copies sold in its first week, It Was Written instantly shot to the top slot on the album charts to the tune of 268,000 units sold, largely off the strength of the Lauryn Hill-assisted lead-single, “If I Ruled The World.” The radio-friendly track may have turned off those more accustomed to the stylings of “It Ain’t Hard To Tell,” but would become Nas’ most successful single to that point, marking his first entry into the top 20 of the Hot R&B/Hip-Hop Songs chart. Polarizing as it was, “If I Ruled The World” afforded Nas all of the tangible commercial success that had eluded his previous album and set the stage for what would prove to be a seismic release for hip-hop.
Nas sets off It Was Written with an introductory skit that sees the MC on a slave plantation and rebelling against his captors before being assaulted and lynched for his transgressions, a stark contrast from the onset of his previous offering. But those clamoring for the exuberant commentary of AZ, Nas’ co-star on the Illmatic intro, “Genesis,” as well as standout collaborations like “Life’s A bytch” and “Mo Money Mo Murder” get blessed during the latter portion of the track, which sees the two briefly basking in their newfound success before Esco jumps into the festivities with the opening salvo, “The Message.”
Produced by Trackmasters, the beat, which contains a sample of “Shape of My Heart” by Sting and sees him showing a more refined flow while taking aim at rival New York rap phenom The Notorious B.I.G. After both released their landmark debuts within months of each other and simultaneously become the golden children of New York City rap, a rivalry between the two began to brew over who was the rightful owner of the bragging right that is being the King of New York. WhileIllmatic had brought Nas critical acclaim and made him just short of a deity to progressive rap fans, Biggie, whose own commercial successful dwarfed Nas’ at the time, was had managed to capture the mainstream appeal that had eluded Nas to the point.
With all indications pointing to a highly success sophomore release, Nas decided to throw down the gauntlet with the lines “Red dot plots, murder schemes, 32 shotguns/Regulate with my Dunns, seventeen rocks gleam from one ring/So let me let y’all nikkas know one thing/There’s one life, one love, so there can only be one King.” The jab was perceived as a clear shot at Biggie, who had taken to dubbing himself ‘Frank White, the King of New York,’ a shot the Brooklyn heavy would return on his own sophomore album, Life After Death, on the song “Kick In The Door,” on which he mocked Nas’ contractual stipulations while reasserting himself as the undisputed top dog in the five boroughs.
Unfortunately, the fans would be robbed of the opportunity to witness what had the makings of a historic war of words when the Notorious B.I.G. was slain in Los Angeles in 1997 while promoting Life After Death. In addition to provocation, “The Message” drew the ire of Tupac Shakur, who took umbrage with the song’s second verse, in particular, during which Nas rhymed about being shot in an ambush, with the lines “I got stitched up, it went through/Left the hospital that same night, what,” prompting Pac to return fire on his scathing cut, “Against All Odd.” Calling out Nas by name and writing off “The Message” as a “fairy-tale,” 2Pac flung the QB prodigy into the ruckus that was the war of words between the east and west coasts, but cooler heads would allegedly prevail the two rappers met in Times Square to discuss their differences, ultimately squashing the beef.
“The Message” may rank high on the list of iconic openers to a rap album of the past two decades, unresolved rivalries and bi-coastal friction barely scratch the surface of the masterpiece that is It Was Written. “Street Dreams,” the second single released from the album, may have been a blatant attempt at garnering radio and video airplay, but in hindsight, is far from criminal in sentiment and contains tons of insightful gems on the mindstate of young and ambitious black and brown men in urban America. From detailing his plans of wanting to wash his hands of the street life and go legit on the first verse, to reminiscing on his days as an impressionable pre-teen yearning for spoils of the criminal life with the couplet “Young early 80’s, throwing rocks at the crazy lady/Worshipping every word them rope-rocking nikkas gave me/The street raised me up giving a fukk/I thought Jordan’s and a gold chain was living it up.” The vibes of innocence and naivete are exchanged for conceptual exploits on the visceral offering, “I Gave You Power,” with Nas rapping from the perspective of a gun.
While firearms are viewed simply as an instruments or a means to get to the ends, Nas entices the listener to have a regard for its own journey, experiences, and emotions, making for one of the most brilliantly executed records in the history of hip-hop. Known for his sharp attention to the details and his inquisitive nature, Nas allows both to shine through on “Take It In Blood,” a track that brings to mind vintage musings from Rakim. Musing “I never brag how real I keep it, cause it’s the best secret/I rock a vest prestigious, Cuban link flooded Jesus/In a Lex watching Kathie Lee and Regis/My actions are one with the seasons,” Nas’ flows with a steady precision that making his bars feel wise beyond the years of a kid barely out of his teens.
But two tracks that were among the more highly anticipated songs on It Was Written was Nas’ collaboration with Dr. Dre, “Nas Is Coming,” and the posse but, “Affirmative Action,” which featured a murderous lineup that included newly minted superstar Foxy Brown, AZ, and rising QB rhymer, Cormega. With the rampant animosity between the Death Row camp that Dr. Dre co-founded and the East Coast, the pairing was an unexpected, yet intriguing one, with rap enthusiasts drooling at the thought of the west coast’s best producer laying down a track for one of the east coasts most skilled lyricists to spill thoughts over. Despite being deemed as underwhelming due to the hype and expectations surrounding it, “Nas Is Coming” includes some of Nas’ most stylistic lyrical outings on It Was Written and although it rarely gets mentioned among the most memorable cuts from the album, its remains a riveting one. Speaking of memorable performances, “Affirmative Action” certainly fits that bill. A precursor to the firm album, the song sees the four MCs going for broke atop string-heavy production, courtesy of Trackmasters, and Nas and Foxy Brown turn in worthy performances, with the latter cementing her status as the preeminent female spitter in the mainstream at the time. “Affirmative Action” would set in motion plans for the ill-fated Firm album that would drop in 1997 and fail to resemble the classic in the making many envisioned when news of the project first broke.
Whereas Illmatic was an album strictly from Nas’ point of view, which was inspired by his immediate surroundings, It Was Written finds him trying out different scopes, mostly with favorable results, like “Black Girl Lost.” Featuring Jo-Jo Hailey ofJodeci delivering vocals on the hook and elsewhere throughout the song, “Black Girl Lost” is an open letter from Nas to young black girls that are physically overdeveloped, but emotionally and mentally stunted. Rapping “Could you believe Eve, Mother Earth of the seas/nikkas thirst you, you just let em hurt you and leave/What up mah, frontin like you naive/Push your man’s whip, calling police when you flip,” Nas certainly recorded this with the bottle popping, crew-hopping, women that often find themselves the object of affection to those within the hustler lifestyle and criminal element.
It may go unsung when measured against the fanfare that other choice selections on It Was Written gets, “Suspect,” which is produced by L.E.S., is also a superb composition that sees Nas doing what he does best, playing street reporter from the frontlines of the ghetto. Giving commentary on the daily occurrences that transpire atop the crack pavement, Nas is as earnest as can be as he recalls stumbling across a crime scene in his projects after someone’s been murdered. “I puffed the lila, just before I hit the scene for rilla, I’m all high/It’s late I’m looking down at the fella/shyt’s pushed in, ambulance placed him on some cushion/His mom’s had a stare I wouldn’t dare second look when I murk,” the ghetto griot spits as he gives the play-by-play on the grisly scene.
But in terms of cinematic value, It Was Written gets no better than “Shootouts,” as Nas weaves together two instances in which guns go ablaze, the first of which involves a crooked cop that him and his crew have marked for death after getting word that he’s been getting cozy with a neighborhood fiend. The latter portion is centered around a dice game gone wrong, the aftermath of which sees casualties lost. Perhaps in a act of foresight, Nas tops off It Was Written with “If I Ruled The World,” as if he felt vindicated enough by the previous thirteen tracks’ to feel comfortable enough to throw it in the mix for good measure.
At the time of its release, It Was Written received generally glowing reviews from most high-profile publications. The Source, which was hailed as the most respected rap zine at the time, spoke favorably of the album, with Marc Landas gushing “If ever there was a straight up genius in hip-hop, par excellence, his name would have to be Nas. Not just a hip-hop artist or rhymer or celebrity, Nas Escobar is a hip-hop visionary.” Critic Christopher John Farley also waxed poetic in his 1996 review of the album for TIME. “Nas, who hails from New York City’s Queensbridge housing projects, is clearly saddened and outraged by the violence he sees around him, and he’s out to create songs that are more than cathartic cartoons.”
Cheo Hodari Coker compared It Was Written to a lyrical version of Claude Brown’s Manchild in the Promised Land, a testament to the album’s layers of death that encapsulates what it means to make music that mirrors your environment, but Nas goes a step further, drawing from the stylings of Raekwon‘s Only Built For Cuban Linx, to bolster the storyline’s pizazz, ’cause what’s a good story without a teaspoonful of embellishment? It Was Written may not be as endearing or flawless asIllmatic, but neither is the class clown. And while the perfect student may get all of the good grades and be beloved by the faculty, the class clown is the one that the classroom gathers around when looking for entertainment or a good story that will keep them on the edge of their seats.
Sure, the class clown may be a little rough around the edges and can come off as contrived at times, but when you have to decide who will show you a good time, being perfect and refined can cause for a lack of excitement. Illmatic may be the standard bearer of all things lyrical and boom-bap in hip-hop, but It Was Written is the more engaging album and looms even larger in stature as the years pass by.
Read More: 'It Was Written' Took Nas From Underground Sensation to Superstar | 'It Was Written' Took Nas From Underground Sensation to Superstar
One of the greatest songs ever created. Who else could make a song that makes you feel bad for a gun?
Nasir Bin Olu Dara Jones that's who!
Deja Vu is individually better than any track on this album, this album receive initial backlash for a reason, only years later does it seem somewhat decent in comparison to how commercialized and watered down the genre has become but this album was a definite step-down from illmatic
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:pdahell:
DAR Classic Hip Hop: 20th Anniversary of Nas' It Was Written
Thursday, June 30, 2016
Tracklist
1. Album Intro
2. The Message
3. Street Dreams
4. I Gave You Power
5. Watch Dem nikkas
6. Take It In Blood
7. Nas Is Coming
8. Affirmative Action
9. The Set Up
10. Black Girl Lost
11. Suspect
12. Shootouts
13. Live nikka Rap
14. If I Ruled The World
15. Silent Murder (Bonus Track)
July 2, 1996. A new Nas album hits the shelves. The album that I believe is the greatest hip hop album ever. It holds a very special place in my heart. Nas was riding the high of a gold selling debut classic with Illmatic, and he would be enjoying the success that came with it. One story about this album that always sticks with me is the report that Nas was struggling with money during 1995 and had to take out a loan to make purchases for the Source Awards (mostly clothes and jewelry from what I have heard). Nas had developed expensive taste and his spending habits became an issue. He would christen himself Nas Escobar and with it came a fascination with the mafioso lifestyle. This would manifest in Nas beginning to gravitate to a more mafioso-rap style along with a more commercial sound to achieve the success he desired (and presumably help get him out of whatever debt he had accumulated). Nas would undergo what was seemingly a style change and with it, came a different sound and more of a creative freedom.
Now, while Illmatic was true to form boom bap hip hop at its finest, this new album Nas was putting together had different elements in it. There were more samples and loops along with lush arrangements and concepts. Lyrically, Nas was still as focused as ever and he wasn't showing signs of missing a beat either. Enlisting the serves of Steve Stoute as his manager and a new bevy of producers, Nas would create something that is recognized by many as his best album, and one of the best hip hop albums of the 90's (or all time even). Today, 20 years later, we look back at one of the seminal hip hop releases of 1996, and what I feel is Nas' best album. Ladies and gentlemen, this is It Was Written.
*Theme
Nas would go for a more commercial sound, as I mentioned earlier, but he definitely played into the mafia theme as well. The Nas Escobar moniker he adorned himself with definitely would set the tone and we would hear glimpses of that persona coming out on his guest appearances on "Verbal Intercourse" from the Only Built For Cuban Linx album by Raekwon, and even more so on AZ's "Mo Money, Mo Murder, Mo Homicide" off his classic Do or Die Debut. With the image in place and his affinity for mafioso-rap now taking shape, Nas would also focus his attention on a more glamorous lifestyle. The poverty inspired raps and lyricism of Illmatic were still there in small spurts, but they had mostly been replaced by a Nas who wanted the world and everything in it, while still trying to put a message in despite his need to shine. This would be showcased on the intro of this album, the beginning of this epic saga, where a slave rebellion is heard taking place. In an intricate way, it feels as if Nas is starting off the album breaking his own chains so to speak, freeing himself to go after what he wants, deserves, and desires. Over the course of the album, we see a Nas that promotes guns, name brand clothing and alcohol, money spent in excess, while still lacing us with lyrical gems, his mafioso-rap persona, conceptual songs that pleased the listeners, some thought provoking messages, and straight up classic verses overall. The album contradicts itself in some way throughout and that's the beauty of it. Nas is not perfect. He has materialistic dreams and wants, he was desires to be the king, he wants to shine, but he also wants to inspire his people, inspire the world, and help uplift us in some way as well. And that's his most relatable message in many ways, because who doesn't want the same thing as well? The theme here Is multilayered and it truly works.
*Production
The production on this album was mostly handled by Trackmasters, and I've never been the biggest fan of the production team. However, here, they do a great job of matching Nas with enough fire throughout on the beats, crafting production gems like "Watch Dem nikkas", "Affirmative Action", "Black Girl Lost", the sample heavy hit single "If I Ruled The World", and the truly dope "Shootouts". Tone and Poke were relatively big at the time in hip hop and were creating hits, but to put them with a MC the caliber of Nas could have been a big mistake. Regardless, this paid off on that end, and Trackmasters do a great job here, but they aren't the only producers who show up here and make something special for Nasir.
L.E.S., a long time producer of Nas, crafts a great track in "Suspect" and assists by co-producing on "Black Girl Lost", one of my favorite beats and songs on the entire album. Dr. Dre brings us the only disappointing moment music wise on this album, with the boring yet somewhat G Funk laced production on "Nas Is Coming", which is honestly one of my least favorite all time Nas songs. The song itself just doesn't fit to me on this particular album, and though Nas lyrically shines as always, the production just falters a bit. DJ Premier would certainly make his presence known on this album, with the knocking boom bap beat for "I Gave You Power", Nas' epic conceptual track. The bristling keys and sample of Ahmad Jamal's "Theme Bahamas" backed by the familiar Premo drums made this an amazing listen from start to finish.
However, the award for production MVPs on this album have to go to Havoc for his work on "The Set Up" and "Live nikka Rap" and the underrated talent of Live Squad, Lo Ground, and Top General Sounds for their flawless work on "Take It In Blood" and "Silent Murder". Each provide a certain element production wise, as Havoc brings a gritty and rugged feel with his production, and the Live Squad make sure to supply Nas with enough boom bap yet layered melody and bounce on their contributions to the album. Sure, Trackmasters are the dominant producers on this album, but these two steal the show as far as the beats go. Just take a listen to the opening melodies of both "The Set Up" and "Take It In Blood" respectively. Come on man!
*Features
Nas brings in Foxy Brown twice on this album, the first appearance she would have is on my favorite song "Watch Dem nikkas", as she helps with adlibs and assists Nas in doing the hook. She's a nice addition to this song and her voice does help drive home the hook. She would appear again with one of her most infamous verses on "Affirmative Action", along with AZ and Cormega who appear as well, this being the first introduction of The Firm (before Mega was replaced by Nature). I must say I was a tad disappointed that there wasn't another AZ appearance on this album, but he still delivers on his verse here as usual. Dr. Dre assisted on "Nas Is Coming", helping to combine the East and West during the tumultuous East vs West feud. It was a very monumental collaboration essence then.
Some of the other features on this album are Havoc, as he assists on "The Set Up", giving the track a true Queens feel. Speaking of the Queens feel, Havoc returns for "Live nikka Rap" along with his Mobb Deep partner Prodigy for yet another anthem on this album. Two of Nas' most popular songs and hooks reside on this album and come from two different voices of R&B, as JoJo from Jodeci and Lauryn Hill respectively bring their flavor to "Black Girl Lost" and "If I Ruled The World".
*Lyrics
One of Nas' biggest strengths has been his lyricism. On this album, he truly drops some of the greatest lyrics we've ever heard in hip hop. From the start of the album, Nas takes no prisoners and brings it from the jump, with his declaration to be the king of this game on "The Message". It's a simple set of lines, but effective:
"Yo, let me let y'all nikkas know one thing/
There's one life, one love, so there can only be one King/"
Powerful. Much like the lyrics on the final verse, where Nas comes to one of his most poignant realizations in his career:
"But uhh, a thug changes, and love changes/
And best friends become strangers/"
This is one of my all time favorite lines ever in hip hop and Nas was certainly in the zone when he scribed this classic display of skill. While "Street Dreams" is lyrically sound, it lacks a bit of depth lyrically, but one could not deny the level of genius on "I Gave You Power". Becoming the personification of a gun, Nas weaves through the flawless production and creates a story designed to show you the struggle this gun is going through:
"Always I'm in some shyt/
My abdomen is the clip
The barrel is my dikk/
Uncircumcised, pull my skin back and cock me/
I bust off when they unlock me/
Results of what happens to nikkas shock me/
I see nikkas bleedin runnin from me in fear, stunningly tears/
Fall down the eyes of these so-called tough guys, for years/"
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After painting the picture with this track, we find Nas at his lyrical peak in succession on the album. First, there's the legendary lyricism of "Watch Dem nikkas", a song that Nas had to have known was going to be a classic. Sure, the smooth instrumental and the Foxy Brown assisted hook make it even more special, but nothing beats the first verse in full from Nas. It's on my list of top 15 verses of all time. What makes it so special? Just take a look at the full first verse in all of its glory:
"They never realized, how real Nas, is so decisive/
It's just the likeness/
Of Isrealites mist/
That made me write this/
A slight twist, of lime rhyme/
Be chasing down your prime time/
Food for thought or rather mind wine/
The Don Juan, features the freak shyt, my thesis/
On how we creep quick/
fukking your wife, that ain't no secret/
It's mandatory/
See that p*ssy, they hand it to me/
I got no game, it's just some bytches understand my story/
There ain't no drama that my nikkas never handle for me/
My gator brand is Mauri/
Walking through rough land before me/
Where the snakes/
Put a smile on they face/
Hoping and praying I'm stuck/
Scoping they lay in the cut/ Weighing my luck/
Playa haters play this in cell blocks and rock stages/
Winking at some females, cops with cocked gauges/
Really, it's papers I'm addicted to/
Wasn't for rap then I'll be stickin you/
The mag inside the triple goose/
Face down on the floors, the routine/
Don't want hear nobody blow steam/
Just cream or it's a smoke screen/
Imagine that/
That's why I hardly kick the braggin raps/
I zone, to each his own, and this ghetto inhabitant/"
I don't think you'll find a better opening verse than that in damn near all of hip hop. The entire song is full of lyrical gems from Nas, as he puts his best performance on the album here. Coasting on the production, Nas leaves a lasting impression on the listener with the level of ingenuity in these lyrics, but it doesn't stop there. Not at all actually. The following song "Take It In Blood" is truthfully in the running as well to be one of his best lyrical performances, as he takes each verse on a different journey, but the first and third verses of the song are where he shines the brightest. The first verse is a classic for sure, as his internal rhyme schemes and wordplay are undefeated here:
"I never brag, how real I keep it/ Cause it's the best secret/
I rock a vest, prestigious/
Cuban link flooded Jesus/
In a Lex watching Kathie Lee and Regis/
My actions are one with the seasons/
A Tec squeezing/
Executioner, winter time I rock a fur/
Mega popular/
Center of attraction/
Climaxing/
My bytches they be laughing/
They high from sniffin coke off a twenty-cent Andrew Jackson/
City lights spark a New York night, Rossi and Martini sippin, Sergio Tachinni flippin/
Low price, I blow dice and throw em/
Forty-five by my scrotum/ Manifest the "Do or Die" slogan/
My nikkas roll in ten M3's/
Twenty Gods popping wheelies on Kawasaki's/
Hip-Hop's got me on some ol'/ Spraying shots like a drumroll/
Blanking out and never miscount the shells my gun hold/
I don't stunt, I regulate/
Henny and Sprite, I separate/
Watching crab nikkas marinate/
I'm all about Tecs/
A good jux and sex/
Israelite books, holding government names from Ness/
MC's are crawling out, every hole in the slum/
You be aight like blood money in a pimp's cum/
If that's not a shining example of lyrical talent, just take a look at the opening couplet from the third verse, where Nas elevated his skill and flow even more with this amazing display:
"Yo the time is wasting/
I use the mind elevation/
Dime sack lacing/
Court pen pacing/
Individual, lyrical math abrasion/
Psychic evaluation/
The foulest nation/
We livin in, dangerous lives, mad leak and battered wives/
A lifestyle where bad streets is patternized/
Wise men build and destroy/
While the real McCoy/
Dope fiend, named Detroit is still dealing boy/
Coke suppliers acting biased/
Cause rumors say that nikkas wear wires and we liars/
But every night the gat's fired/ And every day a rat's hired/
I still remain the mack flyest/
In the phat Kani, it's/
Just the killer in me/
Slash drug dealer MC/
Ex-slug filler/
Semi mug peeler/"
The lyricism displayed here is honestly some of the absolute best on the album and once again, some of Nas' best work ever. Though this album doesn't possess as much of the raw, straightforward lyricism of Illmatic, there's more style in his flow, and more creativity behind his words. Throughout the album, Nas crafts tales of street life, excess, and wisdom, but his most underappreciated moment on this album comes on "Black Girl Lost". The 2nd verse is where he hits on his strongest point of the entire song:
"Like Isis/
You got your heart broke and felt lifeless/
Grow up girl, instead you want revenge, so now you act the nicest/
To whoever getting down and trifless/
To get his mind all you do is give him somethin priceless/
Cause in time he'll realize the thighs is all he needs/
More than weed/
Then you hit him off with lies and greed/
There you go again, starting wars/
Making me more yours/
Seem to get a kick out of keeping me on all fours/
Face glistening, I'm addicted to you/
Original, Wisdom Body got me picturing you/
Igloos of ice tricking on you/
You never listen to/
This nikka spending Franklins/
On tennis anklets/
Must've had a bad deal in the past though/"
Can't even keep it real with a nikka with cash flow/"
Nas glares into the soul of the misguided sista on this song and while some of his lyrics were seen as derogatory to the black woman, he was looking at a certain type of black woman, likely the ones he had encountered since his fame began, or perhaps those he had encountered before the fame. On an album full of gun talk, mafioso-rap, and conceptual tales, Nas stops for a moment to address the thing he loves and appreciate the most: the black woman. When he finishes the first verse with "there should be a throne for us, but for now, there's a whole different zone for us", you can tell Nas wants to get back to the common ground that he had with women prior or just find something that's substantial, who doesn't just want him for the materialistic, but for something deeper. It's an amazing contradiction because a majority of the lyrics of excess champion these type of women essentially, only for Nas to gain a form of awareness and see that's not really what he wants. He also paints the struggle of the black woman in the office and how some women use sex to elevate their importance, when they possess much greater assets internally and mentally. "Black Girl Lost" is one of my favorite songs on this album and this is why.
Nas finishes the album off with the mega hit "If I Ruled The World", and his opening lines there are some of my favorite on the entire album as well. It's Nas in a state of daydreaming honestly, wishing for a better day and thinking about what he would do if he could control how the world moves. His first verse paints a perfect picture:
"Imagine smoking weed in the streets without cops harassing,
Imagine going to court with no trial....
Lifestyle cruising blue behind my waters/
No welfare supporters/
More conscious of the way we raise our daughters/
Days are shorter/
Nights are colder/
Feeling like life is over/
These snakes strike like a cobra/
The world's hot, my son got knocked, evidently/
It's elementary/
They want us all gone eventually/"
From there, Nas talks about opening every cell in Attica to send the prisoners to Africa, which is an interesting goal for a few reasons, talks a world with no condoms (I would assume and hope this meant a world with no STDs as well), making Coretta Scott King the mayor, and other illustrious goals before finishing the song with a third verse that really sums it all up, stating that despite the gangsta lifestyle and everything that comes with it, all he really wants is to live healthy, wealthy, and be free. Lofty goals? Yes and no, but it's a look into the mind of Nas to see how he just wants the best in general, which is akin to his desire to make a more successful album and take a more commercial route on this album. Regardless, it worked.
"They never realized, how real Nas, is so decisive/
It's just the likeness/
Of Isrealites mist/
That made me write this/
A slight twist, of lime rhyme/
Be chasing down your prime time/
Food for thought or rather mind wine/
The Don Juan, features the freak shyt, my thesis/
On how we creep quick/
fukking your wife, that ain't no secret/
It's mandatory/
See that p*ssy, they hand it to me/
I got no game, it's just some bytches understand my story/
There ain't no drama that my nikkas never handle for me/
My gator brand is Mauri/
Walking through rough land before me/
Where the snakes/
Put a smile on they face/
Hoping and praying I'm stuck/
Scoping they lay in the cut/ Weighing my luck/
Playa haters play this in cell blocks and rock stages/
Winking at some females, cops with cocked gauges/
Really, it's papers I'm addicted to/
Wasn't for rap then I'll be stickin you/
The mag inside the triple goose/
Face down on the floors, the routine/
Don't want hear nobody blow steam/
Just cream or it's a smoke screen/
Imagine that/
That's why I hardly kick the braggin raps/
I zone, to each his own, and this ghetto inhabitant/"
I don't think you'll find a better opening verse than that in damn near all of hip hop. The entire song is full of lyrical gems from Nas, as he puts his best performance on the album here. Coasting on the production, Nas leaves a lasting impression on the listener with the level of ingenuity in these lyrics, but it doesn't stop there. Not at all actually. The following song "Take It In Blood" is truthfully in the running as well to be one of his best lyrical performances, as he takes each verse on a different journey, but the first and third verses of the song are where he shines the brightest. The first verse is a classic for sure, as his internal rhyme schemes and wordplay are undefeated here:
"I never brag, how real I keep it/ Cause it's the best secret/
I rock a vest, prestigious/
Cuban link flooded Jesus/
In a Lex watching Kathie Lee and Regis/
My actions are one with the seasons/
A Tec squeezing/
Executioner, winter time I rock a fur/
Mega popular/
Center of attraction/
Climaxing/
My bytches they be laughing/
They high from sniffin coke off a twenty-cent Andrew Jackson/
City lights spark a New York night, Rossi and Martini sippin, Sergio Tachinni flippin/
Low price, I blow dice and throw em/
Forty-five by my scrotum/ Manifest the "Do or Die" slogan/
My nikkas roll in ten M3's/
Twenty Gods popping wheelies on Kawasaki's/
Hip-Hop's got me on some ol'/ Spraying shots like a drumroll/
Blanking out and never miscount the shells my gun hold/
I don't stunt, I regulate/
Henny and Sprite, I separate/
Watching crab nikkas marinate/
I'm all about Tecs/
A good jux and sex/
Israelite books, holding government names from Ness/
MC's are crawling out, every hole in the slum/
You be aight like blood money in a pimp's cum/
If that's not a shining example of lyrical talent, just take a look at the opening couplet from the third verse, where Nas elevated his skill and flow even more with this amazing display:
"Yo the time is wasting/
I use the mind elevation/
Dime sack lacing/
Court pen pacing/
Individual, lyrical math abrasion/
Psychic evaluation/
The foulest nation/
We livin in, dangerous lives, mad leak and battered wives/
A lifestyle where bad streets is patternized/
Wise men build and destroy/
While the real McCoy/
Dope fiend, named Detroit is still dealing boy/
Coke suppliers acting biased/
Cause rumors say that nikkas wear wires and we liars/
But every night the gat's fired/ And every day a rat's hired/
I still remain the mack flyest/
In the phat Kani, it's/
Just the killer in me/
Slash drug dealer MC/
Ex-slug filler/
Semi mug peeler/"
The lyricism displayed here is honestly some of the absolute best on the album and once again, some of Nas' best work ever. Though this album doesn't possess as much of the raw, straightforward lyricism of Illmatic, there's more style in his flow, and more creativity behind his words. Throughout the album, Nas crafts tales of street life, excess, and wisdom, but his most underappreciated moment on this album comes on "Black Girl Lost". The 2nd verse is where he hits on his strongest point of the entire song:
"Like Isis/
You got your heart broke and felt lifeless/
Grow up girl, instead you want revenge, so now you act the nicest/
To whoever getting down and trifless/
To get his mind all you do is give him somethin priceless/
Cause in time he'll realize the thighs is all he needs/
More than weed/
Then you hit him off with lies and greed/
There you go again, starting wars/
Making me more yours/
Seem to get a kick out of keeping me on all fours/
Face glistening, I'm addicted to you/
Original, Wisdom Body got me picturing you/
Igloos of ice tricking on you/
You never listen to/
This nikka spending Franklins/
On tennis anklets/
Must've had a bad deal in the past though/"
Can't even keep it real with a nikka with cash flow/"
Nas glares into the soul of the misguided sista on this song and while some of his lyrics were seen as derogatory to the black woman, he was looking at a certain type of black woman, likely the ones he had encountered since his fame began, or perhaps those he had encountered before the fame. On an album full of gun talk, mafioso-rap, and conceptual tales, Nas stops for a moment to address the thing he loves and appreciate the most: the black woman. When he finishes the first verse with "there should be a throne for us, but for now, there's a whole different zone for us", you can tell Nas wants to get back to the common ground that he had with women prior or just find something that's substantial, who doesn't just want him for the materialistic, but for something deeper. It's an amazing contradiction because a majority of the lyrics of excess champion these type of women essentially, only for Nas to gain a form of awareness and see that's not really what he wants. He also paints the struggle of the black woman in the office and how some women use sex to elevate their importance, when they possess much greater assets internally and mentally. "Black Girl Lost" is one of my favorite songs on this album and this is why.
Nas finishes the album off with the mega hit "If I Ruled The World", and his opening lines there are some of my favorite on the entire album as well. It's Nas in a state of daydreaming honestly, wishing for a better day and thinking about what he would do if he could control how the world moves. His first verse paints a perfect picture:
"Imagine smoking weed in the streets without cops harassing,
Imagine going to court with no trial....
Lifestyle cruising blue behind my waters/
No welfare supporters/
More conscious of the way we raise our daughters/
Days are shorter/
Nights are colder/
Feeling like life is over/
These snakes strike like a cobra/
The world's hot, my son got knocked, evidently/
It's elementary/
They want us all gone eventually/"
From there, Nas talks about opening every cell in Attica to send the prisoners to Africa, which is an interesting goal for a few reasons, talks a world with no condoms (I would assume and hope this meant a world with no STDs as well), making Coretta Scott King the mayor, and other illustrious goals before finishing the song with a third verse that really sums it all up, stating that despite the gangsta lifestyle and everything that comes with it, all he really wants is to live healthy, wealthy, and be free. Lofty goals? Yes and no, but it's a look into the mind of Nas to see how he just wants the best in general, which is akin to his desire to make a more successful album and take a more commercial route on this album. Regardless, it worked.
Legacy
The legacy of this album grew over the last 20 years. An album met with mixed reception and criticized by most for the excess and materialism, is now loved for all those same reasons, and then some. I never looked at this album as an album of excess and materialism, but rather an album of Nas flexing his creativity and making an album that would fit where he was at the time, and also help him see success. The bits of this album that were seen as commercial, like a "Street Dreams", a "Black Girl Lost", or "If I Ruled The World", still showed Nas at his lyrical best, but backed by catchy instrumentals and hooks that still held weight. That's the beauty in this album. It's the perfect balance and blend of commercialism, excess, mafioso-rap, conscious rap, and aggression, all of which make up Nas. These are all the different facets of Nas and what he brings to the table as a MC and as a man. I think Illmatic is his most raw album, but It Was Written is his most risky album, with much more creativity and focus on expanding his talents.
Nas would also get his wish, as the album remains his highest selling album ever, with 4 million copies sold domestically in the US. He managed to hit the no. 1 spot on the Billboard 200, and stay there for some weeks. Having the no. 1 album for weeks at a time is a great feat and being able to sell 4 million copies is a huge accomplishment, and Nas did it. He pulled it off. He also had a huge radio hit with "If I Ruled The World", which took over urban airwaves during 1996, and is still a popular song for bars and clubs to play on throwback nights. While Illmatic etched his name in hip hop history, It Was Written etched his name in music history period, providing him with one of the highest selling albums of 1996 and one of hid biggest hits on the radio. It Was Written is seen as a hip hop classic among many, and some great MCs, such as myself and Lupe Fiasco, consider it to be the best hip hop album of all time. Whether you think it's the best album of all time or not, the album is definitely a classic and represents the biggest moment in the career of Nas commercially. That will remain the legacy of It Was Written.
*Final Words
I still love to listen to It Was Written regularly. 20 years later, it seems to hold up well, and almost gets better with every listen. The lyrical depth of a "Watch Dem nikkas" or "Take It In Blood" is unmatched, the precision of a "Silent Murder" or "Live nikka Rap" is top notch, and the commercial sensibility of a "Black Girl Lost" or "If I Ruled The World" backed with a deeper message is genius. The aggressive lyrics and tone of a "Suspect", "The Set Up", or "Shootouts" fit perfectly with the street mafioso-rap theme and really painted this image of Nas Escobar. All in all, It Was Written is not only Nas' best album, but it's his most well rounded album as well. 20 years later, Nas has grown considerably, put out more classics, and shown much more depth and imagery in his lyrics, but this remains the upper echelon standard in his catalog. Salute to Nas and to this album. It's powerful.
-True
DefineARevolution.com: DAR Classic Hip Hop: 20th Anniversary of Nas' It Was Written
The legacy of this album grew over the last 20 years. An album met with mixed reception and criticized by most for the excess and materialism, is now loved for all those same reasons, and then some. I never looked at this album as an album of excess and materialism, but rather an album of Nas flexing his creativity and making an album that would fit where he was at the time, and also help him see success. The bits of this album that were seen as commercial, like a "Street Dreams", a "Black Girl Lost", or "If I Ruled The World", still showed Nas at his lyrical best, but backed by catchy instrumentals and hooks that still held weight. That's the beauty in this album. It's the perfect balance and blend of commercialism, excess, mafioso-rap, conscious rap, and aggression, all of which make up Nas. These are all the different facets of Nas and what he brings to the table as a MC and as a man. I think Illmatic is his most raw album, but It Was Written is his most risky album, with much more creativity and focus on expanding his talents.
Nas would also get his wish, as the album remains his highest selling album ever, with 4 million copies sold domestically in the US. He managed to hit the no. 1 spot on the Billboard 200, and stay there for some weeks. Having the no. 1 album for weeks at a time is a great feat and being able to sell 4 million copies is a huge accomplishment, and Nas did it. He pulled it off. He also had a huge radio hit with "If I Ruled The World", which took over urban airwaves during 1996, and is still a popular song for bars and clubs to play on throwback nights. While Illmatic etched his name in hip hop history, It Was Written etched his name in music history period, providing him with one of the highest selling albums of 1996 and one of hid biggest hits on the radio. It Was Written is seen as a hip hop classic among many, and some great MCs, such as myself and Lupe Fiasco, consider it to be the best hip hop album of all time. Whether you think it's the best album of all time or not, the album is definitely a classic and represents the biggest moment in the career of Nas commercially. That will remain the legacy of It Was Written.
*Final Words
I still love to listen to It Was Written regularly. 20 years later, it seems to hold up well, and almost gets better with every listen. The lyrical depth of a "Watch Dem nikkas" or "Take It In Blood" is unmatched, the precision of a "Silent Murder" or "Live nikka Rap" is top notch, and the commercial sensibility of a "Black Girl Lost" or "If I Ruled The World" backed with a deeper message is genius. The aggressive lyrics and tone of a "Suspect", "The Set Up", or "Shootouts" fit perfectly with the street mafioso-rap theme and really painted this image of Nas Escobar. All in all, It Was Written is not only Nas' best album, but it's his most well rounded album as well. 20 years later, Nas has grown considerably, put out more classics, and shown much more depth and imagery in his lyrics, but this remains the upper echelon standard in his catalog. Salute to Nas and to this album. It's powerful.
-True
DefineARevolution.com: DAR Classic Hip Hop: 20th Anniversary of Nas' It Was Written
dora_da_destroyer
Master Baker
Happy I was young and just got to enjoy the album when it dropped, no critics or fans hating to taint my view. this was the first Nas project I bought, been my GOAT since
Urbanmiracle
Brooklyn the planet...
It's only right
Nas escobize
Leave ya shyt mesmerized
Mega live like the 3rd world
Decipher my deceiver
Make em a believer
Spitting gem star
Words in my mic type receiver
Bond is my life
And I live by my word
Never fraudulent
Queensbridge don't make no herbs
Spread my name to deacons
Politictians while they speaking
Rebel to America civilization caught you sleeping
BLOAW!!!!
Nas escobize
Leave ya shyt mesmerized
Mega live like the 3rd world
Decipher my deceiver
Make em a believer
Spitting gem star
Words in my mic type receiver
Bond is my life
And I live by my word
Never fraudulent
Queensbridge don't make no herbs
Spread my name to deacons
Politictians while they speaking
Rebel to America civilization caught you sleeping
BLOAW!!!!
