JayBaldacci
All Star
Breh how can you say it's going to be his MCHG when we haven't heard 1 song?Knowing how Nas is the entire album can be changed instantly
Hoping nobody gets mad is all I need to here. Read between the lines...
Official Nas Thread
- Thread starter Ronald
- Start date
Hoping nobody gets mad is all I need to here. Read between the lines...
prophecypro
Hollywood North
Kinda felt the same way you did. Its like I thought he was doing such good job on guest verses from 2011-2016 I was ready for a new album but this year and with this current space he's in (relationship), I wouldn't mind waiting an getting this out of his system
But who knows maybe it means he's found the right balance and since working with Saleh as his manager his beats aren't as inconsistent so I dont mind if they feel he's found a balanced formula....I hope
HNIC973
R.I.P Bandana P
Some of y'all
Piff Perkins
Veteran
I just hope he listens to Hip Hop, who is working with him on the album. Just let him pick most of the beats. He also has some other young people around who I hope get some say in things.
I agree that Nas is irrelevant with the new generation and I don't want to see a Future feature for instance, since it's not going to work. Just do you. Make a dope album with dope beats. Some trap but mainly just beats that fit.
I agree that Nas is irrelevant with the new generation and I don't want to see a Future feature for instance, since it's not going to work. Just do you. Make a dope album with dope beats. Some trap but mainly just beats that fit.
prophecypro
Hollywood North
That Was an Uncanny Era: An Oral History of Nas’ ‘The Lost Tapes’
Dope feature from Mass Appeal, Oral History of Lost Tapes on its 15th Anniversary
Dope feature from Mass Appeal, Oral History of Lost Tapes on its 15th Anniversary
HNIC973
R.I.P Bandana P
“Blaze a 50,” [N.O.R.E.’s] “Body in the Trunk,” [“Fetus”]—all of those records were done in the same series of sessions.
GOAT shyt
IllmaticDelta
Veteran
IllmaticDelta
Veteran
Poke: Nas comes up with concepts that are food for thought. Imagine looking at a painting and you get a word or a concept that comes to you when you see it. Nas kinda writes that way. He would come up with a few words or a concept and start building from that. So he’ll say to us, “Yo, I got this idea for, like, being in my mom’s womb.” It’s unimaginable until he starts putting words in there and you’re like, “Oh my god.” Just like what he did with the gun record [“I Gave You Power”]. The way that he articulates is nuts. I always thought that he paints pictures with words.
Nicholson: “Fetus” was originally recorded for I Am. That was a very important record. It goes along with the themes that Nas has consistently had in his albums, about giving you the essence of something and taking you along on that journey. Every artist has that one thing. He’ll either take you from the end back to the beginning or from the beginning to the end.
Alexander Wiggin
All Star
very interresting
About Doo-Rags:
Precision: Corey Rooney and L.E.S. were involved in me coming to the studio. I played four or five instrumentals for Nas; there was no real reaction. I was nervous that I wasn’t going to make the cut. I went to the piano room and started to play that piano riff that me and Michelle made up. Then I started messing around on the MPC3000, brought up a drum beat, started messing around with the nylon guitar to make the hi-hat pattern. From there, L.E.S. had a few ideas, but Nas looked over and said, “Ah man, just let him go.” It was about a 20-minute ordeal. Nas sat down and wrote all three verses right in front of my face. The instrumental [for Stillmatic’s] “Smokin’” was also made in that session. I believe the Wurlitzer sample is the same for both songs.
GOAT shyt
Precision: Corey Rooney and L.E.S. were involved in me coming to the studio. I played four or five instrumentals for Nas; there was no real reaction. I was nervous that I wasn’t going to make the cut. I went to the piano room and started to play that piano riff that me and Michelle made up. Then I started messing around on the MPC3000, brought up a drum beat, started messing around with the nylon guitar to make the hi-hat pattern. From there, L.E.S. had a few ideas, but Nas looked over and said, “Ah man, just let him go.” It was about a 20-minute ordeal. Nas sat down and wrote all three verses right in front of my face. The instrumental [for Stillmatic’s] “Smokin’” was also made in that session. I believe the Wurlitzer sample is the same for both songs.
GOAT shyt
More GOAT GOATTING:
L.E.S. (Producer of “U Gotta Love It” and “Nothing Lasts Forever”; co-producer of “Blaze a 50”): We was in Miami when we did “U Gotta Love It.” It might’ve been around the time we was doing It Was Written or right after. I was just fukking around with the sample. I looped it and realized that it was three bars and I was like, “Ain’t nothing you can do with this.” That shyt was really like an accident. I played it for him and he was just like, “Whoa, this is dope.” Nobody would ever rhyme on a three-bar turnaround loop—they didn’t know how to. Nas was like, “I’ma do this shyt.” He wrote to the beat right there. I had an AZ sample on one of the pads and was hitting it. This is what they want, huh. It came out classic.
Nicholson: A lot of times Nas would go in and freestyle what comes to his head. He’ll sit in there and record a song, but it could be off the top, just based off the energy he’s feeling. Then he may say, “Alright, we’ll keep this, we’ll trash that.” He’ll come back out the booth and finish writing.
Nas: I freestyled [“My Way”] on my birthday in ’99. I’d carried the thoughts around.
L.E.S. (Producer of “U Gotta Love It” and “Nothing Lasts Forever”; co-producer of “Blaze a 50”): We was in Miami when we did “U Gotta Love It.” It might’ve been around the time we was doing It Was Written or right after. I was just fukking around with the sample. I looped it and realized that it was three bars and I was like, “Ain’t nothing you can do with this.” That shyt was really like an accident. I played it for him and he was just like, “Whoa, this is dope.” Nobody would ever rhyme on a three-bar turnaround loop—they didn’t know how to. Nas was like, “I’ma do this shyt.” He wrote to the beat right there. I had an AZ sample on one of the pads and was hitting it. This is what they want, huh. It came out classic.
Nicholson: A lot of times Nas would go in and freestyle what comes to his head. He’ll sit in there and record a song, but it could be off the top, just based off the energy he’s feeling. Then he may say, “Alright, we’ll keep this, we’ll trash that.” He’ll come back out the booth and finish writing.
Nas: I freestyled [“My Way”] on my birthday in ’99. I’d carried the thoughts around.
Good looks! Was having a shytty day, but now I'm looking forward to reading this later.
Poke: There was a time where Nas was in the studio and we was just recording for no reason at all. That’s when he started coming up with all of these different concepts. “Blaze a 50,” [N.O.R.E.’s] “Body in the Trunk,” [“Fetus”]—all of those records were done in the same series of sessions. He was in the conceptual frame of mind at that time. They was just in the studio high as fukk, [thinking] of the most ratchet shyt that could happen. They sit around and joke like, “Yo, imagine nikkas doing da-da-da” and he’s penning it. That’s how a lot of the ideas be coming. “Blaze a 50,” we already had the track. That’s when the track is playing and everybody’s getting lye’d up, so the ideas start coming. That’s how that one came about.You put the track on loop and the pen just starts..
That session must have been crazy!
That session must have been crazy!