Nas' Hip-Hop is Dead: A Review

After his somewhat overlooked seventh album, Street's Disciple (read review), Nas returned in 2006 with Hip-Hop is Dead. The title itself - a strong statement especially coming from one of hip-hop's brightest lights, drew no small backlash from other rappers - particularly popular Southern rappers - who thought the message was premature.

The album itself is only somewhat a meditation on the title, which demonstrates the man's gripping inconsistencies, as some songs have nothing to do with the major conceit. However, many of these songs are such highlights that they cannot be dismissed: Hustlers with The Game, the mellow Still Dreaming with Kanye West, Black Republicans with one-time foe Jay-Z, the silky Playa on Playa with Snoop Dogg, all are excellent, memorable tracks. Others, such as Holding Down the Block are strong enough on their own merits to rank inclusion here though, they detract from the emcee's early laser sharp focus. A secondary theme of the album is Nas' own aging, his own reconciliation with the hip-hop of the past which he fell in love with and his life now, as a successful rap star who "...can't sound smart cause ya'll will run away." And perhaps in that light his foray into old, often clichéd street tales on such tracks is understandable.

And then there are the tracks informed by the title. There are some strong and poignant moments among them: Nas' reflection on black music history on Blunt Ashes, his moving tribute to overlooked pioneers, the In-A-Gadda-Da-Vida-sampling title track, Where Are They Now?, the sermonizing Carry On Tradition, and the acapella closer Hope. Always one for concept records, Who Killed It? attempts to solve the mystery of who murdered hip-hop with Nas taking on the voice of a Scotland Yard detective.

So who did kill it? Nas posits that it is those who lost respect for it, who do not understand its history, and who do not "carry on tradition" in a loose collection of tracks that is thankfully not as overbearing as it could have been. It is less a declaration than a chin check; Hip-Hop is Dead is the militant screaming in the background that, rather than changing our point of view in any significant measure, by his very presence deflates our complacency. And again the album is not strident, but the statement, made by an artist with Nas' legacy, is commanding. And it is another strong outing from the Queensbridge emcee.

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