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Soundbite

Published: Thursday, December 9, 2004

Nas “Street’s Disciple” Sony Urban Music/Columbia

The double LP has traditionally marked the winding down of a career for hip-hop artists. “Life After Death” and “All Eyez On Me” were respectively the last albums the Notorious B.I.G. and 2Pac released while still alive. Jay-Z “retired” a year after the release of the “The Blueprint 2,” and last year’s “Speakerboxxx/The Love Below” immediately set off talk about a possible OutKast breakup. Nas’ latest “Street’s Disciple” is a double album, and though some of his subject matter suggests he may be wrapping up his run, it’s doubtful he’ll be leaving the game or losing relevance anytime soon. That’s because, as he once again proves, mainstream hip-hop needs Nas more than anyone else right now; in an era of super producers, Nas is possibly the only rapper left who means anything. This is partially why “Street’s Disciple” is so frustrating to listen to. Nas flows all over the album, covering topics both personal and social – his scathing indictment of several prominent African-American figures in “These Are Our Heroes” is especially thought-provoking. But for an MC of his enormous talent, the production Nas chooses is far too hit-or-miss. When it works, it works brilliantly – tracks like “Nazareth Savage” and the bonus “Thief’s Theme” hit hard and compare well with previous career peaks. Too often, however, the beats – soft drums and all – are tearfully boring. It doesn’t help that a number of the hooks feature R&B singing so atrocious that several tracks are rendered nearly unlistenable. Somewhere in there is one of the very best hip-hop albums of the year. But the considerable amount of filler tracks fans will have to wade through to hear it makes for a listening experience that’s just as tiring as it is satisfying. – Alfred Lee