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Neuro wrote:Honestly. Have any of you heard a rap scheme.like t h is. Im glad its different. And you motherfuckers cant tell me his rhyme skill and spitt isnt dope on this. And this is only the begining of what we know whats to appear with the rest. Stop being negative ducking nancys

Employee wrote:If Bender dropped some hot garbage like Nas just did (nh), you would all be pillorying him. Nas doesn’t get a pass when he makes Rap for Bottoms.

“Skeetlee Deedlee Dee Skattlat Dee Dat Doop Nosebleed Nosebleed raindrop Skeetlee Skat”

stype_ones wrote:Tanasia snip he posted sounds dope.

stype_ones wrote:Def a few joints where the hook or beat bring down the songs even though the lyrics are top notch. I wasn't expecting every song to be amazing anyway but there is plenty of dope shit on here and no one should be complaining. He is rapping at an extremely high level all over this shit.

But it’s tragic to hear what he’s done with some of these productions. For much of the record, Nas sounds like he’s trying too hard. “It Never Ends” is a swirling piano beat from Alchemist primed for a laid back flow that Nas...inexplicably yells over, biting The Notorious B.I.G.’s infamous “Seven Mac-11’s…” line in what appears to be a tribute. This mismatched energy is also apparent on a perfectly serviceable beat from Pete Rock (“The Art of It”), in which Nas sandwiches a single decent verse (“Pulled out the barrel/Four-fifths rip through bone marrow/Make his toes spiral the dirt/While his feet kick up rock, he’s a sprinter”) in between two head-shakers (“A life, Adidas under A, the B for beater, Bottega/British Knights sneaker...” and so on through the alphabet). “Beautiful Life,” his most direct reference to his divorce from the singer Kelis, offers no real clarity to their mutual allegations of abuse, and its celebratory tone leaves a stale aftertaste. Like most of the songs on Lost Tapes 2, it never should have seen the light of day, a sentiment that was, at one point, shared by Nas himself. That he would release an album that didn’t even meet his own standards is dispiriting.

The most notable moment on The Lost Tapes II will likely remain outlier “Jarreau of Rap (Skatt Attack),” which features Nas rapping over a sample of Dave Brubeck’s ill-metered classic “Blue Rondo à la Turk” (as performed by Al Jarreau). On one hand, the track is somewhat Hamilton-era gimmick rap, inescapable from rockist ideas of virtuosity. It even brings to mind Billy Woods’ recent complaint on Hiding Places, “I don’t wanna go see Nas with an orchestra at Carnegie Hall.” However, Nas has long nimbly rhymed over things like “Carol of the Bells” (1999’s “Shoot Em Up”) or “Für Elise” (2002’s “I Can”), and this tumble of lyrics is equally deft. Anyone whose idea of 1994 also includes Digable Planets, Boogiemonsters and Saafir alongside Illmatic should appreciate it.

NAS SAYS PRINCE WOULDN’T COLLABORATE WITH HIM BECAUSE HE DIDN’T OWN HIS MASTERS