There comes a time when a man has to look at himself in the mirror and decide if he is happy with what he sees. When everything surrounds you is gone and the influence outside your window is calm, that’s when you have to stare at the image on the other side and ponder about the soul inside of your skin. Nas is staring very hard at that image and making a decision. Nas vs Jay-Z may be the battle most remembered by fans and followers alike, but the true battle that Nasir Jones has faced is the one within himself. Since Illmatic, Nas has wanted fame and fortune, but reality smacked him in the face, discovering that when you are different than what surrounds you, fame and fortune can and will elude you. Unless something happens, such as getting down with the trends and formulas that make the shiny suits, club banger creators and bling blingers rich. Unfortunately, Nas’ career coincided with what can be called the “dark years” of hip-hop from 1997 until now. That was a time when bankroll and image ruled over message and pure lyricism. Nas possessed the latter, yet opted to roll with “the dark side,” midway through his career. But even though many purists (including this critic) frowned upon the transformation from Nasty to Escobar, the question remains “Would Nas have survived this period without conforming?” While Nas’ years with the dark side” improved his standing with fans, followers began to distance themselves from Escobar and his “Oochie Wally- You Owe Me-Hate Me Now” mentality. But what did Nas do in between? He gave us flashes of brilliance to hold onto. But one day the image that Nas arguably wanted to obtain aimed his crosshairs at Escobar. By doing that a dose of reality flowed through Nas’ veins. While many observers witnessed a battle between two of the greatest emcees of our time (or all time depending on who you ask), upon closer review, one could notice that Nas began to embrace himself and the poet, visionary, lyricist that he truly is. One can argue the victor of the battle, but the bottom line is Nas’ confrontation came full circle, and at that point Nas became Nasir Jones aka God’s Son. Stillmatic and God’s Son followed, which showed that Nas could do whatever he wanted to do and survive this “business.” Now, when thuggery and down south crunk-ism rule the airwaves, Nas takes on the world with a bag full of goodies. With that being said, Street’s Disciple is another chapter of hip-hop’s legendary artist taking on not only the world, but once again, himself.  

     Street’s Disciple is Nas capturing the essence of hip-hop. Right from the outset he levels the listener with “A Message to the Feds, Sincerely, We the People” conjuring up images of the 18 year old Queensbridge native using his pen to envelop the atmosphere. By declaring himself the “Hitchcock of hip-hop since BIG and Pac departed,” he takes a stand that many would dare not argue with.  The haunting vibes of “Nazareth Savage” allow Nas to draw up lines like “I squeeze nipples like pimples to get the puss, get it?/Form a crew to swallow 40 cal bullets after dinner’s finished/Wash it down with a shot of tequila/pocket full of scrilla…” and continue smashing line after line with a savage’s frenzy. He is even able to give b-boy’s a backspin worth of vibes with “You Know My Style” sampling Run DMC’s “Jam Master Jay”, which pays both homage to the slain DJ as well as the era he was brought up in.

     As far as content, this may arguably be the deepest album since Illmatic. Instead of taking the time to please the listener musically, he spends the ink in his pen pleasing himself poetically. He summons his hornblowing father, Olu Dara, to join him on two tracks, to help recapture the magic found on their first collaboration, “Life’s A Bitch”. The first being the title track where Nas verbalizes the philosophies of a child from the projects, while his father seconds his son’s every emotion. The second being the blues infused “Bridging The Gap”, where Nas proves that he can do any and everything well, as evidenced by it’s lead single status. With his father providing vocals, as well as lead guitar, trumpet and harmonica, Nas joyfully bounds through the smattering drums, recalling the history of his family. Nas also takes the time to pay homage to the God himself, Rakim, on “U.B.R. (Unauthorized Biography of Rakim)”. The self produced track finds the God’s Son penning the path of the one and only Rakim, as only Nas can do. However where Nas may raise the most eyebrows is the name calling joint “These Are Our Heroes”, where he singles out several mainstream accepted Black celebrities. As soon as the track drops and Nas spits, “One for the coons on UPN 9 and WB who yes massah on TV…” it’s evident that Nas’ is on his soapbox saying what many may have thought, yet not had the platform (or guts) to vocalize effectively. He takes a huge shot at Kobe Bryant right off the top stating “Masta used to breed us to be big and to go play/athletes of today in the NBA/ “Make me proud” but there’s something they don’t say/ “keep getting accused for abusing white pussy”/ From OJ to Kobe or let’s call him Toby/At first he played his life cool just like Michael /Now he rocks ice too just like I do/Yo…you can’t do better than that?/The hotel clerk who adjusted the bathroom mat/now you lose sponsorships that you thought had your back/you beat the rap jiggaboo/fake nigga you/you turn around then you shit on Shaq/who woulda knew Mr. goody-two-shoes…”. Nas means business and will do what none other has…unabashedly trash the so-called role models. Even though there are a few missteps with joints like “The Makings of A Perfect Bitch” and the sappy “No One Else In the Room” (featuring Maxwell) it is apparent throughout that Nas is finally happy with what he sees in the mirror.

      The production of the album is the one weak spot that any Nas detractor would look to pick apart. The team of Chucky Thompson, Salaam Remi and L.E.S. are truly a hit and miss ensamble. At times they provide the essential throwback joint to take the listener back to the essence of hip-hop (the “Atomic Dog” sample in “American Way”), but during other moments listeners may beg for the Illmatic lineup of Pete Rock, DJ Premier, and Large Professor. Nas confirms throughout that he is indeed the pinnacle of the word “emcee”, but his production just isn’t strong enough to prove his point. An effective painter is only as good as the easel and paint he uses, and unfortunately he doesn’t employ the finest tools that hip-hop has to offer.

    As the common critic cliche on double albums goes “If this was a single CD it could have been classic,” it unfortunately holds true to Street’s Disciple. The thing is, who does one compare Nas to? He is by far one of the best lyricists we have ever seen, so how does the listener compare his work to any other artists? At this point in his career, comparisons to others are unnecessary, as Nas’ only competition is himself. So with that being said, is Street’s Disciple better than Stillmatic? Maybe better than God’s Son as far as production, but that is the obstruction that keeps Street’s Disciple becoming great. For now we will continue to yearn for the day that Nas employs Pete Rock, Premier, and possibly 9th Wonder to create THE Nas album, but the truth of the matter is that album was already created ten years ago. Until then, we will settle for what he is giving us, he’s that good.