spliz
SplizThaDon
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That’s a fact. Imma quote Eaze real quick. “nikkas gotta stop actin like all 90s boom bap was hot. Some nikkas put out trash..”
Albums Nas & DJ Premier - Light-Years (Discussion Thread)
- Thread starter Dylmatic
- Start date
Gave it another spin, pains me to say… but the production really is average to ass cheeks 
Nas doing everything he can to carry the production but he’s also running out of shyt to say
Nas doing everything he can to carry the production but he’s also running out of shyt to say
John Reena
Superstar
I've never seen an MC get compared to his previous work like Nas. Half of y'all can't enjoy his new shyt unless it sounds exactly like his previous classic shyt. I love Writers for example do I listen to it like this ain't Nas is Like fukk this?Music is subjective I guess
Dog!
Fans n critics be so ridiculous toward Nas. Jay-Z been making the same song since 1998 and if he farts, critics be acting like it’s the greatest thing on planet Earth……meanwhile Nas experiments, tries new flows, subject matter the critics crap all over his efforts EVERY SEASON SINGLE TIME. Nas makes an entire album produced by Premier rapping about his love for hip-hop….finally giving critics n fans what they want…and nikkaz still crapping on his efforts.
spliz
SplizThaDon
- Joined
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- NY all day..Da Stead & BK..
Critics seem to be showing love. It’s the fans that’s mad.Dog!
Fans n critics be so ridiculous toward Nas. Jay-Z been making the same song since 1998 and if he farts, critics be acting like it’s the greatest thing on planet Earth……meanwhile Nas experiments, tries new flows, subject matter the critics crap all over his efforts EVERY SEASON SINGLE TIME. Nas makes an entire album produced by Premier rapping about his love for hip-hop….finally giving critics n fans what they want…and nikkaz still crapping on his efforts.
Fully on board with those saying it's the first few tracks that are a rough start.
I fukks with two of them (intro and git real), NYSOM3 is mixed for me - I love the rapping parts, dislike the chorus. Welcome to the Underground is a still a miss for me, it reminds me or the only HIT song I didn't like - Earvin Magic Johnson.
Once it hits Madman, it's excellent until the very end imo.
I fukks with two of them (intro and git real), NYSOM3 is mixed for me - I love the rapping parts, dislike the chorus. Welcome to the Underground is a still a miss for me, it reminds me or the only HIT song I didn't like - Earvin Magic Johnson.
Once it hits Madman, it's excellent until the very end imo.
John Reena
Superstar
This the era of complaining. Fans of all genres would rather complain than actually enjoy music/movies/comics/tv shows etc,
T.he I.nformant
1st Ballot HOF Teller
Buckle up brehs…
I ain’t gon hold you, this is pure fire.
Any muthafukka saying otherwise is buggin but to each his own. Salute to Nas and Preemo for holding it down. I think they both delivered with their respective performances.
Production-wise and beat-wise, I think Preemo did his thing. I’m finding the criticism surprising because I think the album sounds good. As good as anything from the Hit-Boy collabs which I rate very highly.
Preem gave Nas an interesting and diverse soundscape that is sometimes grimy, menacing, and raw… other times frantic, energetic, and urgent… and also sounding smoother, melodic, and nostalgic. To me, I hear synergy in what Nas is rapping about over the backdrop Preem provided. It’s perfect. It’s cohesive. The music matches the energy that has been around this project too. This is a throwback. The intent is clear they want to show they’ve been at this a long time and that hip-hop today couldn’t be here without its past.
“Pause Tapes,” a star of the show, does this better than any track. Nas recounts his entry to the game that immediately makes you remember how he burst onto the scene on “Live at the BBQ” and what motivated that colossal moment.
Set it off, he would. And an entry he would have. All while Preem has the refrain of a needle hitting a record. Turning the page to an earlier era that can’t be forgotten.
A lot of sequels, callbacks, and double-backs that feel fitting and is still fresh with how Nas approaches the records. “Sons (Young Kings)” as the companion to “Daughters.” Whereas on “2nd Childhood” Nas lamented those stuck in a specific phase in life and development, “3rd Childhood” celebrates the holding onto that something that gave hip-hop artists style, flavor, personality, and character. And in this, he pushes back on this idea that hip-hop is just a young man’s game. Pairing up with AZ once again as the only rap feature harkens back to 1994 when AZ famously made his introduction and was the only guest appearance on the legendary illmatic. Nas and Preem of course had to complete the trilogy in NYSTOM3 and while they zigged a bit where we thought they would zag sonically, it thematically stays with what it’s like from the perspective of a New Yorker and what are the things that make the apple rotten. The back and forth of Billy Joel’s NYSOM with Nas’s contrasts the glitz and glamour and the grit and grimy that is NYC.
As many have noted, this is clearly an audio love letter to hip-hop. It’s super cool that he dedicated an entire track to graffiti artists on “Writers,” an ode to an element of hip-hop that has gotten lost over time. Feels like curation as he tags names on the track. Loved how he gave flowers to the women of hip-hop on “Bouquet”. Dope that he put that spotlight on Faith Evans who signed him and Shante who grew up where he also came from and provided inspiration. Again documenting his story and making sure it identifies people who have contributed to his path and helped shape all of this. This is about legacy and carrying on the tradition.
Honestly, I think they gave me what I wanted and more. Nas sounds inspired and is at his most creative on records like “Pause Tapes” where he goes into detail on the beat-making process back in the day. “Nasty Esco Nasir” is an ill concept record with Nas going back and forth with his different rap personas. Rapping as a “Junkie” of this rap music who just can’t get enough. And why should he stop. He sounds great especially over Premier’s welcomed and signature scratches.
As a long-time fan who has been waiting on this project, super happy with this release.
I ain’t gon hold you, this is pure fire.
Any muthafukka saying otherwise is buggin but to each his own. Salute to Nas and Preemo for holding it down. I think they both delivered with their respective performances.Production-wise and beat-wise, I think Preemo did his thing. I’m finding the criticism surprising because I think the album sounds good. As good as anything from the Hit-Boy collabs which I rate very highly.
Preem gave Nas an interesting and diverse soundscape that is sometimes grimy, menacing, and raw… other times frantic, energetic, and urgent… and also sounding smoother, melodic, and nostalgic. To me, I hear synergy in what Nas is rapping about over the backdrop Preem provided. It’s perfect. It’s cohesive. The music matches the energy that has been around this project too. This is a throwback. The intent is clear they want to show they’ve been at this a long time and that hip-hop today couldn’t be here without its past.
“Pause Tapes,” a star of the show, does this better than any track. Nas recounts his entry to the game that immediately makes you remember how he burst onto the scene on “Live at the BBQ” and what motivated that colossal moment.
Set it off, he would. And an entry he would have. All while Preem has the refrain of a needle hitting a record. Turning the page to an earlier era that can’t be forgotten.
A lot of sequels, callbacks, and double-backs that feel fitting and is still fresh with how Nas approaches the records. “Sons (Young Kings)” as the companion to “Daughters.” Whereas on “2nd Childhood” Nas lamented those stuck in a specific phase in life and development, “3rd Childhood” celebrates the holding onto that something that gave hip-hop artists style, flavor, personality, and character. And in this, he pushes back on this idea that hip-hop is just a young man’s game. Pairing up with AZ once again as the only rap feature harkens back to 1994 when AZ famously made his introduction and was the only guest appearance on the legendary illmatic. Nas and Preem of course had to complete the trilogy in NYSTOM3 and while they zigged a bit where we thought they would zag sonically, it thematically stays with what it’s like from the perspective of a New Yorker and what are the things that make the apple rotten. The back and forth of Billy Joel’s NYSOM with Nas’s contrasts the glitz and glamour and the grit and grimy that is NYC.
As many have noted, this is clearly an audio love letter to hip-hop. It’s super cool that he dedicated an entire track to graffiti artists on “Writers,” an ode to an element of hip-hop that has gotten lost over time. Feels like curation as he tags names on the track. Loved how he gave flowers to the women of hip-hop on “Bouquet”. Dope that he put that spotlight on Faith Evans who signed him and Shante who grew up where he also came from and provided inspiration. Again documenting his story and making sure it identifies people who have contributed to his path and helped shape all of this. This is about legacy and carrying on the tradition.
Honestly, I think they gave me what I wanted and more. Nas sounds inspired and is at his most creative on records like “Pause Tapes” where he goes into detail on the beat-making process back in the day. “Nasty Esco Nasir” is an ill concept record with Nas going back and forth with his different rap personas. Rapping as a “Junkie” of this rap music who just can’t get enough. And why should he stop. He sounds great especially over Premier’s welcomed and signature scratches.
As a long-time fan who has been waiting on this project, super happy with this release.
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that don’t mean shyt if it ain’t good
John Reena
Superstar
Buckle up brehs…
I ain’t gon hold you, this is pure fire.
Production-wise and beat-wise, I think Preemo did his thing. I’m finding the criticism surprising because I think the album sounds good. As good as anything in the Hit-Boy collabs which I rate very highly.
Preem gave Nas an interesting and diverse soundscape that is sometimes grimy, menacing, and raw… other times frantic, energetic, and urgent… and also sounding smoother, melodic, and nostalgic. To me, I hear synergy in what Nas is rapping about over the backdrop Preem provided. It’s perfect. It’s cohesive. The music matches the energy that has been around this project too. This is a throwback. The intent is clear they want to show they’ve been at this a long time and that hip-hop today couldn’t be here without its past.
“Pause Tapes,” a star of the show, does this better than any track. Nas recounts his entry to the game that immediately makes you remember how he burst onto the scene on “Live at the BBQ” and what motivated that colossal moment.
Set it off, he would. And an entry he would have. All while Preem has the refrain of a needle hitting a record. Turning the page to an earlier era that can’t be forgotten.
A lot of sequels, callbacks, and double-backs that feel fitting and is still fresh with how Nas approaches the records. “Sons (Young Kings)” as the companion to “Daughters.” Whereas on “2nd Childhood” Nas lamented those stuck in a specific phase in life and development, “3rd Childhood” celebrates the holding onto that something that gave hip-hop artists style, flavor, personality, and character. And in this, he pushes back on this idea that hip-hop is just a young man’s game. Pairing up with AZ once again as the only rap feature harkens back to 1994 when AZ famously made his introduction and was the only guest appearance on the legendary illmatic. Nas and Preem of course had to complete the trilogy in NYSTOM3 and while they zigged a bit where we thought they would zag sonically, it thematically stays with what it’s like from the perspective of a New Yorker and what are the things that make the apple rotten. The back and forth of Billy Joel’s NYSOM with Nas’s contrasts the glitz and glamour and the grit and grimy that is NYC.
As many have noted, this is clearly an audio love letter to hip-hop. It’s super cool that he dedicated an entire track to graffiti artists on “Writers,” an ode to an element of hip-hop that has gotten lost over time. Feels like curation as he tags names on the track. Loved how he gave flowers to the women of hip-hop on “Bouquet”. Dope that he put that spotlight on Faith Evans who signed him and Shante who grew up where he also came from and provided inspiration. Again documenting his story and making sure it identifies people who have contributed to his path and helped shape all of this.
Honestly, I think they gave me what I wanted and more. Nas sounds inspired and is at his most creative on records like “Pause Tapes” where he goes into detail on the beat-making process back in the day. “Nasty Esco Nasir” is ill concept record with Nas going back and forth with his different rap personas. Rapping as a “Junkie” of this rap music who just can’t get enough. And why should he stop. He sounds great especially over Premier’s welcomed and signature scratches.
As a long-time fan who has been waiting on this project, super happy with this release.
Mane, nikkaz done got so used to listening to garbage rappers like Veeze, Pooh Sheisty, Ice Spice etc., that listening to that Nas n Primo album was like getting somebody threw a bucket of cold water on em.
WavyHair ChippedTeeth
All Star
My first listen of the album was in the car on Friday, with heavy traffic, so I got to listen to the whole album - I was initially disappointed.
Since then, I have changed my mind and played it more and more. Again, I'm listening to this in my car, so this could be a factor in my quick re-evaluation. I believe this album will age well.
I don't see myself just throwing this on, sort of like Untitled, which is one of my fav Nas albums. It's a personal classic; however, I need to be in the right frame of mind/space/mode to listen to it. I think it'll be the same with Light-Years.
I find parallels with this album and Tenet - especially people's reactions lol.
Since then, I have changed my mind and played it more and more. Again, I'm listening to this in my car, so this could be a factor in my quick re-evaluation. I believe this album will age well.
I don't see myself just throwing this on, sort of like Untitled, which is one of my fav Nas albums. It's a personal classic; however, I need to be in the right frame of mind/space/mode to listen to it. I think it'll be the same with Light-Years.
I find parallels with this album and Tenet - especially people's reactions lol.
“And if you know who you are why don’t you make yourself seen”
That sample is so dope to me and fitting on bouquets
That sample is so dope to me and fitting on bouquets
Buckle up brehs…
I ain’t gon hold you, this is pure fire.
Production-wise and beat-wise, I think Preemo did his thing. I’m finding the criticism surprising because I think the album sounds good. As good as anything in the Hit-Boy collabs which I rate very highly.
Preem gave Nas an interesting and diverse soundscape that is sometimes grimy, menacing, and raw… other times frantic, energetic, and urgent… and also sounding smoother, melodic, and nostalgic. To me, I hear synergy in what Nas is rapping about over the backdrop Preem provided. It’s perfect. It’s cohesive. The music matches the energy that has been around this project too. This is a throwback. The intent is clear they want to show they’ve been at this a long time and that hip-hop today couldn’t be here without its past.
“Pause Tapes,” a star of the show, does this better than any track. Nas recounts his entry to the game that immediately makes you remember how he burst onto the scene on “Live at the BBQ” and what motivated that colossal moment.
Set it off, he would. And an entry he would have. All while Preem has the refrain of a needle hitting a record. Turning the page to an earlier era that can’t be forgotten.
A lot of sequels, callbacks, and double-backs that feel fitting and is still fresh with how Nas approaches the records. “Sons (Young Kings)” as the companion to “Daughters.” Whereas on “2nd Childhood” Nas lamented those stuck in a specific phase in life and development, “3rd Childhood” celebrates the holding onto that something that gave hip-hop artists style, flavor, personality, and character. And in this, he pushes back on this idea that hip-hop is just a young man’s game. Pairing up with AZ once again as the only rap feature harkens back to 1994 when AZ famously made his introduction and was the only guest appearance on the legendary illmatic. Nas and Preem of course had to complete the trilogy in NYSTOM3 and while they zigged a bit where we thought they would zag sonically, it thematically stays with what it’s like from the perspective of a New Yorker and what are the things that make the apple rotten. The back and forth of Billy Joel’s NYSOM with Nas’s contrasts the glitz and glamour and the grit and grimy that is NYC.
As many have noted, this is clearly an audio love letter to hip-hop. It’s super cool that he dedicated an entire track to graffiti artists on “Writers,” an ode to an element of hip-hop that has gotten lost over time. Feels like curation as he tags names on the track. Loved how he gave flowers to the women of hip-hop on “Bouquet”. Dope that he put that spotlight on Faith Evans who signed him and Shante who grew up where he also came from and provided inspiration. Again documenting his story and making sure it identifies people who have contributed to his path and helped shape all of this. This is about legacy and carrying on the tradition.
Honestly, I think they gave me what I wanted and more. Nas sounds inspired and is at his most creative on records like “Pause Tapes” where he goes into detail on the beat-making process back in the day. “Nasty Esco Nasir” is ill concept record with Nas going back and forth with his different rap personas. Rapping as a “Junkie” of this rap music who just can’t get enough. And why should he stop. He sounds great especially over Premier’s welcomed and signature scratches.
As a long-time fan who has been waiting on this project, super happy with this release.
Well said.. especially the 3rd childhood. Nas fans just had in their head it was gonna be a Jimmy diss and he gave us another perspective on holding on to some of the old ways. Loved that. Seems most of Nas fans are the ones stuck in the 2nd childhood. The irony
I was praying it wasnt a diss. Nas is more likely to call anyone he has an issue with before making a diss record.
I’m a fan of Jimmy and he is my favorite dip member
and I think a a jim song on the hook with Nas verses will be hard
comparing this album to Untitled is in ways a really good comparison because it maybe wasnt what people initally wanted or thought it would sound like but I feel thats a bit of a push at this point- Untitled is a GREAT album, its aged amazingly too. this gotta bit to get there. theres some really good music on here tho
Nas rapping on here is amazing but the production just isnt what it should be and thats ok it is what it is, id like to see Nas reup in a year or two and do a "regular" album
he hasnt done an album that wasnt cented around one producer now for near 13 years think about it....Life is Good
he hasnt done an album that wasnt cented around one producer now for near 13 years think about it....Life is Good
