"Illmatic" was also anchored by Nas' articulately florid lyrical style that painted pictures of 'hood life while simultaneously elevating the craft to a new level. Critics praised him for his poignant social commentary, while fans touted him as the quintessential New York rapper whose voice would help to ensure that, in the wake of commercialism, hip-hop would stay true to its underground roots.
Not surprisingly, Nas failed to live up to the unrealistic expectations of his fans and the hip-hop intelligentsia. He didn't single-handedly save hip-hop from corporate tyranny or exploitation, nor did he release follow-up albums that surpassed the acclaim of his classic debut. Instead, Nas chose to continually reinvent himself, often to the consternation of his loyal followers.
Although he never slipped entirely out of the public's consciousness, his name seemed to arouse idealistic images of what could have been. Needless to say, during most of the mid- to late-'90s Nas was overshadowed by more commercially successful New York giants vying for kingship, particularly Jay-Z, who dissed him on "The Takeover," a track from the 2001 album "The Blueprint." To many people, Jay-Z's ostensibly unprovoked and caustic attack, which questioned everything from Nas' street credibility to his sexual orientation was the nail in the coffin. But when Nas fired back with a humorously incisive reply entitled "Ether" on the highly lauded "Stillmatic," the streets voted for a victory in his favor.
Fast forward to 2002. The hype surrounding his now-infamous battle against Jay-Z has finally started to wane, and Nas' latest LP "God's Son" is poised to prove beyond a shadow of a doubt that he is the undisputed king of New York. Those expecting another fiery diss track directed towards "H to the Izzo" or a new "Illmatic" should look elsewhere. With "God's Son," Nas is more level-headed and anxious to reflect on his life from a more dispassionate point of view.
On the surface, "God's Son" is a tribute to the ghettos of New York where hip-hop culture was engendered. The album begins with "Get Down," an ode to New York crime figures like Nicky Barnes and Pappy Mason. In it, Nas spins one of his trademark tales of street drama over a funky James Brown sample.
Following "Get Down" is "The Cross," an epic-sounding track produced by Eminem. Nas takes pride in the fact that hip-hop is "back in New York." The next track, "Made You Look," is an old-school party joint reminiscent of the early '90s sound that once epitomized rap music's hometown.
But as Nas says himself, "there's more to life than wanting to be the king of New York." Hence, on cuts like the Tupac-assisted "Thugz Mansion" and "I Can," Nas spits a few words of wisdom in lieu of lyrical braggadocio. The latter song finds him preaching to the young impressionable males who haven't a clue: "You could use a lot of help, y'know/ thinking life is all about smoking weed n' ice/ you don't wanna be my age and can't read n' write/ beggin' different women for a place to sleep at night."
But the most alluring aspect of "God's Son" is how candidly Nas reveals certain details about his conflicts with other rappers and the turmoil that has marred his personal life. "Y'all don't know about my Biggie wars," he rhymes on one song, alluding to his behind-the-scenes feud with the late Notorious B.I.G. The album also reveals that the mother of Nas' child was once romantically involved with his archrival Jay-Z, a fact that will come as a surprise to many of his fans.
The only few times when "God's Son" loses momentum are the points at which Nas enlists R&B singers for hooks. The album as a whole is a solid effort with more gems than missteps, demonstrating that even if he's not New York's king, Nas is still one of the most honest and prolific lyricists in contemporary hip-hop.