By Odeisel

Nas has aged gracefully as an artist in a way that has to have Jay-Z jealous. His artistic freedom has allowed him to successfully deviate from the hood raps, from the Escobar phase of his career, seamlessly. From Hip-Hop Is Dead through the N album up to his brilliant collaboratory album Distant Relatives, he’s gotten stronger with age. But sometimes you miss the Streets Disciple and you just want to hear Nasir Jones blackout on some hood shit. Look no further than “Power, Paper & Pussy”.

Over the classic “Big Beat” break beat from Billy Squier, with elements of Herb Alpert’s “Rise” (sampled by Biggie’s “Hypnotize”) Nas gets busy with a grounded sensibility that we haven’t heard him reach effectively in a minute. Gone is the righteousness of the N. Stripped away is the ambition of Relatives. What remains is a Nas with fire in his belly going for the gusto on a dope break.

Nas references the pissy hallway days but only to note that he does not miss them when the mic and that money has taken him to new places. The tag popping and champagne sipping is a far cry from 40 oz. guzzling and the evolution is a good thing. No one who tastes the good life pines for the ghetto and Nas is no urban apologist. The stocking mask way is no more and the access to the world of the haves seems to suit Nas well. The ills of the underworld grant access as well and once you’re there no one distinguishes between the how, noting “Gotti was a racist, but he still get praises.” He goes further along in this train of thought:

Bricks come with Bill Clinton’s name on it taped up, Hollywood, Lohan parties people they facing them Kim KardASSin’, body wit the waist slim know hood girls who did time that can take them

Nas remains lyrically sharp and his flow and rhyme construction are still first order. It’s a short piece but enough to signal that, should he decide to take the low road, Nas can still get nasty. Power Paper & Pussy. Enjoy.

Nas- Power Paper & Pussy Nas “Power, Paper Pussy”

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