West Coast Connection Forum
DUBCC - Tha Connection => Outbound Connection => Topic started by: dameons on July 10, 2006, 12:19:08 PM
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Title: Hip Hop Is Dead... The "N"
Artist: Nas
Original release year: 2006
Label: Sony/Def Jam/Ill Will
Guest Artists: Bravehearts; Jay-Z; Rakim; Kelis; Damien Marley; Pharrell; Busta Rhymes; Michael Jackson
Stereo: Stereo
Studio/Live: Studio
Pieces in Set: 1
Catalog#: 108773-2006
Desc: Performer
Additional Notes: Top
Personnel includes: Bravehearts; Jay-Z; Rakim; Kelis; Damien Marley; Pharrell; Busta Rhymes; The Game
Producers include: Timbaland, The Neptunes, Will.i.am, Dr. Dre, Scott Storch, Saalam Remi, Kanye West, Just Blaze, DJ Premier, Nas, L.E.S.
Engineers include: Eddie Sancho, John Crouse, Steve Souder, Ray Adler
Unlike its predecessor STREET'S DISCIPLE, HIP HOP IS DEAD harkens back to Nas' commercial pop-crossover albums as well as the poetic glory days of ILLMATIC. The New York hip-hop legend returns to the thoughtful, introspective philosophy that turned heads early in his recording career (with a little help from rap legend Rakim, the ever rambunctious Busta Rhymes, and former foe Jay-Z). Indeed there are some attempts at fancy, hook-laden production (thanks to Pharrell, Kelis and a newly invigorated Michael Jackson)--but most of the tracks go out of their way to be workaday, subservient frameworks to the lyrics. Sampling records (Louis Armstrong's "The Skokiaan", The Doors "Hello I Love You") that have never been used by other rappers, Nas makes it clear that his focus here is not only on the message but also on the sound. Lyrically, Nas addresses weighty topics as mortality, true love, religion, politics, family, personal responsibility and, of course, the currently “deceased” state of hip-hop. Those themes might seem far from the thug-life reveries of many of his contemporaries, but for Nas it's business as usual. Ironically the record proves that rap music is far from dead.
1. Intro - (N. Jones, C. Martin)
2. The Death - (N. Jones, S. Storch, S. Holman, A. Griffith)
3. War for Zion feat. Damien Marley - (N. Jones, D. Marley, L. Lewis)
4. Yes Yes Y'all - (N. Jones, S. Gibbs)
5. North by Northwest feat. The Game - (N. Jones, J. Taylor, A. Young)
6. Got it Back Like That feat. Michael Jackson - (N. Jones, M. Jackson, R. Hampford, T. Peter, T. Mosley)
7. The Golden Child (N. Jones, C. Martin, H. Ribald)
8. Polo and Guess feat. Jay-Z - (N. Jones, S. Carter, K. West)
9. U.B.K (Unauthorized Biography of KRS-One) - (N. Jones)
10. Just Love It feat. Kelis - (N. Jones, K. Rogers, J. Smith)
11. World's Greatest feat. Pharrell - (N. Jones, P. Williams, C. Hugo)
12. Gods and Earths feat. Rakim - (N. Jones, W. Griffin, C. Martin)
13. We Brave feat. The Bravehearts - (N. Jones, J. Jones, N. Jones, L. Lewis)
14. Sekou Selassie - (N. Jones, S. Jones, L. Lewis)
15. Hip-Hop is Dead - (N. Jones, W. Adams)
16. Kill that Noise feat. Busta Rhymes - (N. Jones, T. Smith, S. Storch)
17. The "N"... - (N. Jones, A. Young, B. Jordan, L. Lewis)
18. Ann Jones - (N. Jones, S. Gibbs)
19. BONUS TRACK: What Y'all Want - (N. Jones, S. Gibbs)
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Got it Back Like That feat. Michael Jackson :D
8)
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a few of the tracknames look majorly fake to me.. whats the source?
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BULLSHIT.. here's the proof.
Unlike its predecessor STREET'S DISCIPLE, HIP HOP IS DEAD harkens back to Nas' commercial pop-crossover albums as well as the poetic glory days of ILLMATIC. The New York hip-hop legend returns to the thoughtful, introspective philosophy that turned heads early in his recording career (with a little help from rap legend Rakim, the ever rambunctious Busta Rhymes, and former foe Jay-Z). Indeed there are some attempts at fancy, hook-laden production (thanks to Pharrell, Kelis and a newly invigorated Michael Jackson)--but most of the tracks go out of their way to be workaday, subservient frameworks to the lyrics. Sampling records (Louis Armstrong's "The Skokiaan", The Doors "Hello I Love You") that have never been used by other rappers, Nas makes it clear that his focus here is not only on the message but also on the sound. Lyrically, Nas addresses weighty topics as mortality, true love, religion, politics, family, personal responsibility and, of course, the currently “deceased” state of hip-hop. Those themes might seem far from the thug-life reveries of many of his contemporaries, but for Nas it's business as usual. Ironically the record proves that rap music is far from dead.
from http://musicdownloads.walmart.com/catalog/servlet/AlbumServlet;jsessionid=?id=51067
In the tradition of its predecessor STILLMATIC, GOD'S SON seeks to erase the memory of Nas's commercial pop-crossover albums, instead hearkening back to the poetic glory days of STILLMATIC. The New York hip-hop legend returns to the thoughtful, introspective philosophy that turned heads early in his recording career. There are no attempts at fancy, hook-laden production here--quite the opposite in fact, as the tracks almost seem to go out of their way to be workaday, subservient frameworks to the lyrics. Sampling records (James Brown's "Funky Drummer," Incredible Bongo Band's "Apache") that have already been used by a jillion other rappers, Nas makes it clear that his focus here is strictly on the message. Nas's mother died during the making of this album, and the experience moved him to address such weighty topics as mortality, religion, family, and personal responsibility. Those themes might seem far from the thug-life reveries of many of his contemporaries, but for Nas it's business as usual.
i put it BOLD everything copied into what dameons posted.
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So Dameons mad this up himself?
LOL @ "We Brave" featuring the Bravehearts
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BULLSHIT.. here's the proof.
Unlike its predecessor STREET'S DISCIPLE, HIP HOP IS DEAD harkens back to Nas' commercial pop-crossover albums as well as the poetic glory days of ILLMATIC. The New York hip-hop legend returns to the thoughtful, introspective philosophy that turned heads early in his recording career (with a little help from rap legend Rakim, the ever rambunctious Busta Rhymes, and former foe Jay-Z). Indeed there are some attempts at fancy, hook-laden production (thanks to Pharrell, Kelis and a newly invigorated Michael Jackson)--but most of the tracks go out of their way to be workaday, subservient frameworks to the lyrics. Sampling records (Louis Armstrong's "The Skokiaan", The Doors "Hello I Love You") that have never been used by other rappers, Nas makes it clear that his focus here is not only on the message but also on the sound. Lyrically, Nas addresses weighty topics as mortality, true love, religion, politics, family, personal responsibility and, of course, the currently “deceased” state of hip-hop. Those themes might seem far from the thug-life reveries of many of his contemporaries, but for Nas it's business as usual. Ironically the record proves that rap music is far from dead.
from http://musicdownloads.walmart.com/catalog/servlet/AlbumServlet;jsessionid=?id=51067
In the tradition of its predecessor STILLMATIC, GOD'S SON seeks to erase the memory of Nas's commercial pop-crossover albums, instead hearkening back to the poetic glory days of STILLMATIC. The New York hip-hop legend returns to the thoughtful, introspective philosophy that turned heads early in his recording career. There are no attempts at fancy, hook-laden production here--quite the opposite in fact, as the tracks almost seem to go out of their way to be workaday, subservient frameworks to the lyrics. Sampling records (James Brown's "Funky Drummer," Incredible Bongo Band's "Apache") that have already been used by a jillion other rappers, Nas makes it clear that his focus here is strictly on the message. Nas's mother died during the making of this album, and the experience moved him to address such weighty topics as mortality, religion, family, and personal responsibility. Those themes might seem far from the thug-life reveries of many of his contemporaries, but for Nas it's business as usual.
i put it BOLD everything copied into what dameons posted.
Seer > :bomb: < dameons
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BULLSHIT.. here's the proof.
Unlike its predecessor STREET'S DISCIPLE, HIP HOP IS DEAD harkens back to Nas' commercial pop-crossover albums as well as the poetic glory days of ILLMATIC. The New York hip-hop legend returns to the thoughtful, introspective philosophy that turned heads early in his recording career (with a little help from rap legend Rakim, the ever rambunctious Busta Rhymes, and former foe Jay-Z). Indeed there are some attempts at fancy, hook-laden production (thanks to Pharrell, Kelis and a newly invigorated Michael Jackson)--but most of the tracks go out of their way to be workaday, subservient frameworks to the lyrics. Sampling records (Louis Armstrong's "The Skokiaan", The Doors "Hello I Love You") that have never been used by other rappers, Nas makes it clear that his focus here is not only on the message but also on the sound. Lyrically, Nas addresses weighty topics as mortality, true love, religion, politics, family, personal responsibility and, of course, the currently “deceased” state of hip-hop. Those themes might seem far from the thug-life reveries of many of his contemporaries, but for Nas it's business as usual. Ironically the record proves that rap music is far from dead.
from http://musicdownloads.walmart.com/catalog/servlet/AlbumServlet;jsessionid=?id=51067
In the tradition of its predecessor STILLMATIC, GOD'S SON seeks to erase the memory of Nas's commercial pop-crossover albums, instead hearkening back to the poetic glory days of STILLMATIC. The New York hip-hop legend returns to the thoughtful, introspective philosophy that turned heads early in his recording career. There are no attempts at fancy, hook-laden production here--quite the opposite in fact, as the tracks almost seem to go out of their way to be workaday, subservient frameworks to the lyrics. Sampling records (James Brown's "Funky Drummer," Incredible Bongo Band's "Apache") that have already been used by a jillion other rappers, Nas makes it clear that his focus here is strictly on the message. Nas's mother died during the making of this album, and the experience moved him to address such weighty topics as mortality, religion, family, and personal responsibility. Those themes might seem far from the thug-life reveries of many of his contemporaries, but for Nas it's business as usual.
i put it BOLD everything copied into what dameons posted.
Inspector Seer...ooh ooh!
http://www.youtube.com/v/iKeE3saeguY&search=inspector%20gadget%20theme
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I got it fom boxden....
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There i was think nas and michael jackson and overseer just crushed it.
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You're wasting your time with this Overseer clowned me stuff.I just copied and pasted it from Boxden.....Couldn't give a fuck about Nas, just news to be debated.You know-it-all geeks on here crack me up.
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whos a know-it-all geek??
name someone.