Regardless, from 1994-1998, I don't think there was anyone as prolific as Nas and this was a legendary run in his prime. Nas was able to lyrically push limits and craft classics during this period before he went through that small period where he lost a step seemingly. Add in the work he did with The Firm, more guest verses, and of course fhe last album that really came during his prime, I Am, and you can see why this is such an important time for Nas and in hip hop history. With Illmatic he reached the highest heights in terms of hip hop adulation, while It Was Written remains his highest selling album and is his best overall work to me. From his arrival in 1994 with the Illmatic classic to his 1996 masterpiece It Was Written to his features on albums from Raekwon, Mobb Deep, and more, Nas was at the peak of his career. It was crazy to see what he was able to accomplish and do in this time.
He is, and anyone with four Carters already on their shelves will certainly want this one.-Perhaps my favorite period of time from just about any artist, Nas was on fire during this era. This is an indulgent jumble of a sideline release, but that doesn't mean Wayne isn't in fine form. Brilliant single "My Homies Still" is only on the Deluxe version, in frustrating "it's not really an official, official album" fashion, and yet all this redundancy and the scattershot complaints become minor when the album breaks character and gives up surprising diversions like power-baller "Back to You" (rap-rock that really works), the raw, Dirty South winner "Wowzers" (diva Trina wants sex "till' daybreak, then you can go skate"), and the quite good political commentary sketchbook dubbed "God Bless Amerika" ("I saw a butterfly in hell" might not read well, but the way it's dropped in the song is superb). Producer Mike WILL Made-It offers a posh and radio-friendly version of the traditional swagger track, covering the "good kush and alcohol" number "Love Me" in sounds so buttery smooth that hitmakers Drake and Future sound wonderfully couch-locked and comfortable.
2 Chainz is back for more boasting on "Rich as Fuck," a winner with an enticing and eerie beat from T-Minus. Bundle that background with stunning talent, true wit, and a John Holmes level of cocksure, and it doesn't matter that the bedroom-bragging "Curtains" is next to the conquest-listing "Days and Days," because the first has a rock-solid hook and pop-rap craftsmanship, while the second has a 2 Chainz feature and "You know I'm on that grass/Don't turn on the sprinkles" amongst its many quotables. In other words, he lives on this earth but this stopgap release's title is apt, and also believable, since Wayne's real world bio plays more like a comic book origin story, being raised by surrogate father Birdman in the halls of Cash Money. Here, Weezy's wisecracking rebel songs get bunched together, coming off as redundant blasts of evil genius narcisswagger, where flaccid penises are "sleeping giants," codeine, promithazene, and weed are the recommended vitamins, and spending your birthday in jail ain't no biggie because the Playboy Mansion can always reschedule. The quality control is certainly above mixtape or street-release level, but stray tracks and Carter leftovers are given their homes here, while the overall album flow is allowed to be reckless.
#Lil wayne knockout clean series
Compared to the albums he's released under the name Tha Carter, Lil Wayne's I Am Not a Human Being series is noticeably looser.
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