Queensbridge remains close to NasвЂ™ heart, and Pharrell Williams comes through on вЂњVernon FamilyвЂќ:Д®ven better is вЂњQueensbridge PoliticsвЂќ, despite its short length lending it an interlude-like feel. вЂњNo Bad EnergyвЂќ is typical modern Nas, promoting positivity in that grown-man rap approach he delivered so acutely on 2012вЂ™s вЂњLife Is GoodвЂќ. While itвЂ™s easy to poke at flaws in a compilation of either unfinished or simply unchosen songs, there are some moments that earn repeated listens. вЂњWar Against LoveвЂќ is one such example, but whilst that may be a personal grievance with some of NasвЂ™ rhymes, itвЂ™s often the production and weak hooks that confirm why these tracks were left on the cutting room floor, or whatever the modern-day equivalent is (a hard-drive backup perhaps?). Sometimes though, the historical references which would previously be nonchalantly woven into a verse, are now batted at the listener, not too dissimilar to latter-day KRS-One. When Nas drops knowledge, more often than not itвЂ™s delivered eloquently and instilled with a commanding presence. While Nas chose to address these in social-media posts, itвЂ™s a shame such a hot topic is absent from his music вЂ“ itвЂ™s precisely the type of hidden gem fans would be interested in hearing about. Many of the tracks that have Nas addressing the women in his life conveniently overlook the domestic abuse allegations ex-wife Kelis has shared. The concept works but lacks the catchiness of AceyaloneвЂ™s вЂњAnnalilliaвЂќ or the accessibility of A Tribe Called QuestвЂ™s вЂњBonita ApplebumвЂќ вЂ“ instead weвЂ™re treated to an overbearing ode to Asian women with a reminder that Africa was a part of Asia. The beat on вЂњTanasiaвЂќ is standard throwaway Wu-Tang fare, albeit drowned out by NasвЂ™ vocals and a cringe-worthy hook. Nas and RZA may have combined to lethal effect on 1995вЂ™s вЂњVerbal IntercourseвЂќ, and to a lesser degree on 2000вЂ™s вЂњLet My N****s LiveвЂќ, but the two collaborations here, unfortunately, fall short. An ode to jazz veteran Al Jarreau, who passed away in 2017 (so this must be a recent track), itвЂ™s an odd, almost self-indulgent decision on a record thatвЂ™s inherently designed to be for the fans.

Unlike 2 Live Crew, Nas is nasty when he wants to be. Lifelong fans still convinced heвЂ™s capable of another вЂњIllmaticвЂќ, or even an вЂњIt Was WrittenвЂќ yearn for that lyrical, insightful yet knowingly gifted emcee from humble beginnings. The mixed reception to вЂњAl Jarreau of RapвЂќ is classic Nas. All the sequel does is confirm what we already knew вЂ“ Nas sounds his best, and most natural, over the type of production weвЂ™ve been crying out for. The cold, hard truth is that the first вЂњThe Lost TapesвЂќ gave us false hope during a period where вЂњStillmaticвЂќ and вЂњGodвЂ™s SonвЂќ had put him back in fansвЂ™ good books. The optimists among us expected to be blessed with leftovers that were better than the supposed main courses weвЂ™d been dished up. 2012вЂ™s вЂњLife Is GoodвЂќ was a genuine return to form, showcasing Nas at his wisest and while 2018вЂ™s вЂњNASIRвЂќ wasnвЂ™t without flaws, we at least had the excuses of a quick turnaround and KanyeвЂ™s unpredictability to fall back on. вЂњThe Lost Tapes 2вЂќ is more disheartening to Nas fans because the first вЂњThe Lost TapesвЂќ was so damn good вЂ“ expectations were rightfully high for the sequel. This isnвЂ™t a one-off problem, itвЂ™s part of the Nas package вЂ“ youвЂ™ll get that incomparable voice, occasional mastery of his craft, but more often than not, the music will be bang average. ItвЂ™s a shame to see Nas continue to suffer from an issue going back two decades.

Nas the lost tapes ii