Nas Reveals Name Of Next Album (2011/2012 Release)

http://www.islanddefjam.com/nas/


 
roll.gif
@ the wedding dress making the album cover!
 
http://www.complex.com/music/2012/05/nas-cover-story

http://www.complex.com/mu.../nas-25-favorite-albums/

http://www.complex.com/mu...g-of-nas-it-was-written/

http://www.complex.com/mu...-classic-records-part-i/

http://www.complex.com/mu...-classic-records-part-2/

http://www.waxpoetics.com...oetics-magazine/issue-51

Nas is also on the new issue of Waxpoetics, I got to check that one out for the Nas article and the article on Beats By The Pound. The picture is from the HHID era, but it's whatever. The RESPECT issue with Drake on the cover has a little decent Nas tribute as well.

..........
 
Nas: “I wanted to make a street album with Marley Marl. I looked up to Marley as an inventor of so many styles of hip-hop music. I love what he did with Mama Said Knock You Out with LL Cool J. And being from the same hood, the second album had to be with Marley. So I started off with Marley Marl.

“I went in there and we went to work but Marley lives kind of far away. It always seemed like a mission to get there for me. We didn’t work every day, we picked the weekends. I didn’t [always] get out there either—I was getting in a little trouble here and there around my ways.

“After a while, some of my songs would appear as promos on the radio with all kinds of @!#*!$ rapping on them. And I didn’t even finish working on the song for my album. Like, I had a song called ‘On The Real’ that I didn’t finish. I was coming back to finish it and before I could, I’m hearing it on the radio with people rapping on it. I couldn’t understand that. I was hurt and I knew I couldn’t work like that.

“I had to rethink my whole album and figure out how to do it. I didn’t know what to do at that point because if I couldn’t do it with Marley, I didn’t have a plan B. I had to figure out something else, so me and Steve Stoute sat together and we had a meeting.



"For real I build a mini Israel rough as the fishscale, like the red sea deep and deadly though I'mma sit still, imagine being gassed up your time passed up, thinkin you Lord, sippin wine out a brass cup, your last supper served...Without grace, son, about face. I hung a nun in '91 to captivate the rap race....

........
 
Large Professor: “I always had that drum loop, the ‘Nautilus’ drum loop. [People sampled that record a lot], but to be right there with it, and just get the drums out of it without all of the bells and all of that—at that time, it was amazing. Like, ‘Oh %%$%, you got just the drums out of ‘Nautilus’?’ It was tough.


I wrote my verse right there. Fatal had a combination of dudes collaborating with him on his verse. Ak was always ready. And Nas, he always has books and books of rhymes. So he took this piece of this rhyme, and that piece of that rhyme, and put it all together.

“We had recorded all of the album. The album was done. And we had this last song to do. It was the last session. This was it. We had tried to hook it up other times. Nas said a rhyme on it when we were at another studio, but it just never really came together. There was another studio that we were working at, and it was like we were trying to get a little extra in at the end of a session, and I threw it up, like, ‘Yo Nas, see if you got anything for this.’ So he put something down, and I’m sure it was tough, but the whole idea of it just didn’t come together.

“But this session, I threw the bassline in the beat, and we were all there. Times before, it was like, we were just practicing when I would throw that beat up, because it was just the drums. This time, it was like, ‘This gotta count.’

“I wrote my verse right there. Fatal had a combination of dudes collaborating with him on his verse. Ak was always ready. And Nas, he always has books and books of rhymes. So he took this piece of this rhyme, and that piece of that rhyme, and put it all together.

“We used to wild in the studio. G. Rap kind of started that with us. In the studio in general, dudes used to be on some real wild %%$%, getting their puff on and drink on, partying, the damn speakers blaring loud. That’s where that chorus came from. [Laughs.]

“It was crazy with ‘Barbeque’ because that was the last song, and so it was like a month or two later, the album was out. There was no in-between time. It wasn’t like I had time to go around the way and play it for people. It was like, ‘We got it in the can, it’s good.’ As soon as we finished that, we were mastering, and then it was like, it went straight to the radio. We were like, ‘Yo, this is it!’

“For all of us in general when the album came out, it was [crazy]. And Nas was like a huge highlight on that joint. And then he started getting his shine on, with Bobbito and [Stretch Armstrong], going up there and gettin’ busy.

“[I originally] met Nas through Joe Fatal, and he had a friend named Melquan that he was getting up with. Nas wanted to record a demo for himself. His mother was funding him to go record a demo. And at that time, my name was kind of ringing bells, like, ‘Yo, there’s this dude out in Flushing that’s making these crazy beats.’ Fatal was putting that out there. So I had to show and prove.

“One day, Melquan [and Fatal set it up], and I was coming out of high school, coming down the steps. And [them and Nas] came by in the cab, like, ‘Yo, we’re gonna make that happen.’ So we jetted back to the crib, I got my machine, and jetted all the way out to some studio—Sty In The Sky Studios in Coney Island, Brooklyn. I made the beat right there, and we recorded the demo. I forgot the name of it, but it was dope though. [We had other demos from that time too that were ill, like] ‘Top Choice of the Female Persuasion,’ and ‘550 Fahrenheit.’ [But they] never came out.
 
Halftime

Large Professor: “That’s funny, because when I made that beat, Busta Rhymes wanted that beat, right after I made it. My house after a while became like a little hangout for dudes. Busta Rhymes, coming from Long Island, he would always pass through Queens and come to the crib. And that beat right there, he was writing to it and everything. But he was in between deals though—this was after the Leaders [of the New School] %%!!, and before his Elektra deal.


This was finally [Nas'] own session. So he had his weed ready, he had the crew coming through, his books [of rhymes], the fresh gear, sittin’ back with a freshly rolled, and another one being rolled, like, ‘Yo, play the beat... Nah yo, play the other beat.’

“But Nas was right there, ready to go with [MC] Serch and Ruffhouse. It was always a toss up, kind of like Jamaican reggae style, where I would play it for everybody, and whoever gets ill on it can get busy. And Nas was like, ‘Yeah, I can get busy on that.’ And he was like, ‘I’m gonna say this rhyme with that [and put it down].

“That was a nice session, because we had been in so [many of] Eric B.’s sessions and other people’s sessions, and this was finally his own session. So he had his weed ready, he had the crew coming through, his books [of rhymes], the fresh gear, sittin’ back and %%!! with a freshly rolled, and another one being rolled, like, ‘Yo, play the beat. Nah yo, play the other beat.’ [Laughs.] Now Nas was control. That was nice, man. That was really nice. [Laughs.]

“But he already had the work ethic from the Eric B. sessions. He knew, like, ‘Yo, we’re in here to get this done.’ But you could see where he was really trying to feel the amenities a little bit more, like, ‘Yo, turn that up a little bit more for me?’ [Laughs.] Whereas before, he would just be like, ‘Aiight.’ Now he was starting to spread his wings.

“We had an original version of ‘It Ain’t Hard To Tell,’ but ‘Halftime’ was the first song [we finished for Illmatic] and the first to hit the airwaves.
 
One Time 4 Your Mind

Large Professor:“I did that in the studio right on the spot. Nas was starting to get into his groove. He was like, ‘Yo, I got some more time. Hook something up live.’ That’s why it’s as nonchalant as it is, because it was something extra. It’s not a concentrated joint. It’s just like, ‘Then I send a shorty from the block to the store for Phillies.’ Day to day.

“It was another one of those sessions where we just had fun. Nas’ boy from Bravehearts, Grand Wiz, was on the hook, and Nas was just now getting into his own sessions. He was just chillin’, like, ‘Yo, hook this up.’ He started getting into his production niche, like how rappers want [to hear things]. So he was starting to give that a try.

“That was another one where he already had the rhymes. Like I said, Nas had a lot of rhymes. A lot of rhymes. There were [throwaways] that we did at the crib for Illmatic, but not at the studio.

“That album is as successful as it is because of Nas, not really the beats. The beats were a good backdrop for him, but it’s because of his lyricism that that album did what it did. The lyrics on that album are crazy. Even to this day. I talked to him a few days ago, and it’s like, ‘Yo, Illmatic is a really lyrical album.’ It’s the lyrics.
 
It Ain't Hard To Tell

Large Professor: “That’s another song like ‘Barbeque’ that we had before, and then when it was album time, we had to redo it and get it right. [Using the Michael Jackson ‘Human Nature’ sample was smooth] because [they were both under] Columbia. It was kind of in-house. That was nice, because people knew it as a familiar tune, but we gritty’d it up and made it hood. I always called it a ‘hood bottle poppin’ song.’ Like, not too shiny. We’re poppin’ bottles, but in the hood—not in the club.


I always called it a ‘hood bottle poppin’ song.’ Like, not too shiny. We’re poppin’ bottles, but in the hood—not in the club.

“Just the spirit of that. A lot of joints that I do, I have different ways of describing them. But that, it’s not the most hardest, hardcore beat. It’s a more spiritually uplifting kind of [vibe]. Then when he threw the next layer on there [with the lyrics], it was like, ‘Aiight, we there.’

“I was kind of sort of like [an executive producer for Illmatic]. Because Nas would be like, ‘Yo, you think I could get a beat from Q-Tip?’ And I would be like, ‘Yeah, yeah, hell yeah.’ Because that’s when I was hangin’ tough with Q-Tip. And [I was connected to Pete Rock and Premier] so it just made it a little easier. I think he sought Premier out on his own, but I just made it easier to get connected to him. I made it easier to get in contact with those dudes, like, ‘Yo, Nas is trying to get in contact with you.’ And they already had respect for him, so they’d say, ‘Yo, give him all my numbers.’

“Faith Newman, [who was the A&R for the album], was the one who spearheaded [using ‘It Ain’t Hard To Tell’ as the lead single]. Like, ‘This is what we’re rollin’ with.’
 
Understanding feat Biz Markie & AZ (1995) good read

Large Professor: “I was involved in an earlier version of [‘Life is Like a Dice Game’] where he didn’t actually name it ‘Dice Game.’ We did it over the same sample as Junior M.A.F.I.A.’s ‘Get Money,’ the original [version]. It was earlier though. I had hooked it up. Everyone was [still] going to those record conventions, so records would come in waves. And I was catching a lot of those records earlier, and knowing to freak them early. But it never [was released with that beat]. I think that’s the same session we did 'Understanding.'


Biz called me one day, and was like, ‘Yo! You know what would be dope? To get Nas to rhyme over that Grover Washington joint.’ And I was like, ‘Word? You think so?’ And then I called Nas, and was like, ‘Yo, this is what Biz said.’ And he was like, ‘Then we gotta do it.’

“That [sample] was Biz’s idea. Biz called me one day, and was like, ‘Yo! You know what would be dope? To get Nas to rhyme over that Grover Washington joint.’ And I was like, ‘Word? You think so?’ And then I called Nas, and was like, ‘Yo, this is what Biz said.’ And he was like, ‘Then we gotta do it.’

“So I hooked the beat up, and we went to the Greene Street Studios, and knocked it out. We never mixed it or took it through the whole process, it was just a flinger. But Grandmaster Vic was there, Biz was there, AZ. Raekwon came through [to hang out]. Nas was just starting to work on It Was Written. Those were sessions between Illmatic and It Was Written. That was one of the first sessions when he started getting in the swing of working again.
 
One Plus One (1996)

Large Professor: “It was sad, man. It was sad for me. I kind of knew that they were getting ready to drop me. We were starting to go from different studio to different studio. They were like, ‘Well, maybe it’s the studio. Maybe it’s the engineer.’ But it was like, ‘Nah, I’m good. I’m just recording my +$**.’

“So we were going to different studios, and that day I was at Battery. I was actually getting ready to record that, and then, all of a sudden, Nas pops into the studio. And I’m like, ‘Oh +$**. What’s up?’ He was really good at that point. That was right after It Was Written and everything, so he was good.

“So he was like, ‘Yo, I’m here, man, what’s up? Let me hear what you’re working on.’ And I was kind of like, ‘Yo, who told you to come here? What’s going on?’ But either way, I’m like, ‘Yo, bust what I’m working with.’ So I played it, and he was like, ‘Oh, that’s hot. I gotta write something to this.’

“So he sat down and wrote. And I had my rhyme already, and was like, ‘Yo, this is the kind of +$** that I’m talking about.’ He was like, ‘Aiight, cool.’ Then he laid it down, and it was me, him, and Grand Wiz in there. And I was like, ‘Yo, that +$** is crazy.’

“But that song is really sad to me, because I knew they were getting ready [to drop me], and I was alone. Before Nas and Grand Wiz came in the studio, I was alone. I was for self. It was just crazy where I was. When I started working, I had a lot of people around. And it seemed like the people were slowly fading away. And now, I’m not at my [regular] studio, I’m at this other studio. It was kind of on some problem +$**, [which you can hear me express in my verse]. Then Nas comes in, and he’s problem free, like, ‘Yo, smoke heavily..’ and that type of +$**. And I’m sitting there ready to get dropped from the label! [Laughs.] I was on some other +$**.

“That was a sad time for me, man. I love the song now, when I listen to it, and think about how I survived the times. But it always brings that back fresh. I know the listeners, they don’t know that part of it. But for me personally, that’s a sad one. But it was a nice joint.
 
You're Da Man

Large Professor: ““The album Nastradamus was before Stillmatic. And I was in those sessions. I went to those sessions, and that’s when I gave him the beat for ‘You’re Da Man.’ I threw the beat on, and we were in there rhyming with the hand-held, and just rockin’. I had totally forgot about it.

“That was a nice summer around the time of Stillmatic, when we were recording for that. I was coming out of that funk from ‘98 and ‘99, and I was kind of stable again. It was right on the edge of the summer, and Nas was like, ‘Yo, I’m at the studio out on Long Island. Roll through.’ And we were just in there, building. There was a lot going on. You know, Hov was getting at him, his Moms was sick, so we were building a lot, getting a lot of work done. Those times were crazy, too. It was good to get back up with him.

“That song was great, man. I was in my crib one time, laying on the bed chillin’, watching TV. And I heard ‘You’re Da Man’ playing. Someone was playing it from outside, or from a car or some #+@*. I was like, ‘Yo, that’s dope.’ I rarely got those [moments], so that was nice.

“Nas has an instinct. His antenna is connected on some ill #+@*, where he’s like, ‘Yeah, this, right there.’ So that was my first taste of him kind of chillin’ on a beat [that I gave him a while back, and then being like], ‘Aiight, now.’ That was dope how he chilled on that, and then brought it back when everything was going on.

“Yeah, my ‘The Man,’ that was my version [for my solo album 1st Class]. He got his version, I got my version. It’s versions, like how the dreads do it.
 
Rewind

Large Professor: “Nas likes to build. The session is not like, ‘Let’s play the beat and knock this out.’ We’ll sit there and talk, for hours. We’ll be going through *#*%, and the times, and *#*% we don’t even know about, like Motown, and I’d bring in magazines with Diana Ross or something, and we’d be like, ‘Oh *#*%, look at this.’ Just sitting there, talking. Wild *#*%. And then for ‘Rewind,’ [after all that talking], he was like, ‘Yo, play that beat again.’ [Laughs.] So I played the beat, and he was like, ‘Aiight, cool. Let’s jet.’

“Then the next day, we went back to the studio. He came in, and the whole +!%!@%’ song was written.[Laughs.] He didn’t [tell us the concept or anything about writing a story in reverse]. He was just like, ‘Yo, throw that beat up.’ And he went in, and did his rhyme, and then came out in regular Nas fashion, like, ‘Yo, that *#*% is aiight?’ And we’re in there like, ‘Yo, this *#*% is crazy!’ [Laughs.]

“There’s always, like, a warm-up period for us. After not talking, we gotta kind of talk for a little while and reconnect. But by this time, we had already got back and clicked. ‘You’re Da Man’ was done. We had even knocked out the ‘Stay Chisel’ joint. And then, ‘Rewind’ is really where he spread his wings, with the crazy, crazy ill mind-twister.’

“I had one loop in there on some Jamaica *#*%. I had this Lillo Thomas record in there at first. We were vibing off that *#*%, like, ‘Yeah, this *#*% is ill,’ with the ‘It’s Yours’ drums. It sounded like a Jamaican blend, like a Grandmaster Vic blend.

“Then I flipped the loop, because the loop on that reminded me of the loop on ‘Represent.’ It reminded me of that same instrument from ‘Represent.’ And since he was doing Stillmatic, I was trying to search for something that felt like that.

“Then he put the rhyme down, and then they started going to the City to mix and stuff like that. So I fell back, and he started doing ‘One Mic’ and all of those types of joints. Then I came to the studio, and he was like, ‘Yeah, we’re going to mix it down.’ And *#*% was going backwards, with all those finishing touches and [sound effects].’ And I was like, ‘Ohhh!’ And that was all Nas. That was him, working with an engineer.

“That record, whooooooo>! You gotta really lock your brain [in when you’re listening to it to truly appreciate it], with the continuity and everything [that’s happening in reverse].
 
Stay Chisel

Large Professor: “We always joke around. Nas would be like, ‘You large professor face.’ We’d always bug out like that. So I know he got that ‘Stay Chisel’ title on some, ‘Yo, we gonna be sharp on this.’ That dude is very particular, very sharp. I’m like that with beats, but he’s like that with words and lyrics, and the timing of lyrics.

“Yeah, so he had that song. And I was like, ‘Are you gonna use it?’ And he was like, ‘I don’t know.’ And I’d come back like, ‘Yo, are you gonna use it?!?!’ [Laughs.] I’m going in sessions, like, ‘Yo, let me get that Stay Chisel.’ So finally, he was like, to the engineer, ‘Yo, can you give Large Professor the ‘Stay Chisel’ sessions please, so he can get off my back?’ [Laughs.] We joke around like that. Then, I put it together [with my rhymes], and he heard it, and he was like, ‘Yeah, yeah, yeah.’

“There’s a solo version [floating around] with him on all three of the verses. It’s [dope]. I did a remix version [for my album], and somehow the original version, with [just him rapping on it], got out there.
 
Star Wars

Large Professor: “We did ‘Star Wars’ during the Stillmatic sessions. Then it got released on the 10th anniversary album of Illmatic. That was a real flavor joint. He was sitting there, and I played him that beat, like, ‘Yo, you gotta use this beat.’ And he wrote that write there on the spot.

That was on some flavor !*$+, talking about Wild Style. That’s why he’s saying, ‘She remembers Busy Bee battles when it was peace.’ And it had [the Star Wars kind of sounds, but it was also talking about the stars of rap going at each other too]. We were in the studio, and the studio was really nice. And the weather was nice. That was a good time.

“I think Nas had so much stuff, and always does, [which is why this wasn’t on Stillmatic]. I heard his new album, and dude got so many tracks. I was asking him, ‘How are you going to narrow those down?’ There are so many joints. But he has an instinct. It just works out right.

“In a way, it was better that ‘Star Wars’ came out by itself, and was showcased by itself. It added importance to the 10th anniversary project. I heard dudes like, ‘Yo, I gotta get that because it got ‘Star Wars’ on it.’
 
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