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Nas is just different. There are levels to being a lyricist and when it comes to rhyming, Esco has acquired the glow, collected all the Infinity Stones and lived in a Super Saiyan state of being for more than two decades. The Queens legend’s innate ability to whimsically string words together is punctuated by his penchant for delivering some of the most vividly picturesque tracks in rap history.
There are a number of other notable names that come up in the argument of who is rap's best storytelling. Ghostface Killah, The Notorious B.I.G. and Slick Rick are often mentioned, while more recently J. Cole and Kendrick Lamar have crept into the conversation. But Nasir Jones is truly hip-hop’s Hemmingway, a Shakespeare of shootout raps and William Faulkner of big Willy delineation.
Queensbridge’s poet laureate recently showed off his premier penmanship once again on “Echo,” a track from Swizz Beatz's new Poison album. Social media has been abuzz over Nasty’s epic contribution, which finds him providing a 4K portrait of his era growing up in QB.
“We was Times Square pioneers, 40 deuce, 40-below boots/40 ounce brew, the true Bishop from Juice,” he spits. “Runnin' wild, loose, me and my 40 troops were stupid/Style, it was snorkel coats, Polo gooses, ruthless/Goons and wolves, bail-jumpers/Everybody from everywhere/They was tryin' to jump us for pumpin.'”
When it comes to telling stories, Nas’ literary trick bag is deep. Over the course of 11 albums, he’s painted pictures in some very creative ways using fiction, non-fiction, personification and even reverse chronological order. Reverse! Who does that? Nas does that, with ease.
With Nasty's latest story rap having some people calling it his best in years, XXL compiles a list of some of the most theatrical tracks of God Son’s career.
This Illmatic gem first finds Nas spitting a letter he’d written to his mans on Rikers Island, updating him of the goings on in the free world. The third verse, which depicts a conversation with a young kid in his hood, was so vivid that it was adapted into a scene in the 1998 film Belly.