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Nas magic 2 songs

Nas has put out a quite solid record. It's surprising since he's dropping albums more than once a year. Although some songs I found were just OK, others were really well executed.

I didn't really like Abracadabra. The lyrics were ok but the mix was a bit weird and the beat sounded kind of amateurish to me.
On the contrary, I enjoyed the beat on Black Magic but Nas didn't really say anything that particularly struck me here.

All the remaining tracks range from just good to great. Some of my favourites were Pistols on your Album Cover, What This All Really Means and Earvin Magic Johnson; this one in particular had to grow on me. I initially thought that the drill influence didn't flow well with the rest of the beat but listening to it again, I had to retreat my words. My absolute favourite tracks was Office Hours: the samples are well chosen, the lyrics are on point and 50cent did a good job as well. I think these better tracks totally make up for the ones that were a bit flawed.

Nas, arguably my favorite rapper of all time. It's sadly quite rare in hip hop, where a veteran is putting out good music so late into their career. This man has been in the game for over 3 decades and is going as strong as ever. Needless to say, he's beat all the 'washed' and 'inconsistent' allegations. It's incredible to see him still perform at such a high level. Magic 2 continues the streak of Nas rapping excellently over crisp boom bap production. Nas clearly doesn't sound quite as hungry of a rapper as he used to, but even then, proves that he can still compete with the best in the game today. His rhyming and flows are still incredibly sharp. As for Hitboy, that dude impresses me more and more with each album. His sampling and layered beats are some of the best out right now, and he just provides 11 straight headnodders in a row. He really know the style of beats that work with Nas the best, and these beats are a perfect fit for him.

Really is amazing to see. Nas at age 49, still at the top of his game. Preach!

Back again! Nas been dropping projects like they're nothing. I'm not as keen on them as everyone else is, but I'm still enjoying the output. This is probably the blandest of his albums this decade, though. Not something I see myself revisiting much ever, to be honest.

There is nothing great on here, but Nas has been who surprisingly has stayed on the quality side of Hip Hop for quite a while, which is not something very easy to achieve, specially with a constancy as the one he has. The lyrics are clear, which I appreciate, they might not be heart-moving, but they are friendly enough to be listened constantly without getting annoyed. The production is also on point, with nothing too great to bring up, but carefully made enough to have very little flaws within its own concept. "Magic 2" is simply good enough in a year in which Hip Hop is lacking that genuine own personality without making it too popular.

Huge reminder for me to listen to the three albums he made before this, because it is not bad at all, kind of cements that I like this era of Nas more than his Illmatic era. The rapping is very high energy and he definitely uses that to his advantage, there are some interesting flows and he has a cool style on this where he pronounces every word very strongly in a sort of rhythmic way, the delivery could very well be the strongest aspect of the album. The lyricism is good, it isn't very thematically cohesive, but the clean lines match the cool flow very well to create a very solid and consistent sound that has some hard hitting verses. The production is sick, at its core it feels like very modern Boom Bap, the instrumentals that accompany the drums are very rich and add a lot of variety to the album, I love the sweeping synths on Motion and the horns on Bokeem especially, and when the rapping is so consistent it's the production that creates the best tracks. The highlights were Motion, Black Magic, Bokeem Woodbine, and Pistols on Your Album Cover, while there weren't any lowlights. The album art is cool, honestly wish he called it motion with how the image looks and given how good the track is, I think having two series in such close proximity is dumb, especially with how well the Kings Disease trilogy has done, just release it as a standalone. Overall, very surprisingly impressive, loved the flows, I get criticisms of the album having forced lyricism but the delivery made up for it, and the production is great, Hit-Boy has gotta be the reason Nas has been doing so well. Banger after Banger, no skips, 8.8/10 with room to grow, definitely underrated on release.

NaS' fifth LP since 2020 with frequent collaborator Hit-Boy includes a few good moments but hints to me that the New York MC may have some fatigue as far as how many projects he's dropped the last few years. A lot of the verses are OK, but not standout like some of his best work. Some of the motifs bridge on being a bit annoying, though Hit-Boy's production adds a lot to the project overall. NaS' prolific run since the pandemic's start has given fans a hell of a lot of content to vibe to, although this is probably the most underwhelming NaS project I've listened to in awhile. NaS doesn't surprise me in a good way with his one-liners and themes here. But still, it's NaS, and he's one of the best rhymers of the last 30 years, so there are a few snippets that move me. This brief project is worth a few plays since the production is solid and a bland NaS is still better than most rappers.

I like "Bokeem Woodbine" and "What This All Really Means." "Office Hours," with 50 Cent, however, is probably my least favorite. It's so bad that I think it brings the project down from the start.

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Nas & Hit-Boy – Magic 2: Review

When Nas & Hit-Boy released Magic in 2021, Nas made a bold proclamation about how they’re the next GangStarr, the next Premo and Guru – as bold as that proclamation is, I never expected it to turn into a speedrun of releases to further that idea. Since then, Nas delivered on that with King’s Disease 3 – it reverts with the weak connectivity on Magic 2, where even the best verses from Nas can’t entirely detract you from the mundane aesthetic guiding the boom-bap core of the production. With Magic 2 continuing to boast their kineticism and “supposed” legendary parallels, like on the final track, “Pistols On Your Album Cover,” where Nas proclaims, “Hardest shit since Rakim and Eric B.” That diatribe doesn’t hit like it did in the moment on Magic. If it got said on King’s Disease 3, it would carry more weight, but with Magic 2, it becomes an afterthought as it comes after predominantly underwhelming 27-ish minutes leading to it. I’m not here to squander the album, as there are some highlights to reflect on, but it has now made future expectations from the duo tepid.

I won’t deny I had little trepidation with the album as the positive consistency streak was running high from King’s Disease 3 to features, and I thought, “Hey, this could actually be better than the last Magic;” I was wrong. It isn’t to say Magic 2 is an outright horrible album; there are quite a few bright spots, like the 50 Cent feature and Nas’s flows, especially in the latter half. Unfortunately, Hit-Boy’s production feels like a step back from before, and part of me can’t fully blame him. Hit-Boy has been consistently pouring out albums outside of just his collaboration with Nas, like a solo album and a collab with Raphael Saadiq, so when I hear some lackluster beats, the surprise is minimal, but that doesn’t mean there wasn’t some disappointment. The boom bap is crisp, but what happens around it doesn’t elevate the drums to be anything more than faux-nostalgia points aimed at keeping the temperature tempered instead of getting ingenuity and modern viscosity with hi-hats, synths, and subtle bass grooves. Fortunately, it isn’t the end all be all, as some beats skirt by with the performances guiding them through to the end, like the crisp and smooth “Office Hours.”

The Magic albums have quality lyricism, but it isn’t enough to counteract some weak sounds emulating past the base percussion. It begins with the first track, “Abracadabra,” which has contrasting verses in quality and, in hindsight, sets the table for what to expect, like how Magic 2 quickly dips after the fun and nostalgia-inducing “Office Hours,” which, for me, reeled me in for a quick moment before puttering. 50 Cent and Nas haven’t had many collaborations, just two in 2002 on the 50 Cent mixtape Guess Who’s Back? But even if you weren’t in the NYC Streets in 2002 or accessing music during the early days of DatPiff and Limewire, “Office Hours” stands as a highlight with that tight synergy between the rappers – go back and listen to the two past collabs, and you’ll see that parallel. It brings allusions to The Godfather, Bruce Lee, and Dumb & Dumber – shout out Jeff Daniels and Jim Carrey, as Nas would iterate on the track – and does so cleverly before 50 Cent rounds it out with his charming swagger counteracting that ferocity in Nas’s voice. It makes the final product easy to return to without hesitation, unlike much of Magic 2.

Unfortunately, what comes after is where you start to zone out and lose focus – no matter the quality of the writing – especially on a technical level – the content doesn’t always hit, and that goes for the slightly sensual “Black Magic” or simple-gothic influenced “Motion.” They feel just there and do nothing to move the needle – Nas’s writing on “Motion” is some of his best on the album, but does little to make you stay with the beat. Nas’s mastery of picture painting in his writing shines with later tracks as he creates these songs that are part of an homage to the namesake but also meer reflections using references prevalent to the actor, like one analogy using Jason’s Lyric to relay a message. On the following track, “Earvin Magic Johnson,” just like the ex-NBA player, Nas switches the tempo from collected to more braggadocio with crisp charm, humbling himself by reflecting on Hip-Hop and how he’s the Magic and Kareem, while his producers like the deceased, Heavy D and J Dilla get elevated by Nas running the plays and delivering emphatically.

Again, after two fantastic songs, it teeters again; though the production isn’t wrought with simple conventions, the content of the lyrics isn’t as refreshing. Two of the last three songs see Nas being more introspective, and some of the writing retreads stuff we’ve heard before. But as it turns the page at the end, you’re left underwhelmed like me, and more so with a wish for the duo to steady the brakes and let the music breathe instead of churning out project after project. Though there are some moments I liked in Magic 2, most of it is more leave than take it, and I really can’t recommend this much, outside of just telling you to spin KD3 if you’re hungry for some real shit.

Listen to Nas' new album 'Magic 2'

The Queensbridge emcee’s latest effort was produced by Hit-Boy and sees appearances from 50 Cent and 21 Savage.

Today (July 21), Nas returns with his new LP, Magic 2, the sequel to 2021’s Magic. Marking his fifth full-length collaboration alongside Hit-Boy, Magic 2 comes with 11 cuts and assists from 21 Savage and 50 Cent, the latter of whom last connected with the Queensbridge legend on wax over 20 years ago.

Following an uncredited appearance from hip hop personality Don Magic Juan on “Intro,” Nas reminds listeners of his position in the rap game via the hard-hitting “Abracadabra.”

“Durag energy, I’m on a wave, you n**gas cap, give you the shakes like Faces of Death tapes when that lady got hit on the track, I’m seein’ black, so I gotta black, the magic is black, one generation don’t listen to Nas, don’t listen to rap, spit on my platinum plaques, they’ll probably spit on my grave, for real, I split ’em like Puff and Ma$e for real, ’cause I got a budget to waste, for real, Hit-Boy on the drum and the bass, nobody jump on the stage, RIP, Trouble, but n**gas is actin’ like they want some trouble today…”

Magic 2 follows 2022’s King’s Disease III, a 17-song effort with zero features. That album became Nas’ 15th top 10 on the Billboard 200 with 29,000 album-equivalent units sold during its first week of release. Since then, the Bravehearts alum remained on the radar via songs like Hit-Boy’s “The Tide,” Swizz Beatz’s “Runaway,” Tobe Nwigwe’s “On My Soul,” and Metro Boomin’s “Nas Morales,” which appeared on the official soundtrack for the March blockbuster Spider-Man: Across the Spider-Verse.

Press play on Magic 2. In related news, Nas will soon be joining the Wu-Tang Clan on the second North American leg of their “NY State of Mind Tour.” You can see the dates for that below.

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