15 studio albums later, many are still wondering if 49-year-old rapper Nas still has something relevant to say. To critics and fans alike, the answer is a resounding yes. With his Nov. 11 release “King’s Disease III,” Nas closes out his “King’s Disease” trilogy with confidence and a sense of resolve. He raps from a place of wisdom and well-earned respect, rarely verging on “preachy” territory. His advice and bars are relevant for old and new fans alike.
(Courtesy of Mass Appeal Records)
Three decades into his career, the rapper is still going through a dramatic metamorphosis, and his ongoing evolution might make him one of the greatest MCs of all time. While many purists will argue that his debut record “Illmatic” (1994) overshadows his other music, this recent string of albums readily dispels that notion. Critically and commercially, Nas’ latest release is a resurgence.
“King’s Disease III” comes during an artistic renaissance for the legendary New York rapper. After an otherwise divisive creative output in the 2000s, Nas has infused new life into his musical career, grabbing his first Grammy in 2021, hopping on multiple tracks with other notable artists and making four studio albums all within an unprecedented two-year time period. Nas has consistently worked on these projects with the legendary West Coast producer Hit-Boy, and their artistic collaboration, which Nas references on the aptly titled fourth track, “Michael & Quincy,” describes an undeniable chemistry which resembles Michael Jackson and his producer Quincy Jones. Even in interviews leading up to the album’s release, executive producer Hit-Boy exuded a sense of optimism and creative renewal.
This latest record comes only a year after the second installment of this trilogy. Additionally, there were no features on the entire album, a feat that has not occurred since his 2002 project “The Lost Tapes.” The pressure was definitely on to pull through on a completely independent project in such a short time frame.
Nas’ “King’s Disease III” covers a wide breadth of topics and themes, ranging from commentary about the current state of hip-hop, the unique experience of being Black in America, old and new infamous rap beefs, the fleetingness of adolescence and senseless gang violence. At the tail end of “Reminisce,” he gracefully raps over silky boom-bap beats before quickly shifting to aggressive drill beats that are characteristic of the New York rap scene today.
Some of the standout moments on this LP are when Nas steps out of his comfort zone to rap over unexpected instrumentals. On “Thun,” Nas raps over a bombastic and strings-filled mix with vivid imagery. “I’m on Fire” has him blazing through a laid-back beat with a classic soul sample. “Get Light” finds him rhyming over a groovy song meant for the dance floor. This record covers expansive sonic territory.
In addition to Hit-Boy’s tasteful beats, Nas’ commentary is substantive and multilayered, the byproduct of decades of songwriting. His bars are full of double entendres, metaphors and niche cultural references. His lyrics are fresh and pertinent, never quite boxing himself in as the “old head” of hip-hop. He consistently gives sound advice throughout the record, ranging from spirituality, financial matters on “Recession Proof,” relationship struggles and how to stay cool under pressure. The LP flows smoothly, rarely stalling, and never feels like a bloated record despite its 17 tracks.
Nas continually lays out his thesis for why he is one of the all-time greats. He simultaneously seems surprised and humbled throughout the record about how far he has come from his time in Queensbridge. On the opening track, “Ghetto Reporter,” he interpolates an Eminem flow: “The audacity, masterfully crafted these classics/ So naturally, had to be Nasty back at it/ They argue ‘KD1,’ ‘KD2’ or ‘Magic,’ what’s harder when/ ‘KD3’ go harder than all of them?”
Nas sees himself as the last of a dying generation of rappers. He expresses a similar sentiment on the triumphant 5th track, “30,” wherein he discusses his dominance in the broader hip-hop landscape. The title references what will be the 30th anniversary of his debut “Illmatic” in 2024.
He also raps about racism throughout the record. On the beat switch of “WTF SMH,” Nas opens one bar talking about how he is unabashedly, “Pro-Black with a machete, pinky ring, a hog in the back/ This is not a rap song, why you callin’ it that?” to then resign to the fact that if he spontaneously took a trip to Japan, customs might not “let me in,” referencing airport customs racially profiling people of color.
The widespread usage of drugs and narcotics that surrounded Nas’ upbringing also crops up on “First Time.” The track is predominantly a back-and-forth between Nas and the listener as he asks them how they discovered his art. He talks about how many fans discovered his music through their older siblings, at a seedy liquor store or maybe even at a club. While his music career took off, his community was reeling from a drug epidemic. He relates, “I was tryin’ to juggle Columbia Records/ While dealin’ with what the country Colombia jungles had left us/ First time you heard of Nas, I pro’ly was under some pressure/ Gun in the dresser while you was baggin’ up in the kitchen playin’ my records.”
On the following song, “Beef,” Nas’ lyrics embody the conflict between two parties. He discusses the epidemic of senseless gang violence and the role that envy and jealousy play, referencing the murders of many contemporary rappers, saying, “Parents of every slain rapper wish I didn’t exist/ But I’m alive and I thrive on your ignorance/ I’m a thousand-foot fence that keep you from getting rich.”
Nas once again solidifies himself as a powerful voice in hip-hop worthy of respect for his bars, wordplay and overall message of unity and Black empowerment. He proves confrontational but deeply empathetic, especially on these deeper cuts.
In characteristic Nas fashion, he also represents New York proudly — specifically Queensbridge, where he spent most of his upbringing. He paints a picture of life in Queens on multiple tracks, most notably on “Hood2Hood,” “Get Light” and “Once a Man, Twice a Child.” He raps with a flair of nostalgia on the chorus, “I ducked a razor, ducked some punches, even ducked a gun/ Nintendo ‘Duck Hunt,’ I ducked police, I had to run.”
He is even long removed from infamous East Coast beefs, such as on “Thun,” when he can finally make fun of what was once a serious beef with Jay-Z. These lines paint a picture of maturity and humility seldom found in the braggadocious world of hip-hop, and he weaves in stories to transport the listener right alongside him, from the streets of Queens to gracing the world’s stages. Listen and take notes: Nas is as hungry as ever on his trilogy-closing “King’s Disease III.”
Ari Segal (he/him/his) (25C) is from Boca Raton, Florida, and majoring in Philosophy, Politics and Law (PPL). He is the Arts and Entertainment Editor at the Wheel. Outside of the Wheel, he is involved with the Emory Law School, Emory Conversation Project and the SPARK Mentorship Program. If you run into Ari, he is probably talking about music, listening to music or playing music on the guitar.
