Track #1 contains elements of the recording 'Yegelie Tezeta' by Mulatu Astatke. Selena quintanilla greatest hits rar. Track #2 contains elements of the composition 'Tribal War' written by Earl Lowe. Track #8 contains elements of the composition and the recording 'Promised Land' by Dennis Brown. Track #10 contains elements of the recording 'Kurikute' by Sara Chaves. Track #11 contains elements of the recording 'Sabali' by Amadou & Mariam. Track #12 contains elements of the recording 'Generation' by Ziggy Marley.
℗© 2010 Universal Republic Records, a Division of UMG Recordings, Inc. Made in the EU. Barcode (Text): 6 6 7.
Barcode (Scanned): 67. Rights Society: BIEM/SABAM. Matrix / Runout (Variant 1 to 4): 06025 274 117-6 02 ✱ 52539999. Matrix / Runout (Variant 5): 06025 274 117-6 02 ✱ 52539999 MADE IN GERMANY BY EDC Q. Matrix / Runout (x4 logo, variant 5): UNIVERSAL.
Nas And Damian Marley Distant Relatives
Mastering SID Code (Variant 1 to 5): IFPI LV26. Mould SID Code (Variant 1): IFPI 0117. Mould SID Code (Variant 2): IFPI 0128. Mould SID Code (Variant 3): IFPI 0157. Mould SID Code (Variant 4): IFPI 0130. Mould SID Code (Variant 5): IFPI 0148.
At the end of the 1998 Hype Williams film Belly, Nas, playing a reformed outlaw named Sincere, leaves behind the violence and betrayal of his old life and moves to Africa. We don't learn where in Africa he moves, or what he does when he gets there. We just hear 'Africa,' like the entire continent is some gigantic symbol for rebirth and redemption. It's meant to be a triumphant ending, but it's frustratingly out-of-reach, missing the specificity that could've made it satisfying. There's something of that same nagging well-intentioned vagueness to Nas' latest venture, as well.
Nas is in a tough spot right now, coming off of a couple of half-successful, attention-grabbing concept albums and a costly, spiteful public divorce. So it makes sense for him to link up with the scion of one of the most universally beloved figures in all of music, making a back-to-basics move that pushes him away from rap and tabloid politics.
Nas and Damian Marley are both sons of celebrated musical figures, so god knows they probably have plenty to talk about. Five years ago, Nas guested on Marley's 'Road to Zion' and sounded great doing it. Onstage together at SXSW, they had a lively chemistry, Marley chatting madly over the 'N.Y. State of Mind' beat and Nas giddily playing hypeman on 'Welcome to Jamrock'. And first single and album opener 'As We Enter' promises great things, Nas and Marley furiously trading off tag-team punchlines over a track that perfectly splits the difference between dusty NY boom-bap and warm post-dancehall reggae. But too often on Distant Relatives, Nas and Marley fall into a sort of middlebrow funk, kicking overripe platitudes over sunny session-musician lopes and letting their self-importance suffocate their personalities.
Marley's never done his best work shooting for inspirational. On his best tracks, he brings less of his father's wizened optimism and more of the gravelly, demonic snarl of dancehall-schooled avengers like Sizzla or Capleton. Nas, meanwhile, is best at tense, tactile details: The feeling of gunpowder burning your nostril hair, the dank smell of piss in the project elevator. In trying to make what basically amounts to a modern-day Bob Marley album, they've both pushed themselves away from their strengths.
Nas strays into either the too-general ('I reach 'em like Bono/ So get rid of your self-sorrow') or puzzling paranoia ('If satellites is causing earthquakes, will we survive it?' The production, mostly from Marley and brother Stephen, tends too often toward stifled, Grammy-bait guitar solos and tinkling, expensive R&B sheen. The track 'My Generation' is all the album's worst impulses put on display, a sickly attempt at gospel with Joss Stone yowling all over the chorus and a truly dogshit Lil Wayne guest verse- all in service of fuzzy, feel-good preachiness. On tracks like this one, the dorm-room philosophizing gets a little thick.
But even with all that, the album is still a true collaborative affair, two deeply talented guys with amazing, evocative voices finding common ground and exploring it. So when it does work, it's serious. 'Nah Mean' puts a nasty mid-90s NY rap beat in service of some ferocious snarling from both principals.
'Land of Promise' is devastating old-school dancehall toughness, not far removed from Marley's own 'Welcome to Jamrock', with Nas finding new cadences for his dusky monotone. 'As We Enter' and 'Patience' respectively sample Mulatu Astatke and Amadou and Mariam, both to great effect. When these guys stop trying to be positive and just vent, they do great things. Nas sounds most like himself in the last minute of 'Strong Will Continue'. The song is mostly pretty bland, five minutes of sloganeering before Nas suddenly turns ugly, wondering if his ex-wife cheated on him, bringing up Bruce Lee's family curse, raging at nobody in particular, then breaking everything off with haughty style: 'See a nigga disappearing with the baddest honeys in the whole spot, yeeah.' With all the heavy-handed philosophizing all around it, it's pretty thrilling to hear Nas suddenly going all 'Oochie Wally' on us, if only for a second. But then the song ends, and it's back to the preaching.
The and collaboration came together as a way to earn money for schools in Africa, but before any corny “charity album” misconceptions get in the way, know that this is one purposeful monster and a conceptional bull's eye that fully supports its title. Actually, it all comes together in the album’s first few seconds as and loop a sample of Ethiopian jazzman Mulatu Astatke for “As We Enter”’s effective and infectious beat.
Rapidly trading the lines (Nas): 'I’ve got the guns'/(Damian): 'I’ve got the Ganja'/(Nas): 'And we can blaze it up on your block if you wanna” just raises the excitement level to a “Welcome to Jamrock” or “Nas Is Like,” but when the following “Tribes at War” creates a cinematic big picture of Africa crumbling while its people are unwillingly scattered across the globe, the album turns compelling. On the track, guest offers the provocative “I drink poison/Then I vomit diamonds” while the devastating “Leaders” features ’ “Malcolm on the podium/Shells drop to linoleum/Swipe those/Place them on display on the Smithsonian.” Still, there’s much more hope and pride here than anger and darkness. The majestic “Strong Will Continue” marches forth with a positive spiritual message, while “Count Your Blessings” is musically akin to ’s collaboration “Beautiful” and father Bob's’s “One Love” lyrically. The magical moment that explains it all comes in the form of an old interview which is sampled for “Land of Promise.” Answering the question “What do you think of Africa?” replies “Just to mention of it man, is like, you call mi name man” in a voice that displays a whirlwind of emotions, from the very best to the very worst. Is this African contradiction explored further with hip-hop, dancehall, and by way of samples, jazz, and African music showing the way. It’s a royal and a striking reminder of why these two artists have reached legendary status.
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Nas Damian Marley Distant Relatives Download
เพลง. ศิลปิน. Nas & Damian 'Jr.