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It’s safe to say that at this point, Nas and Hit-Boy are close friends. This should be obvious after Nas released his thirteenth studio album, King’s Disease. Hit-Boy describes the strong connection he shared with the Queensbridge rapper while working on that project (( Hit-Boy on the process of recording King’s Disease with Nas (The Bootleg Kev Podcast). YouTube, uploaded by Bootleg Kev. 11 Sep. 2020. )). The energy from those studio sessions eventually morphed into the album’s sequel, King’s Disease II. Drawing upon sounds inspired by 90s rap while maintaining a modern style, King’s Disease II has Nas delivering mature and reflective lyrics bolstered by soulful and lavish production from Hit-Boy.
The album has fifteen tracks, making the project Nas’s longest since his 2012 album Life is Good. Prominent names associated with old-school hip hop dominate the feature list, including Ms. Lauryn Hill, Eminem, and EPMD. However, the inclusion of rappers YG, A Boogie, and Blxst allow the project to embrace the younger side of hip hop. Charlie Wilson, featured on King’s Disease, reappears on “No Phony Love.” Uncredited vocals consist of Don Toliver on “The Pressure” (( “The Pressure.” Genius.com, 2021. Accessed 11 Aug 2021. )) and “Death Row East” (( “Death Row East.” Genius.com, 2021. Accessed 16 Aug 2021. )) along with Lil Baby on “40 Side” (( “40 Side.” Genius.com, 2021. Accessed 11 Aug 2021. )). Even Hit-Boy features and offers a verse on “Composure” to the surprise and delight of many listeners.
Review
One will notice callbacks to Nas’s earlier works throughout King’s Disease II, something many of his fans will appreciate. On the first track, “The Pressure,” Nas almost immediately references his 2001 song “Got Ur Self A…” through the phrase “God’s Son across the belly” (( Nas. “The Pressure.” King’s Disease II, Mass Appeal Records, 2021. )). The song “Store Run” has Nas reflecting on “Shootouts with my guys” (( Nas. “Store Run.” King’s Disease II, Mass Appeal Records, 2021. )) while thinking about his nighttime experiences in New York, reminding the listener of “Shootouts” from Nas’s second album It Was Written. Elements of Illmatic also surface on “Store Run” through the familiar proclamation, “The World is Yours.” Hit-Boy even includes the “braveheart” chant from Nas’s 2002 song “Made You Look” on “Rare” (( “Rare.” Genius.com, 2021. Accessed 16 Aug 2021. )). The allusions to these previous songs give “the chills” to those who respect his discography. As a long-standing veteran in the game, Nas appeals to his past experiences and reflects on his contribution to the foundation of earlier hip hop.
This foundation cannot be mentioned without discussing Nas’s involvement in the East Coast-West Coast hip hop rivalry. “Death Row East” details interactions with Suge Knight and a conversation between Nas’s brother Jungle and 2Pac, all taking place within the backdrop of this conflict. This appeal to West Coast hip hop also came with the intention to end the conflict, but when Nas came to Vegas in 1996 to talk with Pac, it was too late, and Pac died before they were able to speak. Although his passing was discouraging and highlighted the danger of this coastal beef, Nas still notes how he benefited from West Coast hip hop through the advice of Dr. Dre on the track “Nobody.” Recalling conversations with Dre, he remembers Dre telling him not to be fooled by the “palm trees of LA” (( Nas. “Nobody.” King’s Disease II, Mass Appeal Records, 2021. )). Although the environment is alluring, Nas’s same violent problems in New York are prevalent in LA. In addition to this crime-based connection both sides of the country have, a musical connection between the East Coast and West Coast is evident on the record. Hit-Boy’s bass-heavy, funk-inspired grooves “tip the cap” to West Coast rap, while his inclusion of jazz and soul pays homage to the East Coast sound.
Themes
Nas’s “storytelling” chops, which largely define his style throughout his career, remain potent on King’s Disease II, and this is most clear on the track “My Bible.” He divides his verses into three chapters, with each chapter offering a personal philosophy on the influence of men, children, and women, respectively. The listener could interpret this track as Nas’s brief scripture, as he himself compares it to the Book of Revelations. This storytelling takes a biographical turn on “Composure.” He describes having jaundice as a newborn, writing and humming songs at the age of ten, and performing on stage at the age of twenty. He then recounts how his parents (legendary cornetist Olu Dara and cherished mother Anne Jones) met for the first time, giving the listener a previously unseen glimpse into the origins of his family life. At the end of the track, one can hear a speech from Shaka Senghor, a proponent for criminal justice reform who was incarcerated for murder back in 1991, emphasizing the importance of overcoming struggle through the vehicle of composure.
Composure is a key theme in King’s Disease II, which allows hope to manifest in the tone of Nas’s raps. On the track “Moments,” he describes his previous hesitancy of including features on his songs. But at this point in his career, he feels that it is necessary to “embrace the new leaders” (( Nas. “Moments.” King’s Disease II, Mass Appeal Records, 2021. )). This kind of mentality showcases the trust Nas has in the modern rap scene, and his decision to embrace this style adds value to his status as a long-time MC. The imagination is clear throughout the album, giving rise to an enjoyable optimism he exhibits in his raps.
With this confidence in mind, Nas does not shy away from toying with the listener while maintaining a level of assertion on “YKTV:” “Imagine Lil Uzi on a Preemo beat / Imagine N-A-S on a Migo beat” (( Nas. “YKTV.” King’s Disease II, Mass Appeal Records, 2021. )). Traditional hip hop fans may scoff at this idea, but it simply highlights the freedom Nas feels while making music in his late forties. Rapping on “40 Side,” Nas effortlessly flows on a trap beat, catching many old-school rap fans by surprise. It’s a testament to the status Nas has achieved in hip hop; he does not need to limit himself to the instrumentals and production that most fans expect in order to be content with the music he makes.
Climax
One can argue that the climax of King’s Disease II occurs with “Nobody,” featuring Ms. Lauryn Hill. Subverting the listener’s expectations, Hill performs a rap verse instead of contributing to the hook through her singing (as she did on “If I Ruled the World (Imagine That)), which is what most fans of Hill would have anticipated. Hit-Boy’s soulful production emphasizes space to accommodate this lyricism, leaving room for thoughtful verses from Nas and a long, honest verse from Hill regarding her popularity and “disappearance” from the music scene. She defends her artistry, stating the comfort she has in operating at her own pace without needing to conform to the demands of those who desire more predictability from her. Following this verse, Nas offers a message for the outro, confronting those who question the impact of himself and Ms. Lauryn Hill and maintaining that the influence of both artists will be continuous. Feeling goosebumps is almost a guarantee on this song.
Downsides
“YKTV” is one downside for the album, feeling like a carefree summer track akin to “Summer on Smash” from Life is Good. Although the song showcases impressive verses from Nas, A Boogie, and YG, it fails to align with the album stylistically, even if it serves as a “club-banger.” The Jaboody Dubs “Popoff” snippets are amusing comedic relief, though (( “YKTV.” Genius.com, 2021. Accessed 11 Aug 2021. )). Another drawback is on “EPMD 2,” where Eminem overstays his welcome. Although technically sound and invigorating, the now all-too-familiar rapid and choppy flows he employs do not compliment the song’s goal to showcase the skill of each rapper equally. The excitement is there during these moments on “YKTV” and “EPMD 2,” but it detracts too much from the larger equable and mature feel of the LP.
Why King’s Disease II Is Successful
King’s Disease II feels like a more robust version of the initial installment, in Nas’s rapping and Hit-Boy’s production. Elements of jazz, funk, and soul are prevalent throughout the album, complementing the methodical and calm style of Nas’s delivery. The production for “Moments” along with the violin passages on “Brunch on Sundays” sounds like something straight from Kanye’s Late Registration; grand instrumentation and soothing vocal samples comprise the album and provide enough room for Nas’s lyrics. Nas has more to offer lyrically on this project; his thirty-two verses on King’s Disease II trump his twenty-one verses on the shortened King’s Disease. The project is fully developed, and the creative energy that Nas and Hit-boy have captured is now realized.
Winning the Grammy for King’s Disease was not important for Nas, stating “that wasn’t the goal” (( Nas. “40 Side.” King’s Disease II, Mass Appeal Records, 2021. )) on “40 Side.” Instead, thriving in a creative, low-stress environment with Hit-Boy was more valuable. As established as Nas and Hit-Boy are in the industry, it’s highly probable that this project will not achieve significant commercial success given the mass appeal of pop-driven rap nowadays, but that’s okay for both artists. Nas and Hit-Boy are like two friends from the same class who are paired up to work on a project together, eager to work and inspired by each other’s previous successes.
