Nas Y Damian Marley Distant Relatives Zippyshare Upload

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.

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Bb I hope they get it right Gmaj7 I hope we dance tonight E Before we, get it wrong Verse 3: C# And the seasons Will change us new Bb But you're the best I've known and you know me Gmaj7 I could not be stuck on you E If it weren't true C# Bb Gmaj7 E Verse 4: C# I was swimming My eyes were dark Bb 'til you woke me Gmaj7 And told me that opening E is just the start It was Verse 5: C# Now I see you, 'til kingdom come Bb You're the one I want Gmaj7 to see me for all E the stupid shit I've done. Intro: C# Bb Gmaj7 E Verse 1: C# They're playing our song Bb They're playing our song Gmaj7 Can you see the lights? E Can you hear the hum, Verse 2: C# of our song? C# Soil and six feet under, Bb Kept just like we were Gmaj7 Before you knew you'd know me E and you know me C# Blooming up from the ground Bb 3 rounds and a sound Gmaj7 Like whispering 'you know me.

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.