Nas patience damian marley
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K’naan makes a meaningful contribution in verse 2, where he speaks as the African continent personified: This track reflects on the divisions between African people on the continent and abroad, and the blood shed over gang & tribal warfare. Man what happened to us?/Geographically they moved us From Africa/We was once happiness pursuers/Now we back stabbing, combative and abusive /The African and Arab go at it they most Muslim/Used to be moving in unison TRIBAL WAR,WE NUH WANT NO MORE A DAT/Every man deserve to earn/And every child deserve to learn, now/TRIBAL WAR A NUH DAT WE A DEFEND/Every man deserve a turn/Like Babylon deserve to burn Damian’s chorus and beginning of Nas 1 st verse set the stage: Strings, drums, and a heavy synthesizers blare as the instrumental. We have moved from the introduction of our narrators on this journey to the meat & potatoes: the Pan-African subject matter of Distant Relatives. I call it a lyrical appetizer, and it is smooth enough to replay, especially in the whip. “Road to Zion” was only a preview, and the witty back and forth is a fun track to bump. Although this opening track is not concerned with the album’s topic, it does remind us of how natural a collaboration this partnership is. Junior Gong & God’s Son trade bars effortlessly throughout the track. Gong: “Nzuri Sana! Switch up the language and move to Ghana ”ĭistant Relatives opens with “As We Enter”, a track with booming bass and a Nas laced chorus. Nas: “And my man can speak Patois, and I speak rap star/y’all feel me, even if it’s in Swahili, Habari Gani” The project deserves deep analysis, and I want you to be able to read the lyrics that frame my views of each track, and the album as a whole. So take that as a warning that this is the LONGEST review that I have ever written in my life.
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I’m going in depth with this review because I truly believe it to be one of the most groundbreaking collaborative albums since John Coltrane & Duke Ellington released their joint album. Then there is the album, which was released 1 day prior to Malcolm X’s birthday. The event was moderated by hip-hop journalist and personality Sway, who began the night by interviewing Nasir & Damian, and broadened the discussion to include DJ Kool Herc, amongst pioneers from both genres. In December, the National Geographic Society sponsored a panel discussion at the Smithsonian Institute in Washington DC on the bridge between the cultures of Hip-Hop & Reggae, with Distant Relatives as the frame of reference. Through multiple outlets, Distant Relatives explored the connections between Hip-Hop, Reggae, and Africa.
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Not only is Distant Relatives an album, it is a documentary. As a fan of both artists, as a lover of Hip-Hop and Reggae, as a participant in the culture, as a writer, and as a part of the African Diaspora, I believe this album to be a milestone.
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Nas and Damian Marley’s Distant Relatives project brings this philosophy to the forefront of two genres of music. It is no secret to many of you that I view art not as a product, but as a vehicle for culture.