Some good-great beats (specifically: “Get Down” friendly guitar loop with the occasional horn hook and later, a sunny keyboard line, to say nothing of the beat switch; “Made You Look”‘s liquid drums in between the propelling beat and that bass line (!!!); the lovely acoustic guitar of “Thugz Mansion”; “Revolutionary Warfare”‘s soul sample, which starts accented thanks to the beat and then ends smoothly; “Heaven”, particularly for that jazzy drumming) offset by some of the worst fucking beats Nas has ever rapped over (specifically: the disgusting sounds of “Zone Out” where Nas does some clunky spelling and science lesson that doesn’t even try to rhyme, and “I Can” which would’ve murdered Beethoven if the guy was still alive and not deaf). Great rapping (like Life is Good released a decade later, probably because it was born out of a difficult time during Nas’s life) offset by generic beats that play their hand in the first 4 seconds (specifically: “The Cross” because Eminem’s menace barely ever works for anyone not named Eminem, “Last Real Alive” and Alicia Keys’ “Warrior Song,” though “Your mother’s the closest thing to God that you ever have” shook me). Conclusion: neither Nas’ best nor worst. In fact, it might the best thing he released up until Life is Good. Though what does that mean, really?