Nas and Nashawn’s Napalm is a loud, messy, and occasionally brilliant attempt to smash hip-hop and hard rock together. It is not a quiet record. It is not a subtle record. It is a record that wants to explode, and it mostly succeeds, even when the fuse catches fire in the wrong direction. The album runs 16 tracks and 40 minutes, and it is best understood as a series of experiments, some of which land and some of which do not. This is not an album for everyone. It is an album for people who want to hear Nas sound like he is shouting from a burning building.
The critical consensus is that Napalm is a fiery, genre-bending rap record that fuses hard rock and hip-hop into something explosive. That is accurate. What is less accurate is the idea that the fusion is seamless. It is not. It is jagged, uneven, and often more interesting for being awkward than for being polished.
Opening With Choir Song
The album opens with “Intro,” a brief statement of intent that sets the tone before the real music starts. Then comes “Choir Song” (1:48), which is exactly what it sounds like: a choir-backed anthem that announces the record’s ambition. It is the kind of track that works better as a mission statement than as a song, but it does its job.
“All Love” (3:18) follows, and it is one of the record’s stronger moments. The track builds tension slowly, letting the guitar work breathe before the beat drops. It is a reminder that Nas can still write hooks that stick, even when the production is pushing him toward metal territory.
“Shit Ain’t Sweet” (3:31) is the first real stumble. The track tries to be aggressive and ends up sounding like a parody of aggression. It is not a disaster, but it is the first sign that the album’s ambitions are starting to strain against its execution.
“Tribute” (2:35) is a more focused effort. It is a shorter, more direct track that leans into the rock influence without losing the rapper’s lyrical precision. It is not a highlight, but it is a solid piece of the puzzle.
“Flash” (1:47) is a quick burst of energy that does not overstay its welcome. It is a skittering, percussive track that shows off the record’s rhythmic versatility.
Then comes the first of two skits. These interludes are the weakest parts of the album, and they break the flow without adding much. They are filler, and they should have been cut.
“Ms Cocaine” (3:39) is a standout. It is a track about a drug dealer who is also a mother, and it balances the brutality of her lifestyle with a humanizing portrait. The production is heavy, but the writing is sharp enough to cut through it.
“Talk to Me” (2:28) is a more straightforward love song, and it is a pleasant change of pace after the record’s earlier aggression. It does not reach for anything ambitious, and it does not need to.
“Write Your Name” (2:42) is another skit, and it is another missed opportunity. The album is already short on space; it should not be wasting it on filler.
All Summer Long and the Middle Stretch
“All Summer Long” (3:54) is the track that made the record famous. It is a cover of Mark Davis’ original, and it is the only moment on the album where the fusion of hip-hop and rock feels effortless. The track is built around a simple riff, and Nas rides it with a confidence that the rest of the record only occasionally matches.
“Wow” (3:09) is a more subdued track, and it is one of the album’s more interesting experiments. It is slower and more atmospheric, and it shows a side of Nas that is willing to let the music breathe.
“Generation” (2:57) is a political track, and it is one of the few songs on the record that attempts to engage with something larger than Nas himself. It is not a great track, but it is a sincere one.
“Money Machine” (5:25) is the longest track on the album, and it is also one of the most ambitious. It is a track about wealth and excess, and it is built around a driving guitar line that never lets up. It is not a perfect track, but it is a bold one.
Choir Song and the Finale
The album closes with two clean versions of “Choir Song” and “Money Machine.” These are not essential listens, but they are worth hearing for the comparison. The clean versions strip away some of the rough edges, and they make the originals sound even more ragged by contrast.
Here is a quick rundown of the tracks that stand out:
- “All Love” — the album’s most focused moment
- “Ms Cocaine” — the best-written track on the record
- “All Summer Long” — the one song that gets it right
- “Money Machine” — the boldest experiment
The Record’s Flaws
The skits are the album’s biggest weakness. They are not terrible, but they are unnecessary. A 16-track record could have fit comfortably in 14 tracks without losing anything. The filler stretches the runtime without adding value, and they break the momentum between the stronger tracks.
The middle stretch is also uneven. Tracks like “Shit Ain’t Sweet,” “Tribute,” and “Level 7” are not bad, but they are not memorable either. They are competent background noise that does not justify the attention they get.
The production is inconsistent. Some tracks sound like they were recorded in a garage, while others sound like they were produced in a studio. The lack of consistency is distracting, and it undermines the record’s attempt to be taken seriously as a rock-oriented hip-hop album.
The Verdict
Napalm is a flawed but fascinating record. It is not a classic, and it is not a failure. It is a record that tried something difficult and mostly pulled it off, even when the seams show. The skits are a mistake, and the middle stretch drags in places, but the highs are high enough to justify the trip.
The album is best heard as a collection of experiments rather than a cohesive statement. It is not a record that holds together as a whole, but it is a record that rewards individual listens. Some tracks work. Some tracks do not. That is the nature of the project.
The record’s best moments are strong enough to carry the weaker ones. The worst tracks are forgettable, but they are not offensive. The album is uneven, but it is never boring.
- Intro
- Choir Song1:48
- All Love3:18
- Shit Ain’t Sweet3:31
- Tribute2:35
- Flash1:47
- Skit
- Ms Cocaine3:39
- Talk to Me2:28
- Write Your Name2:42
- Skit
- All Summer Long3:54
- Wow3:09
- Generation2:57
- Money Machine5:25
- Level 72:57
- Choir Song (clean version)
- Money Machine (clean version)
