By Steve Weinstein
By Bryan Bierman
By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
In a strange twist, these Nas-postles have become the Maker instead. Soul Supreme's Soulmatic is the least compelling remixit has all the intrigue of algebra homework. Soul Supreme drowns Nas's verses in crashing waves of swollen strings and chipmunk vocals. His beat-craft is technically competent, but rote and mechanicalespecially compared to God's Stepson, which creatively customizes new tracks to fit Nas's lyrics. 9th Wonder's beats are pleasant if a little repetitive: a nuevo-school aesthetic of deftly stacked soul and jazz licks (imagine Nas remixed by a latter-day Pete Rock). Wonder's greatest achievement is his bonus remix of Stillmatic's "Ether," an apocalyptic revelation scored by heaven-born horns.
In contrast to the meticulousness of God's Stepson and Soulmatic, Hova's Son and Nastradoomus play for funsies. MF Doom raids his own bugged catalog of tracks while Lt. Dan pilfers Jay-Z'sso whatever they lack in laboriousness, they make up in entertainment value. Doom is a backpacker favorite, but his eccentric musical tastes actually lean populist. He favors sounds others would consider junk (syrupy '80s r&b, for example), so it's only fitting that he'd choose to redeem one of Nas's worst albums. Even Doom can't save droning, thuggish rubbish like "Come Get Me." But in "Life We Chose," his melancholy piano and sax loops polish the luster of one of Nas's more thoughtful songs. Doom throws crazy ideas at the wallsome stick, like the Persian vibe of "Some of Us Have Angels"; others miss, e.g., the dense tangle that swamps "Last Words."
The beauty of Lt. Dan's Hova's Son is how its sublime surprises play fantasy peacekeeper between Nas and Jay-Z. The overwrought martyrdom of "The Cross" switches from plodding to passionate when fit over the dramatic fury of Jigga's "U Don't Know," while the nursery rhyme charm of "I Can" syncs well with the playfulness of Jay-Z's 1997 "Who You Wit." The main misstep is the clashing bounce rhythms of "Heaven" set to "Big Pimpin'," but who'd think "Revolutionary Warfare" would sound so good over "H to the Izzo"? The blends Lt. Dan concocts are at once familiar yet unexpected, and that tension fuels the CD's appeal.
Keep in mind that all this redux fever is happening against a technological and cultural backdrop where everyone with a laptop and Pro Tools is churning out his own mash-up mix tapes. Now that this quartet of remixers have spurred the trend, their efforts only portend future projects as expansive as your imagination. Coming soon: Public Enemy's Fear of a Crunk Planetthe Lil Jon Remixes!