It’s no secret that Nelly’s career is far from what it once was and I think he’s slowly starting to realize that. None of the singles leading up to this new album had the same impact of "Country Grammar" or even that of "Hot In Herre"; so maybe, just maybe, that glorious spotlight is beginning to fade.
Still, Nelly seems unfazed of the matter and his response comes packaged as Brass Knuckles--A bona fide return to Hip-Hop, intended to hit listeners hard from start to finish. The only question is, just how much fight does Nelly have left? Unfortunately, the answer to that is very little.
Still, Nelly seems unfazed of the matter and his response comes packaged as Brass Knuckles--A bona fide return to Hip-Hop, intended to hit listeners hard from start to finish. The only question is, just how much fight does Nelly have left? Unfortunately, the answer to that is very little.
I’ll be honest. Brass Knuckles, as a whole, is far from a bad album, but to call it good would be contrite on my part. Too many features drag this album down, for one, and, two, the lack of growth from Nelly is really starting to get old. Maybe it’s just me, but every album of his just sounds the same to me. I’m sick of his “down, down baby” flow and everything that is St. Louis, because that whole movement is dead. It died a long time ago and whether Nelly wants to believe it or not, it’s true. Just ask Chingy.
As harsh as that sounds, a part of me feels bad because I, too, was once a Nelly fan. I loved Country Grammar and Nellyville and keep both in heavy rotation on the ipod; but somewhere along the way, Nelly got comfortable. His whole demeanor changed when it came to music and the end result was the dreadfully awful Sweat/Suit album. From a business standpoint, it made sense so I can’t even front on that aspect; but if that’s not “commercialism” at its finest, then I don’t know what is. It just goes to show that everybody has a price. Even rappers.
As for Brass Knuckles, Nelly continues to be comfortable and songs like the Polow Da Don produced “Party People” and “Stepped on My J’z” are only proof of that. Neither of these records have any substance whatsoever and, dare I say, seemed kind of forced if you ask me. Not all is lost, however, “L.A.” featuring Snoop Dogg and Nate Dogg is a pure gem; while “Chill”, “Uced Getit”, and “Let It Go Lil’ Mama” are standout tracks as well.
Other than that, the album is too watered down by guest appearances to make it anything memorable; so, rather than writing in circles, I’ll get straight to the point. Brass Knuckles doesn’t pack much of a punch at all. Now, how’s that for journalism?
Rating: 5.5 headphones out of 10
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