The Comenian

Issue date: 10/9/08 Section: Arts & Culture

Media Credit: Amazon.com

It's been six years since Nelly led the game with such names as Jay-Z and Eminem when the trio carried hip-hop record sales. Since then, times have changed. Jay-Z only delivered a mediocre return [though he made up for it with American Gangster] and Eminem has become a recluse.

But what of Nelly? After being pushed back from the original release date of October 16, 2007, those looking for Nelly to come back in record setting fashion may want to look elsewhere.

Following four years of silence, Nelly is back for some hand-to-mic combat on his fifth studio release. Brass Knuckles burst out of the corner with pure energy with the cut "U Ain't Him," featuring Rick Ross in an attempt to tell off pretenders. This energy stays alive as he moves to the aggressive "Hold Up."

Sadly Nelly hasn't taken his own advice to step up his game as he utilizes outdated references to Myspace in an attempt to connect. Nelly can be glad that an excellent flow from Tip, combined with production rivaling the best, saves the song.

The album's highlight comes in the form of "L.A.," an ode the west coast featuring Snoop Dogg and Nate Dogg. Snoop Dogg may only do the hook, and Nate Dogg's performing may be disheartening, but Nelly delivers an excellent account of his feelings of the west coast: "I spent a lot of time on this LA coast/Out here tryin' to do the LA most/Chauffeur-driven Phantom like the LA Ghost/In the back with the drinks takin' LA tokes…/So now I'm off to Rodeo just to LA shop/Still getting' dirty looks from some LA cops…/I send a lot of love to my LA brothers/My Latinos and my negroes and them LA covers/My blessings goes out to them LA mothers/Know that Nelly is an LA lover."

The first major downfall to Brass Knuckles comes early in the album with the track "Lie." The St. Lunatics are back, and this time proving they really are one of the worst crews released by a major rapper. "Party People" doesn't do much better, as Fergie appears to lay down a gangster verse that is utterly mockable. "Self-Esteem" seems out of place with a positive message not expected with the violent namesake of the album.

In terms of what Nelly is presenting stylistically, if you own or have heard his other albums you know what to expect. Lyrical rhymes of cars, women, and money remind us what we thought we had left in the past. Nelly's trademark slurs are back throughout with a hand full of "hurrs" and "thurrs." Nelly made sure to bring his sing-song hooks, which lend him to contemporary R&B more than the hardcore rapper.

Brass Knuckles is a bit a confusing and hard to swallow. Yes, Nelly is back and as entertaining as ever with an ear for production that hasn't been diminished by time. However on an album where 13 of 14 tracks feature guests, it gives you the unsettling feeling that Nelly may be using the 19 guests to justify his return and not his own style.

Nelly's dependence shows the listener his apprehension of a return. Perhaps nostalgia will sell this album, bringing him back to the forefront of a dying hip-hop scene.
Regardless of whether it's new and changed, Nelly has come back with an album full of charisma and charm that is faltered by uncertainty and repetition, which we have heard since his debut.

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