Nas Seems Determined to Settle Old Scores

The cycles of pop music history are as hard to fathom as the mysteries of the cosmos, or at least the logic behind choosing Grammy winners. How is it that Kid Rock can sell gazillions of albums one minute, then become a mere Pamela Anderson appendage the next? If Nas’ performance on Wednesday at the House of Blues is any indication, the vexing issue of stars abruptly losing their wattage is probably something that keeps the rapper up at night.

After all, it was only seven years ago that Nas was one of the most luminous rising talents in hip-hop. His 1994 album “Illmatic” mined the same grimy subject matter as his gangsta rap contemporaries, but with a more reflective, world-weary attitude and a refreshing nuance to both the supple arrangements and Nas’ complex internal-rhyme schemes.

But in the accelerated culture of current hip-hop, seven years is considered old school, and despite recording some fine music, including 1996’s underrated “It Was Written,” Nas fell precipitously from the apex of the hip-hop hierarchy, to be replaced by a new crop of eager comers anxious to crowd out their elders.

Nas now finds himself in an odd position: too large to be underground, and too marginal to be a regular on MTV’s “Total Request Live.” His new album, “Stillmatic,” is the most strident of his career, an attempt at reclamation by settling old scores. That venom has resulted in healthy record sales: “Stillmatic” reached No. 5 on the sales chart and has sold more than a million copies. Nas leaned heavily on its material Wednesday, the first of his two sold-out nights at the Sunset Strip club.

Dressed in black, the New Yorker was as serious as a heart attack. Riveted to the same spot at center stage for the duration of his 50-minute performance, Nas barked and declaimed like a Rottweiler as he ranged widely across the usual hot-button issues that get rappers worked up--player haters, weed, dangerous women--while two rapping foils chimed in with vocal assent.

But the stench of sour grapes permeated the proceedings. “Stillmatic’s” laundry list of disses against rap acts such as Mobb Deep and Jay-Z got prominent play. It felt unseemly for a rapper of Nas’ talent to stoop so low--like a politician running TV smear ads against his opponents. It was a callow low point in an otherwise relentlessly invigorating set.