Then midway through the first verse, this happens: “My verbal AK slay f*ggots/ And I don’t mean no disrespect whenever I say f*ggot, okay f*ggot / Don’t be so sensitive If you want to get f**ked in the ass / That’s between you and whoever else’s d*ck it is.” ![]() Whether it’s Big, Nas, Pac, Kanye, or Jay, Cole consistently feels the need for unnecessary shout-outs like this is some kind of Jayceon Taylor Tribute album. This excessive and misguided name-dropping riddles the entire project. “Sometimes I brag like Hov / Sometimes I’m real like Pac,” raps a modest Cole. The dark and bombastic instrumental contains a lot of the production values that we grew accustomed to from Cole on his debut Cole World: The Sideline Story: Booming drums, dramatic strings, and faint yet impactful choirs. “Villuminati,” the album’s intro track, is a testament to that disharmony. Some good, some bad and a noxious amount of melodrama permeates throughout Jermaine Cole’s sophomore effort. Instead, it plays out as a conflicted struggle of sonic ideas. The track which features a fitting wailing sax sample is sonically sound, but the overall concept of the record seems forced.īorn Sinner was conceptualized by Cole to reflect some sort of inner Cain & Abelian duel between good and evil. Cole has never collaborated with Nas and as far as we know, the two have never shared a single molecule of oxygen aside from performing on the same stage at 2012’s Rock The Bells Festival. Whereas “Big Brother” exhibited ‘Ye showing genuine gratitude for one of his actual mentors, Jay-Z, “Let Nas Down” comes off as some kind of passive-aggressive billet-doux for Esco. ![]() Cole attempts to spawn an inspirational record centered around how he was butt-hurt when he heard it through the grapevine that Nas wasn’t feeling his 2011 single, “Work Out.” Cribbing more than a few pages from Kanye’s “Big Brother,” J. “Let Nas Down” is everything that is wrong with Born Sinner in a nutshell.
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