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"One Mic"
Single by Nas
from the album Stillmatic
ReleasedApril 16, 2002
Recorded2001
Genre
Length4:28
Label
Songwriters
Producers
  • Nasir Jones
  • Chucky Thompson
Nas singles chronology
"I'm Gonna Be Alright" (Track Masters Remix)
(2002) 		"One Mic"
(2002) 		"Made You Look"
(2002)

"One Mic" is a song by American rapper Nas, released April 16, 2002 on Columbia Records and distributed through Ill Will Records in the United States. It was issued as the third single from his fifth studio album, Stillmatic (2001). The single peaked at number 43 on the Billboard Hot 100, making it Nas's third top-fifty hit on the chart.

Music and production

[edit]

Production for "One Mic" was handled by Nas and hip hop producer Chucky Thompson.[1] Talking about the inspiration for the song, Nas stated: "I'm a huge fan of Phil Collins and I just wanted to take the vibe from 'In the Air Tonight'."[2] Steve Juon of RapReviews wrote that the song features a production technique previously implemented by such hip hop artists as Outkast and the Roots, which he described as "a quiet groove that steadily increases in energy and intensity until an increasingly amped Nas lets his lyrical rage boil over like a Final Fantasy fighter smacked ONCE too often."[1] According to Nick Butler, the song's structure "slowly build[s] up from a simple 'In the Air Tonight' sample toward the full production ... like hearing two mini hip-hop versions of 'Stairway to Heaven', before Nas flips the script for the third verse and does the same thing in reverse."[3]

According to Juon, the final verse has a reversal of this formula, in which Nas "goes from amped up to soft-spoken, drawing you even closer into his rap."[1] "One Mic" begins with a slow, deliberate flow and beat.[4] Music critic Brett Berliner wrote "'One Mic' starts out with a slow beat reminiscent of a crappy R&B song. Throughout the song, Nas' lazy flow turns into an angry rant over a fast paced beat, and finally a siren."[5]

Lyrics and themes

[edit]

The lyrics of "One Mic" discuss Nas's desire for a simple life ("Only if I had one gun, one girl, and one crib/One God to show me how to do things his son did") and obstacles that prevent it ("[if] One ni**ga front, my face on the front page"),[4] and a lifestyle in which Nas proclaims "All I need is one mic - fuck the cars, the jewelry".[1] It has been noted by music writers for its political consciousness and dystopian themes.[6][7] Keith Harris of City Pages described the lyrical structure of "One Mic" as "urban claustrophobia distilled and digitized, with Nas's reportorial eye zooming in on a detail, then pulling back to a panoramic overview."[8] Music critic Cynthia Fuchs described the song's lyrical scheme as "building slowly to a crescendo of declaration and rage, then coming back, to seek a way to make a difference, with that precious one mic."[9]

In an interview for Rolling Stone, Nas discussed the theme of the song, stating "'One Mic' is just about the power. It's almost like Hip Hop is Dead in its infant stages, saying how much this is a blessing to be out here, speaking about what's happening in my neighborhood, having the whole world understand and relate."[2] He also referred to commentator Bill O'Reilly's criticism of "Shoot 'Em Up", a song from Nas's fourth album Nastradamus (1999), as he stated "If I didn't have a microphone, I could never talk about 'Shoot 'Em Up', and I was talking about Queens, New York, being shot up. What do I have to do to get somebody to turn around and hear what I'm saying and take it serious? I'm not here just to be in your face talking nonsense, we're talking about reality. For him to be upset or people like him to be upset is insane to me. It just shows how ignorant people are."[2] In the interview, Nas continued to discuss his inspiration and the song's lyrical theme, stating:

'One Mic' just gives me the ability, no matter how much ignorant people are mad that I'm exposing or talking about our country, no matter what the language is, I'm talking in a language that the people can hear, I'm not sugar-coating it. So if it scares people and people feel guilty, people feel like they've got to make up excuses to why the world's this way, no matter what they say, like they've got their mic, I've got mine, and that's what that song's about.[2]

In the song, Nas also asks God to forgive him for his sins.[10] In the hip hop book Beats, Rhymes & Life (2007), music writer Ytasha Womack compared Nas's lyrics on "One Mic" to the work of rapper Tupac Shakur, analyzing it as a song with strong religious, Christian overtones and lyrical themes.[11] Womack wrote that "Nas's references ultimately humanized Jesus, with attempts to show direct parallels between our quest and that of the Wayshower."[11] Womack concluded with analyzing the incorporation of religious themes by Nas in his composition, stating "Nas clung to spiritual questioning, expressing a desire to be like the early mystics, in order to possess their knowledge and powers. While he expresses that he has the potential of the greats, in 'One Mic' he asks God to show him how to do things his son did. Nas intertwined his day–to–day life and decisions with the pressures felt by Jesus and others, doing so almost as a means to somehow transfer their spiritual gifts to himself."[11]

Release and reception

[edit]

When "One Mic" was released as a single, it entered the Billboard Hot 100 at number 79 on April 20, 2002,[12] ultimately peaking at number 43.[13] On June 8, it debuted on the Hot Rap Tracks chart at number 9, before eventually reaching number 7.[14] The single also peaked on the Hot Rap Singles at number 23,[15] the Rhythmic Top 40 at number 32, and the Hot R&B/Hip-Hop Singles & Tracks at number 14.[13] A remix of "One Mic", featuring a sample of Mtume's "Juicy Fruit" (1983), was later released on the remix album From Illmatic to Stillmatic: The Remixes (2002).[16]

"One Mic" was well received by critics, some of whom hailed it as a "classic".[11] Marc L. Hill from PopMatters cited it as Stillmatic's "standout track", calling Nas "our magnificently human rap god."[4] Exclaim! magazine's Del F. Cowie described "One Mic" as the album's "centrepiece epic",[6] while Butler cited "One Mic" as "the best rap song of this decade". Writing for Sputnikmusic, he said the song "blew me away on first listen, and it's still having the same effect now. Not many rap songs can send chills up my spine. This is one of them."[3] Brett Berliner from Stylus Magazine was particularly favorable of the song's use of a siren, as he called the concept "truly incredible, and one of the best ideas for a song I’ve ever heard in my life."[5] Steven Potter of the Journal Sentinel called the song a "testament to the lyrical skill only the best emcees possess."[17] Yahoo! Music's James Poletti felt it was "some of the best hip-hop recorded" in 2002.[18] Kathryn McGuire from Rolling Stone was more critical, writing that "the hyperbolic urgency of 'One Mic' feels staged."[19]

In retrospect, IGN's Jon Robinson viewed "One Mic" as a comeback for Nas, writing that it "proved that he was still not only one of the dopest MCs in the world, but possibly the most gifted writer of the rap community."[20] According to Juon, the song signalled a return for Nas to his early musical roots, stating "you know that the rapper we all once called Nasty Nas has truly returned."[1] In 2005, "One Mic" was ranked number 54 on About.com's list of the 100 Greatest Rap Songs.[21]

Music video

[edit]

A music video for "One Mic" was directed by Chris Robinson and released on December 17, 2001,[9] receiving heavy rotation on MTV,[22] and 2002 MTV Video Music Award nominations for Best Rap Video and Video of the Year.[23] Robinson said in an interview with MTV that he wanted to feature references to the 1976 Soweto uprising in a music video, ultimately persuading Nas to include it in the video for the song.[24] After the September 11, 2001 attacks, the video's production ran into difficulties due to the restrictions on international travel. The scene in the video of the riots was instead filmed in Los Angeles with participants from a local inner-city baseball team playing the rioters.[24] The scene of the rock being thrown in the direction of the camera was taken over 10 times (the actor "had a bit of a curve on his throwing arm," according to Robinson) before post-production work managed to complete the desired effect.[24] Robinson also told his director of photography to open and close the shutters of the camera in the apartment scene, creating an effect of blurred streaks of light.[24]

The video begins with a montage of scenes from inner-city areas of New York City, followed by a camera shot of an apartment window in which a light has just been turned on.[25] The video then centralizes upon a view of Nas reflectively rapping with a single microphone in a bare apartment room. While Nas is rapping, the video switches to a scene of a routine police stop of four suspects which quickly escalates to an on-foot chase of the suspects by police as a surprised elder bystander "fiend drops his Heineken" onto the asphalt.[25] The suspects and the police dramatically part around Nas, who is rapping in the middle of the street, as they continue the chase around a corner. As Nas shouts "The Time is Now!", the scene cuts back to Nas rapping in the barren apartment room with the microphone.[25]

The video transitions to a scene in Soweto at the beginning of the 1976 uprising, in which a protester rallies a crowd of residents against the government while baton-wielding black and white soldiers of the SADF prepare for the impending crackdown on the protesters.[25] Gradually, the scene escalates to violence, with the impetus being a rock thrown in the direction of the camera.[25] Soon, the two sides clash on the dirt road, and Nas pauses to a steady iteration of "One Mic" while standing contrastedly in the middle of the ongoing violence, the scene ending with the silent scream (symbolized by a descending piano) of a little bystanding Soweto girl as the scene cuts back to Nas, in the apartment room, kicking the chair and launching headfirst into a full-blown litany.[25] The Soweto scene is interpolated with various scenes of young people listening and lip-syncing the lyrics, including a teenager wearing headphones in an apartment bedroom beside her younger sister, a group of Latino men sitting in a car and a young, angry Los Angeles County prisoner behind bars.[25] Gradually, as the camera overlays a view of Nas upon the forward-moving shot of a street, the video then calms down alongside the descending tone of the song, the facial determination of Nas and other participants in the video remaining visible as the video draws to a close with the light in the apartment window turning off.[25]

Track listing

[edit]
A-Side
  1. "One Mic" (Explicit) (4:28)
  2. "One Mic" (Clean) (4:32)
B-Side
  1. "One Mic" (Instrumental) (4:36)
  2. "2nd Childhood" (Explicit) (3:51)

Charts

[edit]

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

One Mic

View on Grokipedia
from Grokipedia
"One Mic" is a hip hop song by American rapper Nas, serving as the third single from his fifth studio album, Stillmatic, released on December 18, 2001, by Columbia Records. The track, co-produced by Nas and Chucky Thompson, features minimalist piano-driven production that gradually intensifies across three verses, symbolizing the rapper's emotional progression from introspection to rage, while addressing themes of urban violence, personal hardship, and inner conflict drawn from his Queensbridge upbringing. The single, issued on April 16, 2002, peaked at number 43 on the Billboard Hot 100 and number 14 on the Hot Rap Songs chart, contributing to Nas's critical resurgence following the commercial disappointment of his prior albums. Its music video, directed by Chris Robinson, depicts Nas navigating a gauntlet of escalating street confrontations, underscoring the song's narrative of restrained power and explosive potential. Widely praised for its lyrical depth and structural innovation, "One Mic" stands as a cornerstone of Nas's discography, exemplifying his mastery of conceptual storytelling in rap.

Background and production

Concept and recording

During the production of Nas's 2001 album , the track "One Mic" developed as an introspective counterpoint to the aggressive diss records dominating the sessions, particularly in response to Jay-Z's "," which targeted earlier that year. The concept centered on raw, unfiltered expression through a single , embodying Nas's intent to address broader personal and societal tensions with minimalistic directness amid the feud's intensity. This approach marked a deliberate pivot toward universality, contrasting the era's battle-rap focus while reclaiming Nas's control post- criticism. Recording took place at Right Track Recording in , aligning with Stillmatic's timeline from mid-2001 onward. Sessions reflected Nas's maturation, incorporating reflections on growth and authenticity, as he later noted the track evoked personal evolution even in live settings years after. Initially envisioned as potentially featuring DMX, the final version solidified as a solo showcase of escalating emotional delivery, underscoring the song's genesis in simplicity over collaboration.

Musical production and contributors

"One Mic" was produced by , with serving as co-producer. The track's beat draws from samples of Barry White's 1973 recording "I'm Gonna Love You Just a Little More Baby" for its soulful, emotive foundation, layered with the tension-building drum fill from ' 1981 hit "." The arrangement employs a minimalistic structure, emphasizing dynamic contrast through crescendos and decrescendos that align volume swells with the song's progression from hushed verses to explosive choruses. Core elements include subdued percussion, dramatic strings, accents, and escalating patterns, creating a sparse yet cinematic backdrop that heightens emotional intensity without additional featured performers. Thompson tailored the instrumental to mirror Nas's vocal evolution in the studio, starting with restrained, whisper-like delivery in early sections before ramping up to forceful peaks, ensuring the production's sonic architecture supported the rapper's unaccompanied performance. This approach prioritized restraint and precision, leveraging sample manipulation and mixing techniques to forge a track reliant on rhythmic and textural buildup rather than dense .

Lyrics and themes

Lyrical structure

The song "One Mic" employs a straightforward yet dynamically evolving consisting of three verses interspersed with a repetitive chorus, eschewing elaborate hooks in favor of narrative propulsion. Each verse commences in a subdued, whispered delivery that crescendos into fervent shouts by its conclusion, mirroring the mounting emotional stakes and intensity of the protagonist's inner turmoil. The first verse opens with declarative assertions of minimal needs—"one mic, one beat, one stage"—before expanding into desires for "one gun, one girl, and one crib," establishing a baseline of stripped-down ambition amid hypothetical confrontations. The second verse intensifies the , shifting to aggressive retorts against adversaries and systemic foes, with lines like "Fuck rap, popping champagne, sipping Mo' / Back in the days, our parents used to say" underscoring a rejection of superficial excess. The third verse culminates in a sweeping arc from birth—"A newborn from the mother's lungs"—through life's trials to a solitary , encapsulating existential finality without resolution. The chorus, recurring after each verse and extending into an outro, revolves around the minimalist "All I need is one mic," repeated emphatically to evoke and verbal potency as sufficient tools for expression and impact. This mantra contrasts the genre's prevalent materialism by prioritizing unadorned lyrical power over production flourishes or material trappings. Nas sustains momentum through dense internal rhymes (e.g., "front, my face on the " linking end and mid-line sounds), (e.g., "sipping Mo'" evoking fluid aggression), and stark (e.g., "bullet holes and jails, bars and scars"), forging a seamless spoken-word that prioritizes poetic mechanics over melodic refrains.

Core themes and realism

In "One Mic," Nas depicts the cradle-to-grave trajectory of urban existence in Queensbridge, New York, commencing with a newborn's cries amid maternal addiction and paternal incarceration, progressing through adolescent temptations of street crime, interpersonal betrayals, and lethal violence, and culminating in fleeting aspirations for escape via rap success. This narrative arc eschews sentimentalism by illustrating causal chains—such as absent fathers fostering vulnerability to gang recruitment and retaliatory killings—mirroring empirical patterns where family disruption correlates strongly with elevated youth involvement in violent crime in U.S. inner-city neighborhoods. Data from the 1980s onward indicate that male joblessness and single-parent households in ghetto areas predict homicide rates up to eight times higher than national averages, underscoring the song's realism in portraying self-perpetuating cycles driven by eroded social controls rather than abstract systemic forces alone. Central to the track is the refrain's symbolism of "one mic" as a conduit for unadorned authenticity, advocating communal solidarity stripped of materialistic veneers that Nas critiques as distractions from foundational breakdowns like familial disintegration and welfare incentives that disincentivize work. Lyrics decry "hyping up the meaningless" in favor of raw confrontation with realities—poverty begetting , spawning snitching—aligning with studies showing concentrated urban disadvantage amplifies property and violent offenses through weakened ties and opportunistic predation. Unlike contemporaneous hip-hop emphasizing ostentatious wealth as triumph, prioritizes individual agency: survival demands personal resolve amid betrayals, as evidenced in verses where protagonists arm themselves not for glory but necessity, rejecting victim narratives by highlighting choices like tests and retaliatory restraint. This emphasis on accountability reflects Nas's broader , informed by his upbringing, wherein human potential persists despite environmental pressures, provided one wields truth as a against complacency. Empirical evidence supports the song's causal realism: neighborhoods with high female-headed households and exhibit crime rates decoupled from mere economic deprivation, attributable instead to behavioral adaptations like reduced paternal investment and normalized illegitimacy rates exceeding 70% in some black urban enclaves by the early 2000s. By framing redemption through self-reliant narration over external , "One Mic" counters prevalent hip-hop tropes of deterministic blame, positing that breaking the cycle hinges on volitional focus—echoed in the track's crescendo urging collective awakening before descending into unresolved gunfire, symbolizing persistent agency amid chaos.

Release and promotion

Single formats and marketing

"One Mic" was issued as the second single from Stillmatic on April 16, 2002, through and Nas's imprint, succeeding "Got Ur Self A...". The single appeared in multiple physical formats, including promotional 12-inch vinyl records featuring clean, explicit, , and versions of a remix produced by Precision, alongside the original track. CD singles were also distributed internationally, such as in slimline cases for European markets, containing the album version and to support radio and club play. Marketing efforts centered on Nas's artistic resurgence after a seven-year gap since Illmatic and underwhelming follow-ups, framing Stillmatic—and "One Mic" specifically—as a return to raw lyricism amid the publicity from Nas's feud with Jay-Z, highlighted by the diss track "Ether" on the same album. Promoters positioned the song's building intensity and shift from street aggression to personal vulnerability as emblematic of Nas's matured perspective, contrasting the battle-rap energy of prior singles. Columbia pushed radio airplay through urban contemporary stations, with the track gaining traction via MTV, BET, and crossover outlets, tying into broader album campaigns that emphasized Nas's Queensbridge roots and introspective pivot. Live performances amplified this narrative, including a notable 2002 appearance with Murder Inc. artists where Nas delivered an impassioned rendition underscoring the song's emotional core, helping sustain momentum from Stillmatic's December 2001 launch. These efforts integrated "One Mic" into concert sets and media tie-ins, leveraging the track's minimalist production and thematic depth to differentiate it from aggression-driven beef tracks while bolstering the album's cohesive comeback storyline.

Commercial performance

"One Mic" debuted on the Billboard Hot 100 at number 47 during the week of May 25, 2002, and reached a peak position of number 43, reflecting modest crossover appeal to mainstream pop audiences despite the parent album Stillmatic achieving number-one status on the Billboard 200. On the Hot R&B/Hip-Hop Songs chart, the single climbed to number 14 over 19 weeks, while it performed stronger within rap-specific metrics, peaking at number 7 on the Rap Songs chart. These positions underscored a concentration of success in urban and rap formats amid competition from contemporaneous hits and Nas's ongoing feud with Jay-Z, which dominated media cycles following the December 2001 release of Stillmatic. The single did not receive RIAA certifications for sales or streams, with no publicly reported physical or digital unit shipments exceeding thresholds for or status at the time of release. In the digital era, "One Mic" has sustained listener interest, amassing over 30 million streams on as of October 2025 and approximately 29 million views for its official on , indicative of enduring catalog value without translating to renewed chart resurgence or formal accolades. This streaming footprint highlights retrospective digital consumption driven by hip-hop enthusiasts, contrasting the track's initial radio-constrained commercial trajectory.

Critical reception

Contemporary reviews

Upon its release as part of the album on December 18, 2001, "One Mic" received acclaim for its introspective vulnerability and dynamic production, which contrasted the battle-rap intensity of tracks like "" amid Nas's career resurgence following the commercial disappointment of . Reviewers highlighted the track's minimalist beat, co-produced by Nas and , which starts with a quiet groove and builds to explosive crescendos, mirroring the rapper's emotional escalation from despair to defiance. RapReviews praised it as "possibly one of the tightest tracks on the album," emphasizing how the increasing energy amplifies Nas's "lyrical rage" before reversing to a soft-spoken intimacy in the final verse, underscoring themes of resilience with lines like "All I need is one mic – fuck the cars, the jewelry." Similarly, MVRemix rated it a perfect 10/10, lauding Nas's vocal modulation to convey raw emotion—from pleas for warriors to prayers for —as evidence he was "" after prior missteps. Critics offered balanced caveats, with some viewing the track's conceptual buildup as overly formulaic in Nas's introspective catalog. Rolling Stone noted the "hyperbolic urgency" feels "staged," suggesting a contrived intensity that borders on predictability rather than organic revelation, potentially limiting accessibility in a rap landscape favoring shorter, hook-driven singles. Despite such reservations, the song's execution was generally seen as a high point of Stillmatic's return-to-form ethos, prioritizing narrative depth over commercial polish.

Long-term evaluations

In the and , retrospective rankings have solidified "One Mic" as a pinnacle of 's catalog and hip-hop's conceptual storytelling. Complex magazine's 2025 list of the 100 best Nas songs features it prominently for its arc from whispered menace to communal uplift, underscoring its enduring narrative craftsmanship. Similarly, analyses in outlets like Hip Hop Golden Age praise its introspective grip, building from quiet tension to explosive release, positioning it as a benchmark for emotional depth in rap. The track's influence on introspective rap lies in its distillation of street documentation into layered vulnerability, fostering a subgenre trend toward raw, escalating monologues that prioritize lived over , as noted in performer analytics reviewing Nas's output. This has cemented its timeless status in critic and fan consensus, with sustained digital metrics reflecting ongoing relevance: as of October 2025, it has amassed over 30 million streams, far outpacing many contemporaries from the early era. Live endurance further evidences its staple value, with Nas incorporating it into major 2020s sets, including the 2025 Essence Festival of Culture—where it exemplified his lyrical range—and the , maintaining audience engagement through its dynamic delivery. Retrospective consensus thus evolves from its 2001 comeback context to affirm its artistic merit as a self-contained epic, though some evaluations qualify the unity resolution's idealism against persistent urban violence patterns, favoring the verse's earlier causal grit for verifiability over aspirational closure.

Music video

Concept and filming

The music video for "One Mic" was directed by Chris Robinson and released in 2002. Robinson, known for directing over 300 music videos, conceptualized the project as a form of visual storytelling emphasizing narrative progression. Filming occurred in New York City, utilizing urban street settings to depict escalating scenarios involving police encounters and crowd unrest, with Nas positioned as the focal point transitioning from introspective performance to leadership in conflict. The production employed a documentary-style cinematography to convey raw intensity, aligning with the track's promotional timeline as a single from the Stillmatic album. The creative vision prioritized simplicity, centering Nas in a bare room with a single microphone for performance shots, which intercut with exterior action sequences to build dramatic tension without elaborate effects or sets. This minimalist approach reflected the ethos of distillation to essentials, produced efficiently to support the single's marketing push in early 2002.

Visual elements and symbolism

The music video for "One Mic," directed by Chris Robinson, employs a visual progression that mirrors the song's musical build-up, beginning with Nas in quiet solitude holding a single microphone in a sparse apartment setting, symbolizing introspective power and the essence of unamplified voice. This initial imagery establishes the microphone as an iconic emblem of personal agency and lyrical authority, recurrent throughout the video as Nas grips it amid escalating scenes, underscoring its role as the sole tool for confronting chaos. As the track intensifies, the visuals shift to chaotic external environments, depicting street-level struggles such as police stops of young men in urban settings, representing the transition from internal turmoil to broader societal conflict. These sequences adopt a documentary-style realism, capturing verifiable elements of like routine interactions without hyperbolic dramatization, thereby grounding the symbolism in authentic portrayals of Queensbridge life that align with Nas's autobiographical roots. The progression reinforces the song's message of one voice amplifying to challenge systemic oppression, with the persisting as a unifying motif amid the of crowds and confrontation. Subtle visual nods to Nas's influences appear in the cinematic framing, evoking earlier hip-hop video traditions of narrative depth while avoiding clichés through restrained escalation rather than gratuitous violence. Critics have noted this balance achieves potency, though some analyses caution against over-reliance on familiar rap motifs like police antagonism, which, while realistic, risk reinforcing absent deeper contextual innovation. Overall, the symbolism prioritizes causal linkage between individual expression and collective unrest, privileging empirical street visuals over abstracted metaphor.

Legacy and influence

Cultural and artistic impact

"One Mic" exemplified a pivot in early hip-hop toward introspective lyricism, where artists increasingly favored raw emotional narratives over materialistic posturing, as seen in its minimalist production that amplifies Nas's progression from whispered despair to defiant resolve. This approach influenced subsequent rappers to foreground personal vulnerability and storytelling substance, with contemporaries and later artists like drawing on its structural intensity for tracks emphasizing internal struggle and triumph. The track's enduring resonance into the 2020s underscores its role in debates on rap's maturation, where it serves as a benchmark for lyrical depth amid evolving dynamics, including live reinterpretations that highlight its adaptability to contemporary contexts. Its arc—from urban entrapment to self-assertion—has shaped discourse on resilience in marginalized communities, countering pervasive media depictions of inevitable defeat by modeling individual agency and verbal as pathways out of systemic adversity.

Samples, remixes, and covers

"One Mic" has been sampled in 27 tracks according to WhoSampled's database. Among these, Crooked I's "One Mic" (2007) interpolates the original's hook and vocal structure directly. Pumpkinhead's "I Just Wanna Rhyme" (2005) incorporates lyrical and vocal elements from the song. In the 2020s, usages reflect ongoing but non-commercial influence, such as and 21 Savage's "One Mic, One Gun" (November 29, 2022), which adopts the title and themes of street-level confrontation while featuring new production by sampling "Yeah, You're Right" by The Gaturs feat. Willie Tee, rather than direct of "One Mic"'s Barry White-derived beat. An official remix of "One Mic" was released on Nas's 2002 album From Illmatic to Stillmatic: The Remixes, layering additional elements including a sample from Mtume's "Juicy Fruit" (1983). Unofficial remixes and live performances by have appeared in concert recordings, but no major commercial remix revivals have emerged post-2002. Covers remain niche, primarily in hip-hop freestyles and live tributes; British rapper Nick Brewer delivered a version in the Live Lounge on October 30, 2014, blending it with Phil Collins's "In the Air Tonight" interpolation from the original. Underground artists like have freestyled over the beat, as in "One Mic [Blunt]" (2021 upload). No prominent mainstream covers have charted or gained widespread commercial traction.

Track listings

Album version

"One Mic" serves as the seventh track on Nas's fifth studio album , released December 18, 2001, by Ill Will and . The song's placement follows "Rewind," a reverse-narrative piece, positioning "One Mic" as a climactic moment of introspective buildup and release amid the album's harder-edged tracks like "" and "." This sequencing underscores the track's role in balancing aggression with vulnerability, aligning with 's broader narrative of artistic reclamation following Nas's commercially mixed prior releases. In its album iteration, "One Mic" runs 4:28, featuring the explicit, unmastered vocal delivery and production intact from the original recording session with producer Chuck Phillips and songwriter Nasir Jones. Unlike subsequent single edits, the version omits radio-friendly alterations, retaining profane language and dynamic intensity—escalating from subdued verses to an explosive chorus—to emphasize themes of inner conflict and triumphant resolve without contextual dilution. The track integrates seamlessly into the album's sonic palette, produced primarily by Ron "Amen-Ra" Lawrence and others, without remixing or additional overdubs specific to standalone release formats.

Single versions

The "One Mic" single was issued in multiple formats in 2002 by , including 12-inch vinyl and CD, featuring both explicit and clean versions of the track. The explicit version runs 4:28, while the clean version extends to 4:32, primarily differing in the removal or alteration of profane language for radio and retail compatibility, without significant structural changes to the song's build or fade. Instrumental versions were included on several pressings, lasting 4:36 and providing the production backbone by and , often paired with the B-side "2nd Childhood" (explicit, 3:51). A version, produced by , appeared on select singles, including a European CD edition and U.S. 12-inch vinyl (Columbia CAS 56832), with the explicit timed at 4:34 and incorporating elements from James Mtume's compositions for a revised arrangement distinct from the original's minimalist progression. Clean, (4:32), and (4:12) variants of this supported promotional efforts, emphasizing Fyffe's production credits alongside Jones. Promotional CD-R singles circulated in the U.S. for radio play, mirroring these configurations to facilitate airplay without shortening the track's core builds. Later digital reissues on platforms preserve these 2002 single variants, with explicit and clean options available but no documented alterations for streaming formats beyond standard metadata tagging.

References

  1. https://www.discogs.com/release/1735098-Nas-One-Mic
  2. https://www.whosampled.com/Nas/One-Mic/
  3. https://www.allmusic.com/album/one-mic-mw0000422215
  4. https://www.umusicpub.com/us/Digital-Music-Library/song/58298/nas-one-mic
  5. https://www.discogs.com/master/20280-Nas-One-Mic
  6. https://www.songfacts.com/facts/nas/one-mic
  7. https://hiphopdx.com/editorials/surviving-the-times-the-adaptation-of-nas-through-the-eras/
  8. https://www.kexp.org/podcasts/50-years-of-hip-hop/2023/4/12/2001-the-rivalry-between-jay-z-and-nas/
  9. https://genius.com/Nas-one-mic-lyrics
  10. https://www.rollingstone.com/music/music-news/nas-greatest-hits-a-track-by-track-journey-85627/
  11. https://www.vibe.com/music/music-news/dmx-originally-appear-classic-nas-song-1235096109/
  12. https://www.discogs.com/release/7353590-Nas-The-Essential-Nas
  13. https://www.grammy.com/news/remembering-chucky-thompson-10-songs-bad-boy-hits-go-go-jams
  14. https://djbooth.net/features/2018-06-13-nas-best-producers-ranked/
  15. https://www.latimes.com/entertainment-arts/music/story/2021-08-15/chucky-thompson-producer-bad-boy-mary-j-blige-notorious-big
  16. https://singersroom.com/w81/best-nas-songs-of-all-time/
  17. http://hiphopgoldenage.com/list/ranking-nas-albums/
  18. https://www.vibe.com/features/editorial/chucky-thompson-sound-hip-hop-soul-1234681279/
  19. https://www.npr.org/2021/08/19/1028892592/in-chucky-thompson-black-music-found-a-borderless-million-selling-sound
  20. https://www.youtube.com/shorts/BxT_T5-jyKs
  21. https://gcsummit.com/wp-content/uploads/2016/04/Summit_V0416_April2016-WEB.pdf
  22. https://www.scribd.com/document/414133566/BRADLEY-Book-Of-Rhymes-The-Poetics-Of-Hip-Hop-pdf
  23. https://fastercapital.com/articles/What-is-Nas-s-Approach-to-Audience-Engagement-in-Music.html
  24. https://pmc.ncbi.nlm.nih.gov/articles/PMC4928692/
  25. https://www.dustygroove.com/search/Nas
  26. https://www.discogs.com/release/14642380-Nas-One-Mic
  27. https://wbssmedia.com/artists/detail/2231
  28. https://www.worldradiohistory.com/Archive-All-Music/Hits/00s/2002/Hits-2002-05-10.pdf
  29. https://www.thecoli.com/threads/that-time-nas-joined-murder-inc-for-like-two-months-in-2002.567478/
  30. https://www.billboard.com/charts/hot-100/2002-05-25/
  31. https://www.billboard.com/charts/r-b-hip-hop-songs/2002-06-01/
  32. https://www.billboard.com/charts/r-b-hip-hop-songs/2002-07-13/
  33. https://kworb.net/spotify/artist/20qISvAhX20dpIbOOzGK3q_songs.html
  34. https://www.youtube.com/watch?v=GeHHBhQQql8
  35. https://www.rapreviews.com/2001/12/nas-stillmatic/
  36. https://www.mvremix.com/urban/reviews/2001/stillmatic.shtml
  37. https://www.rollingstone.com/music/music-album-reviews/stillmatic-115690/
  38. https://www.complex.com/music/a/gabriel-alvarez/the-100-best-nas-songs
  39. https://songstats.com/artist/vk2qcrh5/nas
  40. https://www.essence.com/festival/2025-essence-festival-of-culture/what-fans-can-expect-from-nas-efoc/
  41. https://www.okayplayer.com/here-are-the-top-12-performances-from-the-2025-montreal-international-jazz-festival/798535
  42. https://dailyorange.com/2008/04/one-man-one-mic/
  43. https://imvdb.com/video/nas/one-mic
  44. https://www.linkedin.com/posts/chris-robinson-0973775b_nas-one-mic-official-hd-video-activity-7212186474211946496-Wa8b
  45. https://www.complex.com/music/a/ernest-baker/the-50-best-rap-videos-of-the-00s
  46. https://www.hiphopnostalgia.com/2018/01/nas-one-mic-vibe-magazine-january-2003.html
  47. https://musicvideo.fandom.com/wiki/One_Mic
  48. https://www.popmatters.com/best2002-musicvideo-2496105247.html
  49. https://www.slideshare.net/slideshow/kano-and-nas-music-analyses/11319873
  50. https://abcnews.go.com/Entertainment/hip-hop-standing-black-lives-decades-15-songs/story?id=71195591
  51. https://theindianmusicnerd.wordpress.com/category/album-review/
  52. https://go.gale.com/ps/i.do?id=GALE%257CA155751145&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=10431578&p=AONE&sw=w
  53. https://academicworks.cuny.edu/cgi/viewcontent.cgi?referer=&httpsredir=1&article=2985&context=gc_etds
  54. https://www.whosampled.com/Nas/One-Mic/sampled/
  55. https://www.whosampled.com/Nas/One-Mic%2C-One-Gun/
  56. https://genius.com/Nas-and-21-savage-one-mic-one-gun-lyrics
  57. https://www.whosampled.com/Nas/One-Mic-%28Remix%29/
  58. https://open.spotify.com/track/77Ebtt24Clr5ePuMU03ndq
  59. https://www.bbc.co.uk/programmes/p037s41p
  60. https://www.youtube.com/watch?v=lRMdsEsCjRQ
  61. https://www.discogs.com/release/328095-Nas-Stillmatic
  62. https://genius.com/albums/Nas/Stillmatic
  63. https://open.spotify.com/album/0cLzuJG2UDa0axMQkF7JR6
  64. https://www.discogs.com/release/1610314-Nas-One-Mic-Remix
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