Best of Jay Z Album Download
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4:44
Jay-Z
Hip-Hop/Rap - Released June 30, 2017 | Roc Nation - Jay-Z
Distinctions Pitchfork: Best New Music - Preis der deutschen Schallplattenkritik
If Shawn Carter, a.k.a. Jay-Z, has constitute himself a target for clashes throughout 4:44, it'due south non with Kanye, or Kendrick, or any other fellow musician. No: the Brooklyn rapper'southward struggle is entirely with himself. At 47, having nothing to prove to anyone, Jay-Z is not out to gauge the competition or battle the new generation. Rather, he is hitting the psychoanalyst's burrow. And four:44 makes for a beautiful couch to practice just that. Solid, robust and nicely designed. The album was produced by Ernest Dion Wilson a.grand.a. No I.D. (information technology's rare for Jay-Z to manus the keys to a single producer) and information technology remains true to the fundamentals of Jay-Z'southward piece of work. No vaguely electro sounds, no contemporary beats. Jay-Z has made a classic album, a true Jay-Z album, with groovy and brainy choices of samples (Fugees, Stevie Wonder, Funk Inc., Donny Hathaway to name a few) over which he lays downwards introspective rhymes on the turpitudes of bridal life with Mrs Carter (who features on Family Feud), and reflecting on his status and ego. He is restrained in his choice of other artists who feature, inviting only Frank Ocean and Damian Marley to the anthology. Simply after listening to the album several times over, 4:44 impresses with its precision, its workmanship, and a sure kind of perfection. Jay-Z fabricated the revolution years agone. What's important to him at present is to keep to rule and be respected. Mission accomplished. © MD/Qobuz
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4:44
Jay-Z
Hip-Hop/Rap - Released June thirty, 2017 | Roc Nation - Jay-Z
Jay-Z'south June 2017 was momentous. The 44th president of the United states of america inducted him as the first rap lyricist into the Songwriters Hall of Fame. The Beyoncé Knowles-Shawn Carter family unit added fourth and fifth members. Going past a jocular shot at specific Al Sharpton social media activity inside, there was also the completion of 4:44, delivered on the concluding of the month. Approach-wise, the 13th Jay-Z studio anthology is a change of course for its employment of merely one beatmaker, No I.D., whose previous Jay-Z credits across a decade plus -- a comparatively flashy crop that includes a major portion of The Blueprint iii -- corporeality to an album'southward worth of tracks, primarily every bit co-producer. Even more than noteworthy is its chronological distinction every bit a follow-up to Beyoncé'due south Lemonade, a cathartic album prompted in part by Jay-Z'southward extramarital beliefs. This somehow makes album xiii seem older than its true age. From any other artist, 36 minutes of repentance, self-satisfaction, and wisdom regarding bug such as faithfulness, vast wealth, ethical consumption, and the deficiencies of a younger rap generation would probable fall flat, only Jay-Z continues to write at a Hall of Fame level and raps with high levels of confidence, contrition, and wit. He and No I.D. are consistently attuned. The whole anthology has a fine matte-like finish with nuanced rhythms and soul, funk, reggae, and prog samples that frequently heighten the tracks on an emotional level, not just a sonic one. Even the Frank Body of water and Beyoncé appearances sound sourced from a crate. Filled with references to turn a profit and forms of pride granted by birth and earned past hustling, 4:44 nonetheless is an unglamorous prepare well suited for solitary and reflective belatedly-night listening. In that location are no radio play bids. Jay-Z has been in this mode at various points, but never in such full-bodied, enlightened form, whether the discipline is his mistakes as a husband, the struggles of his long-closeted lesbian mother, the effects of enduring systemic racism, or the exclamation of his supremacy. © Andy Kellman /TiVo
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Magna Carta... Holy Grail
Jay-Z
Hip-Hop/Rap - Released July 4, 2013 | Roc Nation - Jay-Z
Booklet
Like few other album openers, "Holy Grail" encapsulates what follows it and reflects a particular betoken in an artist's career. Information technology'southward a vigorous if not particularly moving rail, principally produced past Timbaland and J-Roc, which expresses bewilderment and conflicting emotions almost ascent from poverty to opulence. The commencement of a few early on-'90s references is fabricated -- the chorus of Nirvana's "Smells Like Teen Spirit" is quoted -- and Jay-Z is equally triumphant and as troubled as ever. He doesn't enter until the eighty-2d mark, preceded by a theatrical verse and hook from summer 2013 tour partner Justin Timberlake. As with a meaning portion of Magna Carta...Holy Grail, information technology has a dashed-off, created between business engagements quality -- maybe in that location wasn't enough time to ask Timberlake who translated his version of the Hebrew Bible ("Sippin' from your cup 'til it runneth over"). Likewise, the album's residual is sporadically energized and frequently hasty-sounding, played condom with only enough timely pop-culture references and sonic curveballs to demonstrate that Jay-Z still has his finger on the pulse. He has Timbaland and J-Roc -- also co-producers of Timberlake'southward twenty/20 Experience -- involved with nigh of the tracks, highlighted past a pair that sample Adrian Younge's 2011 psych-soul masterpiece Something About April, as well every bit some brilliantly bleary and prickly work on "F.U.T.W." Significantly lighter lifting is done past a bandage that includes the likes of Pharrell and Swizz Beatz, also as Kyambo Joshua and Mike Dean, who shine on the scuffed-up Gonjasufi-sampling finale "Nickels and Dimes." For all the lyrical flaunting of material wealth -- revolutionary art, designer fashion, yachting, drifting -- the greatest ostentatious display here is in the enlistment of 2012/2013's hottest producer, Mike Will, for a unmarried minute-length track. Unsurprisingly, it's the wildest, nearly advanced moment on the album. Jay-Z is armed with and weighed downwards by an immense dorsum itemize. Any given track is leap to be compared to a past highlight. The MC indeed can't assist sounding more mechanical than novel and, every bit a 43-year-onetime referencing Net memes, he's possibly a little desperate to relate to younger listeners. He still drops some casually brilliant reminders that he remains one of the all-time, as on "Oceans" ("Only Christopher we acknowledge is Wallace/I don't even like Washingtons in my pocket") and on "Nickels and Dimes" ("Pardon my hubris, Stanley Kubrick/With optics wide shut, I could cook up 2 bricks"). The album is an adequate addition to one of the almost impressive creative person discographies within any genre, not swell enough to overshadow the heavily scrutinized corporate alliance that assisted with its ascent. © Andy Kellman /TiVo
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Watch The Throne
Jay-Z
Hip-Hop/Rap - Released August 22, 2011 | Roc Nation - Jay-Z
An adventurous spectacle of vacuous pomposity too as one of tremendous lyrical depth, Scout the Throne is a densely packed amalgamation of what Jay-Z has termed "ignorant shit" and "thought-provoking shit," with creative productions that are both top of the line and supremely baffling. Its best moments are amidst the almost vital rap music released in 2011. Its worst moments sound like resuscitated discards from Kanye West's My Beautiful Night Twisted Fantasy. The lowest betoken is "Elevator Off," a bombastic mess; West'southward stillborn, sung vocal clashes against a triumphant hook from Beyoncé, while the behind-the-scenes cast, including West, Jeff Bhasker, Mike Dean, Q-Tip, Pharrell, Don Jazzy, and the duo LMFAO, overcook a regal and rugged, notwithstanding ultimately muddled, production -- one that as well features the voices of Seal and Mr. Hudson. All of the highlight tracks come with caveats. On "New Day," Due west and Jay-Z address their unborn sons in equally somber and pointed ways, withal there's a distracting vocal flutter throughout -- to be specific, Nina Simone's version of "Feeling Good" chucked through Machine-Tune. (And so much for "D.O.A.") The anthemic "That'due south My Bitch" rides on rampaging drums, using two of the most mutual breaks to fresh issue, and effectively incorporates the wildly different voices of La Roux's Elly Jackson and Bon Iver/Justin Vernon (the latter of which is made to sound like that of the Gap Ring's Charlie Wilson), simply the b-word from the rima oris of a 41 year-quondam is every bit bad-mannered equally a throwback on someone of the same age. Kanye's autobiographical, rise-to-fame verses in the solemn "Made in America" are among his most riveting to date, yet the outcome is nearly squashed when he stoops to reference a cartoon that mocked him in 2009. The anthology contains piles of quotables and some of the fieriest pro-black content in decades. The latter, peculiarly concentrated during the album's back one-half -- where the word "black" is used nearly equally often as information technology is in Euripides Smalls' "I'1000 Blackness, Y'all" -- should not be lost amid the anthology's ruthless flaunting of material wealth and carte du jour blanche industry resources. © Andy Kellman /TiVo
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Lookout The Throne
Jay-Z
Hip-Hop/Rap - Released August 22, 2011 | Roc Nation - Jay-Z
An audacious spectacle of vacuous pomposity as well every bit ane of tremendous lyrical depth, Watch the Throne is a densely packed affiliation of what Jay-Z has termed "ignorant shit" and "thought-provoking shit," with creative productions that are both pinnacle of the line and supremely baffling. Its best moments are amid the most vital rap music released in 2011. Its worst moments sound like resuscitated discards from Kanye West's My Beautiful Dark Twisted Fantasy. The lowest betoken is "Lift Off," a bombastic mess; West'southward stillborn, sung song clashes against a triumphant hook from Beyoncé, while the backside-the-scenes cast, including W, Jeff Bhasker, Mike Dean, Q-Tip, Pharrell, Don Jazzy, and the duo LMFAO, overcook a regal and rugged, nonetheless ultimately muddled, production -- i that also features the voices of Seal and Mr. Hudson. All of the highlight tracks come up with caveats. On "New Day," West and Jay-Z accost their unborn sons in equally somber and pointed ways, nonetheless in that location's a distracting vocal flutter throughout -- to exist specific, Nina Simone's version of "Feeling Practiced" chucked through Car-Melody. (So much for "D.O.A.") The anthemic "That's My Bitch" rides on rampaging drums, using 2 of the most mutual breaks to fresh event, and effectively incorporates the wildly unlike voices of La Roux's Elly Jackson and Bon Iver/Justin Vernon (the latter of which is made to sound like that of the Gap Ring's Charlie Wilson), just the b-word from the mouth of a 41 year-old is as awkward as a throwback on someone of the same historic period. Kanye's autobiographical, rise-to-fame verses in the solemn "Fabricated in America" are amidst his most riveting to date, all the same the effect is near squashed when he stoops to reference a drawing that mocked him in 2009. The album contains piles of quotables and some of the fieriest pro-black content in decades. The latter, particularly concentrated during the anthology's back one-half -- where the word "black" is used almost as often as information technology is in Euripides Smalls' "I'1000 Blackness, Y'all" -- should not exist lost amid the album'due south ruthless flaunting of material wealth and bill of fare blanche industry resources. © Andy Kellman /TiVo
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The Hits Collection Volume 1
Jay-Z
Hip-Hop/Rap - Released Nov 22, 2010 | Roc Nation - Jay-Z
"Hits," for the sake of this 2010 anthology, tends to refer to crossover singles, which might explicate why it pays no attention to Jay-Z'due south first 2 albums, Reasonable Doubt and In My Lifetime, Vol. 1. The emphasis is on his pop-leaning singles that reached the Top 20 of the Billboard Hot 100, get-go with 1998'due south "Difficult Knock Life (Ghetto Anthem)" and last with 2009'southward "Empire State of Mind." It doesn't include every Top 20 striking -- neither "Excuse Me Miss" nor "Immature Forever" appear -- and non every pick qualifies equally a striking. For instance, the Black Anthology tracks "Public Service Announcement" and "Encore" weren't fifty-fifty issued equally singles, though the latter might exist the stand-in for the Linkin Park collaboration "Numb/Encore," which did hit the Tiptop twenty. Regardless, this is a decent overview, but it'due south far from definitive and more than a commemoration of the homo'south popularity, while also serving every bit a tie-in with Decoded, his memoir. The Hits Collection, Vol. 1 is lavishly packaged, containing a 32-page booklet of black-and-white photos. This might be the first time that a runway list has used asterisks for the sake of cogent Grammy winners. © Andy Kellman /TiVo
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The Hits Drove Book Ane
Jay-Z
Hip-Hop/Rap - Released November 22, 2010 | Roc Nation - Jay-Z
"Hits," for the sake of this 2010 anthology, tends to refer to crossover singles, which might explain why it pays no attention to Jay-Z's kickoff two albums, Reasonable Doubt and In My Lifetime, Vol. 1. The emphasis is on his pop-leaning singles that reached the Top twenty of the Billboard Hot 100, beginning with 1998's "Difficult Knock Life (Ghetto Anthem)" and concluding with 2009's "Empire State of Mind." Information technology doesn't include every Peak 20 hit -- neither "Alibi Me Miss" nor "Immature Forever" appear -- and non every pick qualifies as a hit. For example, the Black Album tracks "Public Service Announcement" and "Encore" weren't even issued as singles, though the latter might be the stand-in for the Linkin Park collaboration "Numb/Encore," which did striking the Top xx. Regardless, this is a decent overview, only it's far from definitive and more than a celebration of the man'due south popularity, while also serving equally a tie-in with Decoded, his memoir. The Hits Collection, Vol. 1 is lavishly packaged, containing a 32-page booklet of black-and-white photos. This might be the start time that a track listing has used asterisks for the sake of denoting Grammy winners. © Andy Kellman /TiVo
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The Hits Collection Book One
Jay-Z
Hip-Hop/Rap - Released November 22, 2010 | Roc Nation - Jay-Z
"Hits," for the sake of this 2010 anthology, tends to refer to crossover singles, which might explicate why it pays no attention to Jay-Z'southward kickoff two albums, Reasonable Doubt and In My Lifetime, Vol. 1. The accent is on his pop-leaning singles that reached the Height 20 of the Billboard Hot 100, beginning with 1998's "Hard Knock Life (Ghetto Canticle)" and terminal with 2009's "Empire Country of Mind." It doesn't include every Meridian twenty hit -- neither "Excuse Me Miss" nor "Young Forever" appear -- and not every selection qualifies as a striking. For instance, the Black Anthology tracks "Public Service Announcement" and "Encore" weren't even issued as singles, though the latter might exist the stand-in for the Linkin Park collaboration "Numb/Encore," which did hit the Acme 20. Regardless, this is a decent overview, only it's far from definitive and more a celebration of the human being's popularity, while also serving every bit a tie-in with Decoded, his memoir. The Hits Collection, Vol. one is lavishly packaged, containing a 32-page booklet of blackness-and-white photos. This might be the beginning time that a track list has used asterisks for the sake of denoting Grammy winners. © Andy Kellman /TiVo
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The Blueprint 3
Jay-Z
Hip-Hop/Rap - Released January 1, 2009 | Roc Nation - Jay-Z
When Jay-Z first made a series out of his all-time album, 2001's The Blueprint, information technology became a game of high expectations. The Blueprint of the first book was Jay-Z as vital as he'd ever been, storming dorsum to the hardcore subsequently a few years of commercial success. The Pattern²: The Gift & the Curse was a consummate plow, a set of half-cocked crossovers, swollen to bursting with guest features that obscured his talents. The Blueprint 3 is somewhere between the two, closer to the vitality and energy of the original but not without the crossover bids and invitee features of the latter (albeit much better this time). Kanye West is in the producer's chair for vii tracks, and information technology'due south clear he was reaching for the same energy level as the original Blueprint (which he produced). "What Nosotros Talkin' About" begins the anthology with a wave of surging, oppressive synth, while Jay-Z enumerates (with an intriguing lack of detail) what he's said and what'south been said well-nigh him, ending with a nod not to the by but the future (and Barack Obama). West also produced the 2d, "Cheers," and while it starts with typical Jay-Hova brio, the concluding verse piles on the unrelenting criticism of unnamed rappers doomed to weak sales. There's plenty more lyrical violence to come up, but most of the targets are much safer than they were eight years earlier. (Jay doesn't sound very disarming when he claims in "D.O.A. [Expiry of Auto-Tune]" that it'due south not "politically right" to rail against one of the most reviled trends in popular music during the 2000s.) From in that location, he branches out with a calculating type of finesse, drawing in sure demographics via a roster of guests, from Young Jeezy (hardcore) to Drake (teens) to Kid Cudi (the backpacker oversupply). The king of the crossovers hither is "Empire State of Heed," a New York flag-waver with plenty of landmark proper noun-dropping that turns into a great anthem with aid on the chorus from Alicia Keys. The Blueprint iii isn't a one-homo tour de strength like the offset. Jay is upstaged one time or twice by his guests, and while the productions are stellar throughout -- Timbaland appears three times, and No I.D. gets multiple credits as well -- information technology's clear there's less on Jay'southward mind this time. Non tuned out like on Kingdom Come, but more content with his authorisation equally a rap godfather in 2009. © John Bush /TiVo
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The Blueprint three
Jay-Z
Hip-Hop/Rap - Released January 1, 2009 | Roc Nation - Jay-Z
When Jay-Z first made a serial out of his best album, 2001's The Blueprint, it became a game of high expectations. The Blueprint of the first volume was Jay-Z as vital every bit he'd ever been, storming dorsum to the hardcore later a few years of commercial success. The Blueprint²: The Souvenir & the Expletive was a complete turn, a fix of half-cocked crossovers, bloated to bursting with guest features that obscured his talents. The Pattern 3 is somewhere between the two, closer to the vitality and free energy of the original but not without the crossover bids and invitee features of the latter (admitting much amend this time). Kanye W is in the producer's chair for seven tracks, and it'due south articulate he was reaching for the same free energy level as the original Blueprint (which he produced). "What Nosotros Talkin' Near" begins the anthology with a wave of surging, oppressive synth, while Jay-Z enumerates (with an intriguing lack of detail) what he's said and what'south been said nigh him, ending with a nod non to the past but the future (and Barack Obama). Due west too produced the second, "Cheers," and while information technology starts with typical Jay-Hova brio, the last verse piles on the unrelenting criticism of unnamed rappers doomed to weak sales. In that location'due south plenty more than lyrical violence to come, but most of the targets are much safer than they were eight years earlier. (Jay doesn't sound very disarming when he claims in "D.O.A. [Death of Auto-Tune]" that information technology's not "politically correct" to rail confronting one of the virtually reviled trends in popular music during the 2000s.) From there, he branches out with a calculating blazon of finesse, drawing in sure demographics via a roster of guests, from Young Jeezy (hardcore) to Drake (teens) to Kid Cudi (the backpacker oversupply). The king of the crossovers here is "Empire State of Heed," a New York flag-waver with plenty of landmark name-dropping that turns into a great canticle with help on the chorus from Alicia Keys. The Design three isn't a one-man tour de forcefulness like the offset. Jay is upstaged in one case or twice by his guests, and while the productions are stellar throughout -- Timbaland appears three times, and No I.D. gets multiple credits besides -- it's articulate there'southward less on Jay's mind this time. Not tuned out like on Kingdom Come up, but more content with his dominance equally a rap godfather in 2009. © John Bush /TiVo
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Swagga Like Us
Jay-Z
Hip-Hop/Rap - Released Jan i, 2008 | Roc Nation - Jay-Z
With a haunting hook built on a vocal sample from M.I.A.'s "Paper Planes" and a rolling, marching drum rails, this Kanye West-produced posse cutting is the lead single from Jay-Z'south highly anticipated THE BLUEPRINT 3 and the second from T.I.'s PAPER TRAIL. Featuring verses from four iconic rappers (Kanye, Jay-Z, Lil Wayne, and T.I.) representing four areas, "Swagga Like Usa," is ane of the hottest commercial hip-hop singles of 2008. © TiVo
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American Gangster Acappella
Jay-Z
Hip-Hop/Rap - Released Jan 1, 2007 | Roc Nation - Jay-Z
"Y'all n*ggas got me really dislocated out there. I make 'Big Pimpin' or 'Give Information technology to Me,' one of those -- that had me as the greatest writer of the 21st century. I make some thought-provoking sh*t -- y'all question whether he fallin' off." When you lot've built upwardly a back catalog of eight studio albums and walk the earth as 1 of the biggest, most loftier-profile artists of the '90s and 2000s, you're leap to get some mixed signals from those who pay attending to you. However, the jury did not take long to reach a verdict on 2006's Kingdom Come: the consensus on it (as a major fall-off) was as swift and strong as the consensus on Reasonable Incertitude (every bit a classic). One time used copies of Kingdom Come became hands attainable for less than two dollars, it was apparent the next Jay-Z anthology might not exist so anticipated. He'd need to get some fresh inspiration and make some cosmetic maneuvers. Fortunately, both came unexpectedly -- rather than by desperate forcefulness -- subsequently he saw an advance screening of the early-'70s catamenia piece American Gangster, which played a direct role in nine of the songs on this album of the aforementioned name. While several tracks connected to specific scenes are also rooted in productions trading in the regal grit that fabricated upward and so much '70s soul, the album is not a direct narrative, cleaved up past tracks like the boom-clap of "Hello Brooklyn two.0" (produced by Bigg D) and the glitzed-out pair of "I Know" (a half-icing Neptunes layer block) and "Ignorant Shit" (where Just Blaze transforms the Isleys' quiet storm staple "Between the Sheets" into a high-gloss anthem). Combined with the tracks laced with '70s soul -- including six produced by Diddy & LV & Sean C, one by Toomp, and two by a newly forged partnership between Jermaine Dupri and No I.D. -- it all adds up to an anthology that seems most out of fourth dimension, at least when it comes to the years spanning Jay-Z'southward career, without resembling a true regression. "Success," for instance, takes its pb from The Blackness Album's "Public Service Announcement," with clarion organ over heavily weighted pulsate knocks, yet despite the likeness, it'south i of the album's highlights. And while Jay mentions American Gangster and protagonist Frank Lucas straight, and intersperses some tracks with dialogue, the connection does not overshadow the album. It's non like he's yelling "Shaft's Big Score 2K7!" or "Leonard Part Six, Part Two!" It'southward all every bit natural as Scarface riffing off Scarface. And that might be the nearly common complaint about the album -- it'due south really only another case of Jay-Z beingness Jay-Z, admitting with different presentation. Unless you know each verse from Reasonable Doubt through Kingdom Come, it might sound like he'due south dealing with no variation on well-worn themes, the exact same thoughts and emotions that make up older tracks virtually his by equally a drug dealer -- the rise, the arrogance, the conflictedness, the autumn, and all stages in between. When he'due south in the correct frame of mind, though, equally he is throughout much of the album's duration (it is a bit sluggish in spots), he'southward every bit affective with his bailiwick as Isaac Hayes and Marvin Gaye were with romance. But as key, the level of insolence and spite on display here is as loftier every bit it has e'er been. "I got watches I ain't seen in months/Apartment at the Trump, I only slept in information technology once/Due north*ggas said Hova was over, such dummies/Even if I fell I land on a bunch of money" has more of those qualities than all of Kingdom Come. One could say that'southward not actually saying much, but regardless of context, this is a very adept Jay-Z album. He is, for the most part, doing what he has done earlier: what he does best. © Andy Kellman /TiVo
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Kingdom Come
Jay-Z
Hip-Hop/Rap - Released Jan ane, 2006 | Roc Nation - Jay-Z
Jay-Z's retirement from making albums was more than like a working holiday. After he appear his retirement, released The Black Anthology, and threw the Fade to Black party, he collaborated with Linkin Park on Collision Form, teamed with R. Kelly for the bottomless Unfinished Business, and appeared on tracks by Beanie Sigel, Bun B, Memphis Bleek, Kanye West, Pharrell, Lupe Fiasco, and Beyoncé. He kept busy behind the scenes as Def Jam's CEO and president, and he also stepped up every bit a major philanthropist, donating a million dollars to the Katrina crusade and actively addressing the global h2o crunch in Turkey and S Africa. In the midst of these and other well-publicized activities, Jay-Z recorded Kingdom Come up, his 8th and weakest studio anthology. When placed in the context of his prolific discography, the greater part of the album wilts, and it'due south non a practiced indicator that Jay-Z continues to lean on a familiar bandage of producers rather than actively seek up-and-comers. (The fresh talent hither is limited to Syience and Gwyneth Paltrow's Chris Martin; they contribute one rails each.) There's only a small handful of highlights. On the title runway, Simply Blaze'southward masterful contortion chore on Rick James' "Superfreak" backs Jay'southward nearly top-class, Blackness Anthology/Blueprint-worthy boasts: "I been up in the office, you might know him as Clark/Merely when you idea the whole world brutal apart/I take off the blazer, loosen upward the tie/Footstep within the berth, Superman is alive." Two of the four Dr. Dre productions feature assistance from Mark Batson (Anthony Hamilton), and they both strike a fine balance between maturity and ferocity -- much more so than the impuissant "30 Something," where Jay proclaims that "30 is the new xx," which would actually make him 27 and a fourth-grader a zygote. (He might besides say, "You lot wear Huggies, I wear Depends/You drink from a sippy cup/I sip my solids.") Autonomously from the above-mentioned bright spots and a poignant, somber track about the Katrina disaster ("Minority Report"), the album is a display of complacency and retreads -- a gratuitous, easily resistible victory lap -- that slightly upgrades the relative worth of The Blueprint². © Andy Kellman /TiVo
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Kingdom Come
Jay-Z
Hip-Hop/Rap - Released Jan one, 2006 | Roc Nation - Jay-Z
Jay-Z'southward retirement from making albums was more like a working holiday. Afterward he announced his retirement, released The Blackness Album, and threw the Fade to Blackness political party, he collaborated with Linkin Park on Collision Course, teamed with R. Kelly for the abysmal Unfinished Business, and appeared on tracks by Beanie Sigel, Bun B, Memphis Bleek, Kanye Due west, Pharrell, Lupe Fiasco, and Beyoncé. He kept busy behind the scenes as Def Jam'south CEO and president, and he also stepped up as a major philanthropist, donating a meg dollars to the Katrina crusade and actively addressing the global water crisis in Turkey and South Africa. In the midst of these and other well-publicized activities, Jay-Z recorded Kingdom Come, his eighth and weakest studio album. When placed in the context of his prolific discography, the greater part of the album wilts, and it's not a skilful indicator that Jay-Z continues to lean on a familiar bandage of producers rather than actively seek up-and-comers. (The fresh talent here is express to Syience and Gwyneth Paltrow's Chris Martin; they contribute ane track each.) In that location's only a pocket-size handful of highlights. On the championship runway, Just Blaze's masterful contortion job on Rick James' "Superfreak" backs Jay's nearly top-grade, Black Anthology/Blueprint-worthy boasts: "I been up in the office, you might know him equally Clark/Just when you idea the whole world fell apart/I accept off the blazer, loosen upward the tie/Step inside the berth, Superman is alive." Two of the four Dr. Dre productions feature assistance from Mark Batson (Anthony Hamilton), and they both strike a fine balance betwixt maturity and ferocity -- much more so than the clumsy "xxx Something," where Jay proclaims that "30 is the new 20," which would actually make him 27 and a fourth-grader a zygote. (He might besides say, "You wearable Huggies, I article of clothing Depends/You drink from a sippy cup/I sip my solids.") Apart from the higher up-mentioned bright spots and a poignant, somber track most the Katrina disaster ("Minority Report"), the album is a brandish of self-approbation and retreads -- a gratis, hands resistible victory lap -- that slightly upgrades the relative worth of The Blueprint². © Andy Kellman /TiVo
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The Black Album
Jay-Z
Hip-Hop/Rap - Released November fourteen, 2003 | Roc Nation - Jay-Z
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If The Black Album is Jay-Z's concluding, as he publicly stated it will be, it illustrates an creative person going out in top grade. For years Shawn Carter has been the all-time rapper and the most pop, a man who can strut the player lifestyle with one runway and become the eloquent hip-hop everyman with the side by side, an artist for whom modesty is oft a sin, and however, one who withal sounds sincere when he's discussing his apprehensive origins or his recurring doubts. After the immediate classic The Blueprint plant him at the tiptop of his powers, and The Blueprint²: The Souvenir & the Curse came every bit the almost deflating sequel since Star Wars: Episode I, his follow-up (and possible siren song) impresses on the same level as the best of his career. As he has in the by, Jay-Z balances the boasting with extensive meditations on his life and his career. The back history begins with the first song, "December 4" (his altogether), on which Carter traces his life from birth solar day to present 24-hour interval, riding a mock fanfare and the heart-tugging strings of producer Just Blaze, along with frequent remembrances from his mother in This Is Your Life fashion. The other peak rail, "What More Tin can I Say," opens with Russell Crowe'south defiant "Are you lot non entertained!?" speech from Gladiator, then finds Jay-Z capping his career with some other proof that he's one of the all-time of all time, and a look into what made him that style: "God forgive me for my brash delivery, but I call up vividly what these streets did to me." He also goes out with a few words for undercover fans who retrieve he's sold too many records for his own adept. On "Moment of Clarity," he lays information technology out with an excellent rhyme: "If skills sold, truth be told, I'd probably be lyrically Talib Kweli/Truthfully I want to rhyme like Common Sense/Only I did five mil, I ain't been rhyming similar Common since." The first unmarried, "Change Clothes," is much more interesting than the lightweight social club striking it sounds like, a keyboard-heavy pop sequel to the Neptunes' "Frontin'" (the canticle that rocked the summertime of 2003, and his last collaboration with professional vanquish-maker and amateurish falsetto Pharrell Williams). And he can rock with the all-time as well, working with Rick Rubin on a cowbell-heavy stormer named "99 Problems" that samples Billy Squier and outrocks Kid Rock. The only issue that's puzzling nearly The Black Anthology is why one of the best rappers needs to say cheerio -- unless, of grade, he's simply afraid of being taken for granted and wants listeners to imagine a rap world without him. © John Bush-league /TiVo
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Unfinished Business
R. Kelly
Hip-Hop/Rap - Released January ane, 2004 | Roc Nation - Jay-Z
Roughly as valuable as a one-half-price poster or mug, Unfinished Business is a glorified tour souvenir. 2002'south The All-time of Both Worlds, R. Kelly and Jay-Z's first collaborative tape, was poor enough. The numbers tell you all you lot need to know: though that release had no trouble hitting gold status, Kelly's Happy People/U Saved Me outstripped its two and a half years of sales iii times over in a matter of two months. So why did these two giants release a sequel to an obvious career lowlight? Unfinished Business' beingness, in fact, is suspect in many ways. The press materials made a point to refer to these 11 songs as "previously unreleased," as opposed to "new," suggesting that they are leftovers from the same sessions that yielded The Best of Both Worlds. Further support for this speculation: the two records share much of the same personnel and recording locations, and the subsequently release has even fewer bright spots than the initial one. More than damning, perhaps, is that the release of Unfinished Business organization coincided with a tour that should've happened in 2002, had information technology not been for R. Kelly's belly splash into hot water, via an indictment on sex crimes. Two years after the indictment, Kelly's problems hadn't cooled down, only neither had his popularity. Touring with Jay-Z, the MC who carefully kept his distance from the state of affairs, obviously became a possibility again at some point -- maybe after the supposed-to-exist-retired Jigga witnessed the overwhelming support Kelly received from the fans. Touring in support of a record that'south two years old -- and long forgotten -- is a silly suggestion, so Jive and Roc-a-Fella (the two artists' labels) likely figured that they ought to capitalize on the development and patch this release together. Greed wins, fans lose. Can yous really fault anyone for existence paid millions to sleepwalk? Of course not, but you'd be less at error for ignoring this slight release. Once you put it on, it's instantly evident that it's inconsequential in relation to everything else the artists have released earlier. Opener "The Return" wastes no time in deteriorating into a drone of groundwork music, and the lack of positive features keeps flowing until the end of the final track. © Andy Kellman /TiVo
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The Black Album
Jay-Z
Hip-Hop/Rap - Released Nov xiv, 2003 | Roc Nation - Jay-Z
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If The Black Anthology is Jay-Z's terminal, as he publicly stated information technology will be, it illustrates an creative person going out in top form. For years Shawn Carter has been the best rapper and the most popular, a human being who can strut the histrion lifestyle with one rail and go the eloquent hip-hop everyman with the adjacent, an artist for whom modesty is often a sin, and yet, one who all the same sounds sincere when he's discussing his humble origins or his recurring doubts. After the immediate archetype The Blueprint constitute him at the peak of his powers, and The Blueprint²: The Gift & the Curse came as the most deflating sequel since Star Wars: Episode I, his follow-up (and possible siren song) impresses on the same level as the best of his career. As he has in the past, Jay-Z balances the boasting with extensive meditations on his life and his career. The back history begins with the first vocal, "December iv" (his birthday), on which Carter traces his life from birth day to present solar day, riding a mock fanfare and the centre-tugging strings of producer Just Blaze, forth with frequent remembrances from his mother in This Is Your Life manner. The other top track, "What More Tin I Say," opens with Russell Crowe'due south defiant "Are you not entertained!?" speech from Gladiator, and then finds Jay-Z capping his career with another proof that he'south one of the best of all time, and a look into what made him that manner: "God forgive me for my brash commitment, simply I remember vividly what these streets did to me." He besides goes out with a few words for underground fans who recollect he's sold too many records for his own skilful. On "Moment of Clarity," he lays it out with an excellent rhyme: "If skills sold, truth exist told, I'd probably be lyrically Talib Kweli/Truthfully I want to rhyme like Common Sense/But I did five mil, I ain't been rhyming like Common since." The get-go single, "Change Apparel," is much more interesting than the lightweight club hit it sounds similar, a keyboard-heavy pop sequel to the Neptunes' "Frontin'" (the anthem that rocked the summer of 2003, and his last collaboration with professional vanquish-maker and amateurish falsetto Pharrell Williams). And he tin rock with the best too, working with Rick Rubin on a cowbell-heavy stormer named "99 Problems" that samples Billy Squier and outrocks Kid Rock. The only effect that's puzzling almost The Black Anthology is why one of the best rappers needs to say goodbye -- unless, of course, he'southward simply afraid of being taken for granted and wants listeners to imagine a rap world without him. © John Bush /TiVo
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The Best Of Both Worlds
R. Kelly
Hip-Hop/Rap - Released March 19, 2002 | Roc Nation - Jay-Z
Both R. Kelly and Jay-Z were flying high effectually the time of The Best of Both Worlds, and so the idea of a collaborative album was a reasonable one, following up the success of The Design (2001) and TP-2.com (2000). The Best of Both Worlds falls terribly short of both artists' loftier standards, unfortunately, sounding every bit if the vocals were phoned in, which in the example of Jay-Z they probably were, for his contributions (interjections and verses, mainly) audio like filler here. Kelly fares better throughout The All-time of Both Worlds, supplying some potent hooks and co-producing the tracks with the Trackmasters (i.e., Poke and Tone), but non even he tin carry an album this bromidic. Still, there are some moments where the collaborations click, particularly on the album's singles, "Get This Money" and "Take Yous Abode with Me." Overall, though, The Best of Both Worlds rates among the poorest efforts -- arguably the poorest -- in either Kelly'south or Jay-Z'southward catalog to date. © Jason Birchmeier /TiVo
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The Blueprint 2 The Gift & The Curse
Jay-Z
Hip-Hop/Rap - Released January 1, 2002 | Roc Nation - Jay-Z
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Jay-Z kept The Blueprint incredibly tight, focusing on a single audio and letting nothing interfere with some of the all-time raps of his career. The Pattern²: The Gift & the Curse is a radically different record, with the most respected rapper in the business organisation trying on a range of styles, collaborating with a lot of guests (from Rakim to Lenny Kravitz to Scarface to Beyoncé Knowles), and working with an regular army of producers (Neptunes, Dr. Dre, Timbaland, Heavy D, Kanye West). No one else in hip-hop possesses enough power of personality to carry a 110-minute double anthology, and if Jay-Z tin't quite manage it either, he certainly delivers some solid material in the process. The discs are separate into "The Gift" and "The Curse," though in that location'southward no concept in view, only a loose drove of tracks ranging from unapologetically sexed-up political party joints to theatrical epics and even taking in a Dirty Due south feature for Outkast'due south Big Boi. Information technology's clear Jay-Z's in control even here, and though his raps can't compete with the full-bodied burst on The Pattern, there's at least as many great tracks on tap, if only listeners have enough time to find them. Good choices for highlights include the Neptunes' bounce track "Alibi Me Miss," the horn-driven boom of "The Watcher ii" produced by Dr. Dre (featuring Truth Hurts), and "I Did Information technology My Way," which balances the trad-pop singalong of "Hard Knock Life" with the digital drumrolls of "The Takeover." © John Bush-league /TiVo
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The Best Of Both Worlds
R. Kelly
Hip-Hop/Rap - Released January 1, 2002 | Roc Nation - Jay-Z
Both R. Kelly and Jay-Z were flight loftier around the time of The Best of Both Worlds, so the thought of a collaborative album was a reasonable one, following up the success of The Blueprint (2001) and TP-ii.com (2000). The Best of Both Worlds falls terribly short of both artists' high standards, unfortunately, sounding equally if the vocals were phoned in, which in the example of Jay-Z they probably were, for his contributions (interjections and verses, mainly) sound like filler here. Kelly fares better throughout The Best of Both Worlds, supplying some potent hooks and co-producing the tracks with the Trackmasters (i.eastward., Poke and Tone), merely not fifty-fifty he can comport an album this uninspired. Nevertheless, there are some moments where the collaborations click, peculiarly on the album's singles, "Get This Money" and "Take You Home with Me." Overall, though, The Best of Both Worlds rates among the poorest efforts -- arguably the poorest -- in either Kelly's or Jay-Z's itemize to appointment. © Jason Birchmeier /TiVo
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