That may be a bit disrespectful to Jordan. See, at least Wizards
Jordan had a throwback game where he dropped 51 on Charlotte.
The true greats are cursed in that their expressions of art
are only truly measured against their previous triumphs. Jay-Z is really only judged against his
discography of culture-shifting albums.
The task of competing against yourself carries the weight of
Atlas. So much so, that the greats reach a point they say, “Fuck your
expectations, I’m just doing me!”
4:44 is Jay-Z’s fuck it moment. 4:44 is Jay-Z at a crossroads in his life (similar
to the Black Album where he was mentally preparing for a life beyond Rocafella
records); he's graduated from Hip-Hop but a pre-schooler in billionaire circles.
Often, the embrace of vulnerability is the catalyst that
truly allows the greats to transcend their expectations.
Jay-z’s musical journey, post-Rocafella, has been filled
with similar obstacles. Aside from American Gangster (Biggie’s old beats and a
built-in theme provided by the movie) and Watch the Throne (All production by
Ye and half the flows from Yeezy), Jay-z has not had a good album! In
comparison to his discography, Kingdom Come, Blueprint 3 and Magna Carta Holy
grail are all boo-boo.
Post Black Album Jay-z is defined by his achievements in
business and his proximity to the infallible Beyoncé (the latter nearly
compromised by the infidelity exposed in Beyoncé’s stirring Lemonade).
4:44 is Jay-Z’s most personal album. He is transparent. He has
evolved as a Black man. Unlike, his previous post-Rocafella attempts, 4:44 has some
feeling! It has some soul. More than anything, it is the most vulnerable we've seen Jay-Z.
Jay-Z is bigger than Hip-Hop so grading his albums against
the landscape of contemporary Hip Hop feels peculiar, but in the words of Kung
Fu Kenny, “But this is Hip-Hop…niggas should know what time it is.”
Track by Track
1.
Kill
Jay-Z- “You can’t heel what you never reveal,” raps an introspective Jay-Z.
A poignant line from a track that sets the tone for this album. Jay-Z is about
to give us transparency. However, a transparent man is a man revealing his
flaws. This track is dope, yet flawed. The beat is thematic but a tough track
to ride a groove on. Jay gives some decent bars and punchlines but the flow and
beat never finds a balance.
2.
The Story
of O.J. - What a difference time makes! The guy playing monopoly with real
money at the end of the Dead Presidents video and the guy who was pouring
campaign on women & throwing cash at models in the Big Pimpin video is now
telling rappers to stop throwing money at strippers and stop flashing cash on
Instagram! I’d say Jay is a hypocrite if he didn’t discuss his own oversights
in this track. The line about DUMBO is real. All in all, this track is fire.
Jay’s flow was a bit syncopated but he’s giving up game on this track. I fucks
wit it!
3.
Smile ft.
Gloria Carter- “Mama had four kids but she’s a lesbian, had to pretend so
long, she’s a thespian.” I very moving line that hit home as my aunt recently
embraced her true self. Gloria Carter came through with a stirring poem to end the track too. All in all, I must say, this track, from beat to hook, sounded a
bit Drake-ish. While Drake gives a conversational flow that on tracks as such,
Hov has bars! He let them rip on this one. No I.D. didn’t do too much on this
track and there’s dignity in simplicity. This track goes hard.
4.
Caught Their
Eyes ft. Frank Ocean- Nah! The beat is fine. The flow is not. This is a
throwaway!
5.
4:44-
Jay-Z bears all on this track but it really doesn’t resonate. The beat doesn’t fit
the content that was to come. Jay-z aint rapping, he’s rambling. This track
lacks the eloquence expected considering this is his acknowledgement of the dirt
revealed in Lemonade. This was the track everyone came to hear and it is
underwhelming. This track isn’t for us, it’s for Beyoncé. He should have sent
this to her instead on putting it on the album. I hate to critique something so
personal but I doubt if I ever listen to this track again. Wacksauce!
6.
Family
Feud ft. Beyoncé-
Int. – Studio- Late Evening
Jay-Z and No ID emphatically bop their
heads in approval of the track they have just completed.
An unimpressed Beyoncé stands in the
background, confused as what the duo are so hopeful about.
She shakes her head in disgust.
Her disapproval overcomes her body and she
sprints towards the booth, kicking its door open and positioning herself in
front of the microphone.
For minutes, she belts out harmonious notes
and playful ad libs.
Beyoncé removes the head phones masking her
angelic ears. She stares authoritatively at Jay-Z and No I.D.
Beyoncé
Mix that
shit… My apology album ain’t gone be a flop.
Beyoncé slowly struts out the booth. As she
exits the studio, her eyes never meet those of Jay-Z and No I.D.
7.
Bam ft.
Damian Marley- No I.D. did his thing on the track. Damian Marley blessed
the hook. This thing was ready for takeoff. This should have been the track to
blow up the album. Hov just didn’t come with it. He had some good punchlines, “Before
A&R’s we had A-R’s” but the flow didn’t match the canvas given to him. This
track was ripe for a feature from a younger artist (Cole?) but they would have
just shined on Hov. All-in-all, this track has some bop to it. If any track on
this album gets major play, it’ll be this. Too bad, Jay didn’t flex.
8.
Moonlight-This
track encapsulates similar struggles prevalent throughout the album. Dope beat,
subpar flows. Like previous tracks, Hov needed a feature to make this track
compelling. Imagine Rihanna on the hook and Kendrick with a verse. This track
is cool, but it’s just here.
9.
Marcy Me
ft. The Dream- Dope beat. I listened five times before reviewing and I
simply not compelled by one line Jay delivered on this track. At this point, Jay is just wasting No I.D.’s beats. Maybe you have to be from or in Brooklyn
to appreciate this track. I think it’s doo-doo.
10.
Legacy-
It aint bad, it aint good. It’s just here.
Favorite Track: The
Story of O.J.
Worsts Track: Caught
Their Eyes
Production
First and foremost, shout out to Dion Wilson, aka No I.D.!
Chi-town in this bitch!
Now that I’m done repping for my city, I have to note, No
I.D. is Jay-Z’s Kyrie Irving.
Like Kyrie, No. I.D. is an amazing yet limited talent. Kyrie
Irving is an offensive juggernaut but lacks the two-way game necessary to make
him an all-time great.
No I.D. is a soul-beat savant! However, and what separates
Kanye from his southside brethren, No I’D.’s beats often lack the bop needed to
propel a soulful track to a cross-over hit.
4:44’s production is good but this is ride-to-work music.
I can’t see any of these tracks being the background for a
jumping BBQ, an ill pre-game, or getting people live at a lounge.
Grade: B-
Flows
Jay-Z has his moments; the fundamentals are the last thing
to go. But his flow is just that, fundamental.
More concerning than the flow, is the creativity in
delivering his punchlines.
Bars like, “You almost went Eric Benet… let the baddest girl
in the world get away. I’on even know what else to say, Nigga never go Eric
Benet. I’on even know what you would’ve done, in future other niggas playing
football with your son” got a head nod and approving eyebrow raise. The punchline
was a clever subliminal aimed at Future.
However, 4:44 does not deliver on the wordsmanship of his
previous bars like, “Now that’s Spanish chick, French chick, Indian and Black.
That’s fried chicken… curry chicken… Damn, I’m getting fat! Arroz con pollo, french
fries and crepe… an appetite for destruction but I scrape the plate.”
Nevertheless, fundamental flows from one of the greatest
ever, while underwhelming, are still sufficient.
Grade: C-
Overall
Jay-z is no longer a rapper, he’s mogul who raps.
Jay-Z the rapper produced tracks and albums that were full
of assurance. I believed his heartfelt tracks like “Song Cry.” Tracks like 4:44
play like a man on his last strike with his lady.
The braggadocio in tracks like “U Don’t Know” felt like a
man certain the world was in his hands. Moonlight
plays like a successful man who’s navigating uncertain future
success.
The man who proclaimed himself “the best rapper alive” is
gone forever. 4:44 is the soundtrack of a man still in his infancy in
conquering the world of billionaire-business.
Until Jay-Z becomes the world’s wealthiest man and makes an
album boasting about it, I think I’m done with Jay-Z albums.
Musically, he gave us a great 20 year run but if this is
indicative of what he has left in the tank then its time to put the mic down.
Album Grade: C-
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