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‘Gangster’ anything but
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At the risk of spoiling this review within the first sentence, let me just say that expectations can be fickle, funny things. For months, the Internet has been abuzz over how Jay-Z crafted his ninth solo album, American Gangster, to combine the snarling attitude and wit of his 1996 groundbreaker Reasonable Doubt, with the Kanye West/Just Blaze-style histrionics of 2000's universally acclaimed The Blueprint. The desired result: an inherently street album from the veteran perspective of Mr. "30 is the New 20."
Yet a lot has changed in the seven years since The Blueprint helped spawn popular rap's modern sound: exit Damon Dash, enter Jason Kidd and Beyonce. A beef with Nas became a sudden and unfortunate partnership with Nas. A series of retirement/unretirement albums was produced — with very mixed results. And now, for whatever reason, the new Denzel and Russell Crowe movie has inspired Jay-Z to attempt to marry his two most beloved sounds.
Still, his goal is both logical and noble. 2006's Kingdom Come was panned by most, and who wants to end their career on that note, particularly an emcee who proclaims himself the greatest ever? The solution: more Puff Daddy. Diddy and his production team, the Hitmen, handle six of American Gangster's tracks, hoping to rekindle the magic they shared with Hov on the 100-time platinum Vol. 2… Hard Knock Life.
"Pray," their first collaboration on the album is undeniably intense, but its echo-laden shout is equally overwhelming, especially considering how noticeably weak Jigga's cadence is now versus the mid-90s. The following track, "American Dreamin'," has genuine bounce and successfully pairs him with a soulful Marvin Gaye sample. The beat on "Party Life," though, complements Jay-Z's style well, but the song runs about a minute too long. Another of their collaborations, "Roc Boys (And the Winner is…)," also exploits the fact that Jay has always sounded great over horns, and its celebratory vibe stands out when he starts tossing around "L'chaim" in a verse.
One of American Gangster's most notable flaws is apparent right away, and that's the album's trite lyrics.
It was one thing for Jay-Z to boast about slinging rock and toting pistols in 1996 as a relative unknown, but it's pretty dubious when Def Jam's present-day CEO still claims to live in such a manner. And credibility aside, there's simply been too much good crime-oriented hip-hop over the years for Jay to get away with lazy metaphors and half-assed dope boy nostalgia. Describing yourself as "Ringling Brothers Barnum and Bailey with the pies," on the otherwise not-that-bad first single "Blue Magic" just doesn't hit as hard as the Clipse's similar claim of being the "black Martha Stewart." Unfortunately, this sort of hollow drug talk plagues American Gangster throughout the album.
It would be remiss to not mention "Ignorant Shit," the album's best offering. Producer Just Blaze provides a bouncy, "Miami Vice" vibe, even while flipping one of rap's most exhausted samples. If not for the song's subject matter, it could genuinely blow up as a single. "Fallin'" is overly dependent on its dorky sample, but Jay turns in one of his better rapping performances of American Gangster. Of the two anticipated duets on the album, "Hello Brooklyn 2.0" with Lil Wayne is decent if not grating, and "Success" with Nas falls flat thanks to its "Takeover"-sound-a-like beat and Nas' severely uninspired verse.
Conceptually, American Gangster, an album that is both evocative and dark in tone, was intended to be a companion to the film. Instead, it is the same type of Jay-Z album we've heard since The Blueprint, but with increasingly disingenuous crime talk and even less energy on the mic. There are several definite bangers ("Ignorant Shit" and "No Hook"), and the average modern rap fan will appreciate the omnipresent grandiose production, but given the expectations, American Gangster is an unrealized vision, hampered by uncreative lyricism and average emceeing.
2.5 stars out of 5
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Sully hits the nail on the head.
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Nice review. I can’t believe you’re the same guy who panned the getback.
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Comparing Jay to his past self isn’t a valid argument. People change when they get older, so their lyrics do too. Why should you expect Reasonable Doubt/Bluprint every time Jay drops a new CD? It’s completely unreasonable. He isn’t admitting to still living this way, either, and that’s clear. Why would the President of Def Jam still peddle rocks in Brooklyn? He doesn’t. He was just inspired by a movie and used Frank Lucas to channel his past life onto this CD.
If you do want to compare this to his other work. It’s probably his 5th or 6th best CD, which is still better than 75% all rap CDs ever released. Jay still has it, you just don’t listen hard enough to realize that. His raps are probably too clever for you, because this review only scratches the surface of American Gangster.
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It was a nice try, but Jay-Z dropped a Martha Stewart reference in his raps back in The Black Album, which came out in 2003. I believe Clipse didn’t do that until Hell Hath No Fury, which came out roughly a year ago. Jay’s always been ahead of his time. Pusha T is one of the best rappers in the game today, but Jay is one of the best EVER.
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Jay-Z: #1.
Anybody who don’t think so: stupid.
Believe that.
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The album is one of the best rap albums in years.
Get off the comparing new Jay Z with old Jay Z. This is like the comparisons of new Prince to old Prince. That old Jay Z is gone. He is grown now.
You are missing the idea of a concept album. He is merging the experience of Lucas with his own.
As an artist he can rhyme about drugs without compromising his executive position - in “Ignorant Sh*t” he even tells you that rappers are only acting.
That song “Ignorant Sh*t” has more vibrations than the conscious tracks from Talib or dead prez - based on Jay’s stronger fan base.
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“It was one thing for Jay-Z to boast about slinging rock and toting pistols in 1996 as a relative unknown, but it's pretty dubious when Def Jam's present-day CEO still claims to live in such a manner.”
Do you think it’s possible that Jay is rapping about his past experiences? Do you really think that he’s claiming to live in this manner in the present day? If I may quote the above poster “You are missing the idea of a concept album. He is merging the experience of Lucas with his own.” You’re being deliberately obtuse here, and I think you’re well aware of that fact.
And go check The Black Album for Jay hitting that Martha Stewart reference way before Hell Hath no Fury. Seriously dude, I’d stick with reviewing indie or whatever, because this review comes off as a joke to people who actually listen to rap.
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get off my man sully’s dick like that. the album is by far his worst next to kingdom come.
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D Sul, i like the words “bounce” and “remiss”. i like those words