Jay-Z's Latest Comeback Disc Delivers
Jay-Z is the first to admit that his retirement from rap was entirely too premature: Like the self-proclaimed Mike Jordan of rap once famously said, "I can't leave rap alone/ the game needs me."
After claiming that he'd release no more albums, last year's "Kingdom Come" CD was Jay-Z's first comeback attempt. However, just like Jordan's return to the NBA after his first hiatus, Jay's return only partly lived up to expectations. Although the disc scored his best opening week sales until that point, it was roundly received as a relative letdown, with too many soft-edged rhymes about his cushy, celebrity lifestyle.
"American Gangster," his tenth studio album, represents Jay's comeback from that comeback - his chance to reassert himself as hip-hop's pre-eminent wordsmith and hustler-gone-legal chronicler. This time, he unquestionably delivers the goods - showcasing deft metaphors about his own ghetto ascension and an uncanny ear for dramatic sonic backdrops.Photo Essay: Jay-Z
Jay claims he was inspired by the Ridley Scott-directed film of the same name about '70s-era Harlem drug mogul Frank Lucas. Though not a soundtrack to the biopic, the disc still has a cinematic quality. The beats, most notably the six tracks produced by Sean "Diddy" Combs and his Hitmen beatmaking team, capture a range of moods that few rap albums nail. Stately horns punctuate "Roc Boys (And the Winner Is ... )" while "Sweet" features a smoothed-out blaxploitation vibe.
And built on a mournful Marvin Gaye sample and sweeping strings, "American Dreamin"' chronicles thoughts of attending college that give way to profiting from dealing drugs. Jay rhymes: "Mama forgive me, should be thinkin' bout Harvard/ But that's too far away, n--s are starving/ Ain't nothin' wrong with aim, just gotta change the target/ I got dreams of baggin' snidd-ow the size of pillows."
Then later, with the aid of the tumbling congas and bright, electro-synths of the Neptunes-produced "I Know," Jay unfolds a tale of addiction where his own music could be the choice drug. "I am so dope/ Like Louboutins with the red bottoms /You gotta have 'em, you glad you got 'em."
Indeed, Jay's allure even has an affect on his rap star peers. Recent rival Lil Wayne contributes some tight-jawed rhymes and sing-songy vocals on "Hello Brooklyn 2.0" which uses a screeching Beastie Boys vocal sample and some thumping 808 drum kicks. And to dazzling effect, Jay partners with former nemesis Nas over the rugged, organ-driven beat of "Success." Cocky as ever, Jay puffs out his chest: "I got watches I ain't seen in months/ Apartment at the Trump I only slept in once/ N----s said Hova was over, such dummies/ Even if I fell, I'd land on a bunch of money."
"American Gangster" is proof that Jay-Z hasn't lost his gift of making some of the most undeniably inventive and assured hip-hop music, or as on "Roc Boys" he sums up: "This is black superhero music." Bold words, but it's hard to argue with someone who's comeback twice and remains the genre's most exciting voice.
By Brett Johnson