The Black Album
Released: 11/14/03

Wikipedia: The Black Album is the eighth studio album by American rapper Jay-Z, released November 14, 2003 on Roc-A-Fella Records. It was promoted as his final studio album, although Jay-Z subsequently announced a return to solo recording in 2006. The album was very well received by critics and was also a commercial success, debuting at #1 with nearly 463,000 copies sold in its first week and over 3 million to date.^[1] The black disc is accompanied by a black-covered set of liner notes and a black jewel case.

The album features a guest appearance by Pharrell (in “Change Clothes”) and Jay-Z’s mother, who speaks about his childhood in different portions of “December 4th”. An a cappella-only version of The Black Album featuring these performances was also released.

In early interviews, Jay-Z said that the album would be a return to his Reasonable Doubt sound (responding to criticism from some fans that his subsequent efforts were too commercial) and that it would be “for the streets”, with no promotion or singles;^{[citation needed]} however, “Change Clothes” and “Dirt Off Your Shoulder” were both successful singles.

He also claimed that the album would have a different producer for each track, and early magazine advertisements listed a series of numbers (representing tracks) and a producer for each number. The final album did feature a variety in producers, although Roc-A-Fella producers Kanye West and Just Blaze produced two tracks each, in addition to the two produced by frequent Jay-Z collaborators The Neptunes. Longtime collaborators DJ Premier and Dr. Dre did not produce any tracks. 9th Wonder saw a boost in popularity after producing “Threat” for the album.^{[citation needed]} (Jay-Z is credited as the second producer on the track for finding the R. Kelly sample that was included in the beat.)

(in my iTunes)

Interlude — 2.0 / 5.0
December 4th — 3.5 / 5.0
What More Can I Say — 3.5 / 5.0
Encore — 4.0 / 5.0
Change Clothes — 3.5 / 5.0
Dirt Off Your Shoulder — 4.0 / 5.0
Threat — 3.5 / 5.0
Moment of Clarity — 4.0 / 5.0
99 Problems — 4.0 / 5.0
Public Service Announcement (Interlude) — 3.5 / 5.0
Justify My Thug — 3.0 / 5.0
Lucifer — 4.0 / 5.0
Allure — 3.5 / 5.0
My 1st Song — 3.5 / 5.0

Album Rating:
Allmusic — 4.5 / 5.0
Rolling Stone — 4.0 / 5.0
chrispazen — 4.5 / 5.0

…

The Black Album was maybe Jay’s most anticipated CD ever — though none of us really believed this was going to be his last album forever, we all knew this was going to be it for a while; and most of us dared to hope for a higher-level, brilliant album to act as his swan song.  Somehow, in re-grouping from his disappointing BP2, and in bringing in multiple producers to help helm this opus, Jay was able to craft an album that — for the most part — didn’t disappoint.

This is a really enjoyable album, open to close.  Though the highs may not reach as high as those of Reasonable Doubt or the Blueprint, the only real misstep here is “Justify My Thug”, and even it’s not that bad.  Not only did I enjoy this CD when it came out, I enjoyed it multiple times over multiple discs through various remixes and mash-ups.  Danger Mouse, 9th Wonder, Black Jays, DJ Kno … they were all able to craft quality music using the rhymes and vocals that Jay provided for this album, and I think that obviously speaks pretty highly of the word Jay did here.  Even Dave Chappelle was able to get a nice comedy moment out of shouting “allow me to re-introduce myself; my name is HOV!” in a “When Keeping it Real Goes Wrong” sketch.  This album was not only well-done, it was universal.  Jay was leaving us, and — as we often do — we held on for dear life as long as we could, extending the party over and over again by re-playing and re-interpreting this last masterpiece he’d made for us.  Part retrospective, part declaration, part party — this was the farewell disc we had all hoped to get, and it certainly qualifies as being one of Jay’s best.

[note: December 4th could be 1/2 a star higher, but I’m docking it due to Gloria Carter’s woeful definition of what constitutes a “funny story”.]

though BP3 got pushed up, we push on!

(11 Days of Jay continues through Friday, to everyone’s respective delight or dismay)

The Blueprint 2
Released: 11/12/02

Wikipedia:  This album, like Jay-Z’s previous four, debuted at #1 (with over 545,000 units shipped in its first week of sales).  The album was criticized for its more pop-oriented sound as well as its plethora of guests, while The Blueprint had been almost devoid of guest appearances.

Though the album has no strict concept in view, the first disc The Gift generally has more upbeat, party tracks, including the hit singles “‘03 Bonnie & Clyde” and “Excuse Me Miss.” The Curse has a somewhat darker tone, including fewer guest appearances, disses to Nas, and Jay-Z’s former mentor Jaz-O on “Blueprint 2” and a dramatic street tale on “Meet the Parents.”

Signed Roc-A-Fella Records producers Kanye West and Just Blaze, as well as longtime collaborators The Neptunes and Timbaland contributed heavily to the album’s production. Other producers are Dr. Dre, Heavy D, and No I.D.. At this time, it is assumed that Jay-Z had just started a relationship with singer Beyonce Knowles.

…

The Blueprint 2 was a bloated double-album that contained some good songs amongst several not-so-good.  Everyone agrees on this.  So instead of going on at length about what I did and didn’t like, I’m gonna do what Jay should have done, and edit.

Every entertainer strives to kill it, and just destroy their audience every time out; the flip-side, dirty little secret to this is that sometimes failure isn’t only a reality — it’s a necessity.   “They say success breeds envy”, it’s true — but success can also cloud perspective, and I think Blueprint 2 was a perfect example of that.

The release of Blueprint 2.1 acknowledged this, and attempted to correct it after-the-fact, but what Jay/Def Jam should have done — as the Beastie Boys did do with their greatest hits/b-sides album Sounds of Science — was let the fans create their own mix-down of the CD (including sequencing, transitions, silence gaps, etc.), and let them order that for purchase.

Here’s what mine would have looked like:

A Dream (Intro) (feat. Notorious B.I.G. & Faith Evans) — 3.0 / 5.0
Some People Hate — 3.5 / 5.0
The Bounce (feat Kanye West) — 4.0 / 5.0
Guns and Roses (feat. Lenny Kravitz) — 3.5 / 5.0
Excuse Me Miss — 3.5 / 5.0
Excuse Me Miss Again — 4.0 / 5.0
Bitches and Sisters — 3.5 / 5.0
The Watcher 2 (feat. Dr. Dre, Rakim & Truth Hurts) — 4.0 / 5.0
U Don’t Know (Remix feat. M.O.P.) — 4.0 / 5.0
Poppin’ Tags (feat Twista, Killer Mike & Big Boi) — 4.0 / 5.0
Some How Some Way (feat. Beanie Sigel & Scarface) — 4.0 / 5.0
Meet the Parents — 3.5 / 5.0
Blueprint 2 / A Dream (Spoken Vocal Outro) — 3.5 / 5.0
Hovi Baby (Hidden Track) — 3.5 / 5.0
I Did It My Way (Hidden Track) — 3.5 / 5.0

“A Dream” isn’t that heavy, lyrically speaking, but I like the sentiment of it; and I also took the vocal off the end and moved it to the back to close out the CD, so I like that from a symmetry standpoint as well (plus I’m never gonna turn down an opportunity to get some free Biggie).  Part of the problem with Blueprint 2 as it was constructed was how scattershot it was, and how it didn’t seem like there was a lot of thought put into sequencing.  I like opening with “Some People Hate” leading into “The Bounce”, which both address all the hate and biting that stemmed from the Blueprint.  “Guns and Roses” flows well out of the end of “The Bounce”, and has a good energy to it for that point in the album.  (“Guns and Roses” probably would have fit right in on the Black Album, with “99 Problems” and such — and maybe as a substitute for “Justify My Love” — but for some reason people reacted to it a little skeptically on BP2; it’s actually a decent cut.)  I threw both “Excuse Me Miss” versions on there together, almost like “Choosey Lover (Old School/New School)” from Aaliyah’s One in a Million; and in my mind they function almost as an interlude leading into “Bitches and Sisters”, where Jay halfway responds to all the misogyny talk, and differentiates between the two types of females.  “The Watcher 2” / “U Don’t Know (Remix)” / “Poppin’ Tags” / “Some How Some Way” represent a nice stretch of hip-hop featuring some of the greatests of the game (capped off by another Jay-Z / Beanie Sigel / Scarface pairing, interestingly, though, coming via Blaze, rather than Kanye this time); and “Meet the Parents” is a nice storytelling exercise to wind down with.  “Blueprint 2” is probably the perfect song to close it all out with, acting almost as a bookend to Blueprint’s “Takeover”, as Jay once again goes after any MCs that wanted to battle.  As I said, I tacked on the vocal from “A Dream” as a little outro, which I think gives Jay a fitting exit, and perfectly sets up his impending retirement with the Black Album.

Since Jay loves the hidden track, I threw in “Hovi Baby” and “I Did it My Way”, which I think work well both as hidden tracks, and in keeping with the flow/feel of the disc.

Looking at that, it’s still not a perfect album, but it’s definitely a much better one, and one that I’d listen to a lot more frequently.  It’s more focused, more consistent, and serves as a worthy (though obviously inferior) successor to the first Blueprint.

Allmusic 3.5 / 5.0 
Rolling Stone 3.0 / 5.0
chrispazen 3.0 / 5.0 (original issue)
chrispazen 4.0 / 5.0 (my BP2.1)

The Blueprint
Released: 09/11/01

Wikipedia:  Despite being overshadowed by the 9/11 attacks, the album sold over 426,000 copies in its opening week, becoming Jay-Z’s fourth consecutive album to reach number one on the Billboard 200. It was certified two times platinum as sales stand at over two million units in the U.S. The album received a perfect “XXL” rating from XXL magazine, while The Source awarded The Blueprint a classic 5 mic rating. The album received universal acclaim, based on an aggregate score of 88/100 from Metacritic. It came #464 on Rolling Stones 500 Greatest Albums of All Time.

The Blueprint was reportedly cut in two weeks, with Jay-Z allegedly writing the lyrics in two days.^[18] Jay-Z awaited two criminal trials for gun possession and assault. At the time he was engaged in feuds with Nas, Prodigy of Mobb Deep, and others attacking him in song. Parts of The Blueprint became a battle album, particularly in “Takeover”, in which Jay-Z attacks Nas, Prodigy, and all manner of persecutors, set to the hard rock of samples of The Doors’ “Five to One” and David Bowie’s “Fame”.^[19] “Takeover” closes with the line “To all you other cats throwing shots at Jigga/You only get half a bar, fuck y’all niggas” as a blanket response to all his enemies not mentioned elsewhere in the song.

In The Blueprint, Jay-Z and his producers turn to vintage soul, fuelling almost every song with a stirring vocal sample: Al Green, Bobby “Blue” Bland, David Ruffin and the The Jackson 5. Exceptions include “Jigga That Nigga”, “Hola’ Hovito”, and most notably “Renegade”, a track produced by and featuring Eminem.

(in my iTunes)
The Ruler’s Back — 3.5 / 5.0
Takeover — 4.5 / 5.0
Izzo (H.O.V.A.) — 4.5 / 5.0
Girls, Girls, Girls — 4.5 / 5.0
Jigga That Nigga — 3.0 / 5.0
U Don’t Know — 4.0 / 5.0
Hola’ Hovito — 3.0 / 5.0
Heart of the City (Ain’t No Love) — 5.0 / 5.0
Never Change — 4.5 / 5.0
Song Cry — 4.5 / 5.0
All I Need — 3.5 / 5.0
Renegade (feat. Eminem) — 4.0 / 5.0
Blueprint (Momma Love Me) — 4.0 / 5.0
Breathe Easy (Lyrical Exercise) — 3.5 / 5.0
Girls, Girls, Girls (Part 2) — 4.0 / 5.0

Album Rating:
Allmusic — 5.0 / 5.0
Rolling Stone — 5.0 / 5.0
chrispazen — 5.0 / 5.0

• Ranked #2 in Pitchfork Media’s “Top 100 Albums of 2000-2004”.
• Ranked #5 in Rolling Stone’s “Top 10 of 2001”.
• Ranked #7 in Spin magazine’s “Albums of the Year 2001”.
• Ranked #4 in NME’s 50 “Albums Of the Year 2001”.
• One of only a handful of albums to receive a perfect rating from both The Source and XXL.
• Ranked #12 in Wire magazine’s “50 Records of the Year 2001”.
• In 2003, the album was ranked number 464 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

…

If Dynasty gave fans a taste of a new Jay, with a promise of what was to come, the Blueprint was that promise delivered, and more.  People can argue about which is ultimately the better album — Blueprint or Reasonable Doubt — but no one can deny that this was a non-stop showcase of Jay firing on all cylinders.  This album is a testament to what can happen when great lyricism and flow meet brilliant producing.

Blueprint was a release for Jay, unleashing all the energy, frustration, and skill that had been building up through these last couple releases.  Though his albums were still selling, there was a noticeable dip in quality trending, and this — coupled with his legal battles — made him an easy/favorite target for rappers and media alike.  … and then Jay fought back.

Lyrically, this is probably his most quotable album, and features many of what are considered to be his best lines.  While I’ll admit that Jay’s flow, demeanor, and perspective on Reasonable Doubt brought something to that album that he never quite had again; the confidence and the experience that he exudes here resonate with every line that he raps.  There was no need for guest-stars on this album; by the time these 15 tracks were through, there was no longer any question as to where Hov’s proper place was in the rap game.

“Takeover” is undeniably one of the best diss songs ever written, with Jay taking down anyone who dares to step to him;  “Heart of the City” sees Jay on top of the game, at the top of his game, casting down upon the industry and the streets that made him;  “Izzo” is a pure celebration from start to finish, with both MC and instrumentals synced up in a fit of skillful joy (resulting in his highest-charting single to date, and likely fueling the bootlegging that got the album pushed up);  and “Song Cry” is Jay at his most raw and honest, delivered in a way that’s hard to hate on, no matter how “hard” you are.

As for the production side of things — although this album essentially became Kanye West’s coming-out party, Just Blaze brought just as much to the table.  They both did some of the best work of their careers here (maybe the best), and as an added bonus, we got to hear them go head-to-head on “Girls, Girls, Girls” parts 1 & 2.  Not to be outdone, Bink also elevated his game from the tracks he contributed to Dynasty, blending his production in seamlessly with those of the soulful sounds surrounding him.  Interestingly, (and somewhat ironically,) songs from Poke and Tone, and Timbaland — which would have fit right in amongst Vol. 2 or 3 — feel rather out of place here; and are the only possible missteps one could point to (if there are any at all).

Overall, there’s very little to complain about whatsoever — the Blueprint is the album that fans had been hoping for with every release since Vol. 1 — it’s a terrific listen, and even if it’s not quite Reasonable Doubt, it’s undoubtedly one of the best hip-hop albums ever made.  Being that this album basically boils down to “Jay + Vintage Soul”, and vintage soul = “my kind of music”  … this probably gets the edge for me, as far as my favorite album that Jay’s ever made.

The Dynasty: Roc La Familia
Released 10/31/2000

Wikipedia: Originally a Roc-A-Fella Records collaboration album, a showcase for Roc-A-Fella artists such as Memphis Bleek, Beanie Sigel and Freeway, it eventually became another Jay-Z solo album (or at least marketed as one to increase sales), although the Roc-A-Fella artists are abundant on this album. Big name guest appearances have been limited to three – Snoop Dogg, R. Kelly, and Scarface – to make room for the Roc-A-Fella family. Its lead single, “I Just Wanna Love U (Give It 2 Me)”, produced by The Neptunes, was one of Jay-Z’s most successful singles peaking at number 11 on the Billboard Hot 100. On the Billboard 200, the album debuted at #1 on the charts with 557,000 copies sold in its first week and more than 2.3 million copies sold to date.

Rather than using big-name producers such as Swizz Beatz and Timbaland, who had featured prominently on Vol. 2 and Vol. 3, Jay-Z decided to feature more up-and-coming producers at the time of this album, such as Just Blaze, Kanye West, Bink! and The Neptunes. Partially as a result of this exposure, these producers would achieve notable success in the future. This was also the first album of Jay-Z ‘s not to feature work by long time producer DJ Premier. Given Just Blaze and Kanye West’s penchant for utilizing soul samples in their beats, the album features a smoother sound than Jay-Z’s previous efforts, though Bay Area-based producer Rick Rock includes a more minimalist sound in his four beats.

(in my iTunes)

Intro — 3.0 / 5.0
Change the Game (feat. Memphis Bleek & Beanie Sigel) — 3.5 / 5.0
I Just Wanna Love U (Give it 2 Me) — 4.0 / 5.0
Streets is Talking (feat. Beanie Sigel) — 3.5 / 5.0
This Can’t Be Life (feat. Scarface & Beanie Sigel) — 4.0 / 5.0
Get Your Mind Right Mami (feat. Memphis Bleek & Snoop Dogg) — 3.0 / 5.0
Stick 2 the Script (feat. Beanie Sigel) — 3.5 / 5.0
You, Me, Him, and Her (feat. Dynasty) — 3.0 / 5.0
Guilty Until Proven Innocent (feat. R. Kelly) — 3.5 / 5.0
Parking Lot Pimpin’ — 3.5 / 5.0
Holla (feat. Memphis Bleek) — 2.5 / 5.0
1-900-Hustler (feat. Beanie Sigel, Freeway & Memphis Bleek) — 3.5 / 5.0
The R.O.C. — 3.0 / 5.0
Soon You’ll Understand — 3.0 / 5.0
Squeeze 1st — 3.0 / 5.0
Where Have You Been — 3.0 / 5.0

Album Rating:
Allmusic — 3.0 / 5.0
Rolling Stone — 4.0 /5.0
chrispazen — 3.5 / 5.0

…

This is just a hard album to really get a feel for…  There are a lot of ideas and concepts present here that would combine for greatness just a single album later, but somehow they don’t blend as cohesively this first time around.  This could be a result of Jay being mired in the midst of all his legal troubles, and maybe not being quite as focused in the studio.  It could be the fact that this was never supposed to be a Jay album in the first place, and the process of transitioning it into one resulted in a disjointed feel at times.  A lot of these songs would probably rate at least 1/2 star better were they solely Jay tracks, but instead he disappears for as much as 60% of the album.

On the plus side, the one good thing that came out of this was the changeover in producers.  Because this was originally going to be a showcase album, we got a break from the heavyweight industry producers in favor of some talented up-and-comers.  While a lot of the edgy and gritty overtones remained, a little bit of soulfulness was starting to creep in, courtesy of R. Kelly, the Neptunes, and Kanye West (in his first cut with Jay, which acted not only as a prelude to his eye-opening work on the Blueprint, but — as a track featuring Scarface & Beanie Sigel — also served as a precursor to Scarface’s “Guess Who’s Back”, feat. Beanie & Jay, which is likely my favorite non-Jay Jay song.)  Despite the shortcomings of some of these flows, I do think that the change in production teams likely helped rather than hurt.

Ultimately, this album’s true value may lie in the seeds that it planted for Jay’s next effort, but as it is, we’re left with a compilation that likely misses its mark.  Despite featuring some quality tracks (including Jay’s highest-charting single to date), I think most people would agree that this wasn’t a “classic” Jay album.

Vol. 3 … The Life and Times of S. Carter
Released 12/28/99

Wikipedia: Vol. 3 is, for the most part, Jay-Z’s return to a more street-oriented sound. However, it did manage to produce some very successful radio-friendly singles. Vol. 3 topped the billboard charts with nearly half a million sold in its first few days of release. To date, the album has sold over 3 million copies, the most successful single from the album is the now-infamous Big Pimpin’. This album is also noted for insulting the rapper 50 Cent (before his rise to fame) on the song “It’s Hot (Some Like It Hot)”. It was a response to “How To Rob”, a song from 50 Cent’s unreleased first LP “Power of the Dollar” where he comically explains robbing numerous mainstream rappers, including Jay-Z. In the song, Jay-Z raps “I’m about a dollar/What the fuck is 50 cents.” This was also the last time Jay-Z worked with DJ Premier; this album was their fourth straight album in a row.

Jay-Z was able to beat many odds with the release, and critical/commercial success of this album. He was able to regain much “street cred” with lyrics on songs such as, NYMP, Come and Get Me, It’s Hot, There’s Been a Murder, and Jigga my Nigga. He also won the applause of the young culture at the time with the Big Pimpin’ video, which at the time was blasted by news corporations for being overly-misogynistic.

(in my iTunes)

Hova Song (Intro) — 2.5 / 5.0
So Ghetto — 3.5 / 5.0
Do it Again (Put Ya Hands Up)(feat. Beanie Sigel & Amil) — 4.0 / 5.0
Dope Man — 2.5 / 5.0
Things That U Do (feat. Mariah Carey) — 3.0 / 5.0
It’s Hot (Some Like it Hot) — 3.5 / 5.0
Snoopy Track (feat. Juvenile) — 3.5 / 5.0
S. Carter (feat. Amil) — 3.5 / 5.0
Pop 4 Roc (feat. Beanie Sigel, Memphis Bleek & Amil) — 3.0 / 5.0
Watch Me (feat. Dr. Dre) — 3.0 / 5.0
Big Pimpin’ (feat. UGK) — 4.5 / 5.0
There’s Been a Murder — 3.5 / 5.0
Come and Get Me — 3.0 / 5.0
NYMP — 3.5 / 5.0
Hova Song (Outro) — 2.5 / 5.0
Jigga My Nigga (Hidden Track) — 4.0 / 5.0
Girl’s Best Friend (Hidden Track) —3.5 / 5.0

Album Rating:
Allmusic — 3.0 / 5.0
Rolling Stone — 4.0 / 5.0
chrispazen — 4.0 / 5.0

“…back to Shawn Carter, the Hustler; Jay-Z is Dead”

this was the beginning of “bitter” Jay-Z, as he was starting to get into it with both the law and the industry, all while dealing with the pressure that comes from being on top.

By this point, Jay was going #1 with every album released, and though he still didn’t have a #1 single, “Jigga My Nigga” hit #1 on the Rap Chart, which was a first for him.  Despite that, Big Pimpin’ (which was actually the 4th single off the album) was definitely the heaviest cut (and easily Jay’s biggest to date — Pitchfork recently named it #31 on their Top 500 Songs of the 2000s), while also the most controversial. Talks of misogyny plagued the album, as well as the video; and Tim & Jay had to deal with some sampling questions to boot.

Jay was definitely back to his street sound here — there’s a noticable edge to this album that wasn’t present on either of the previous two.  Though he wasn’t hardcore beefing with anybody yet, he did go ahead and call out 50; and it’s worth noting that “Dope Man” foreshadows the immense legal troubles that were about to come, if for different reasons.

Coming off the massively successful Vol. 2, Jay kept that album’s same group of producers largely in tact.  Timbaland, who was working wonders with Aaliyah, Ginuwine, and Missy at the time, contributed his innovative talents for four songs here, and did so in a way that flowed well with Swizz Beats and the others; on the whole, the album blends together pretty cohesively.  Problems with bootlegging cost us the inclusion of “Anything” and “Is That Yo Bitch” (in addition to costing Lance Rivera some platelets and such), but the album still clocked in at a solid 15 tracks, including the two hidden tracks (which, having both appeared on other albums, were technically released as the first two singles), and discounting the intro/outro.  While it’s one of my lesser-listened-to albums out of Jay’s catalogue, there’s obviously not a lot of fluff here, and one could easily argue that this is Jay’s most underrated effort.

Vol. 2 … Hard Knock Life
Released 9/29/98

Wikipedia: The album propelled Jay-Z into superstar status and cemented him as a household name. It also helped him emerge as an extremely dominant force in the post Biggie/Tupac era of hip hop. This album also won the Grammy award for Best Rap Album in 1999.

It received lukewarm reviews from critics and hip-hop purists who felt his aims to be a crossover success had compromised the quality and complexity of his music. It was also criticized for its numerous guest appearances. However, it received a near-perfect 4.5(out of 5)mics from The Source.

Several tracks on this album feature a rougher sound than the glossier Bad Boy production on In My Lifetime, Vol. 1, most notably the three tracks produced by Ruff Ryders beatmaker Swizz Beatz. With the exception of Stevie J on “Ride or Die,” Bad Boy producers play no role in Vol. 2, though Jay-Z enlisted Jermaine Dupri, Timbaland and Irv Gotti for a more pop-oriented sound on three of the albums’ singles.

(in my iTunes)

Hand it Down (Intro feat. Memphis Bleek) — 3.0 / 5.0
Hard Knock Life (Ghetto Anthem) — 3.5 / 5.0
If I Should Die (feat. Da Ranjahz) — 3.0 / 5.0
Ride or Die — 3.5 / 5.0
Nigga What, Nigga Who (Originator 99 feat. Big Jaz) — 4.0 / 5.0
Money, Cash, Hoes (feat. DMX) — 3.5 / 5.0
A Week Ago (feat. Too Short) — 3.0 / 5.0
Coming of Age (Da Sequel feat. Memphis Bleek) — 3.0 / 5.0
Can I Get A… (feat. Ja Rule and Amil) — 4.0 / 5.0
Paper Chase (feat. Foxy Brown) — 3.5 / 5.0
Reservoir Dogs (fear. Beanie Sigel, The Lox and Sauce Money) — 3.0 / 5.0
It’s Like That — 3.0 / 5.0
It’s Alright (feat. Memphis Bleek) — 3.0  / 5.0
Money Ain’t a Thang (feat. Jermaine Dupri) — 3.5 / 5.0

Album Rating:
Allmusic — 3.5 / 5.0
Rolling Stone — 3.5 / 5.0
chrispazen — 4.0 / 5.0
…

I was at the “No Way Out Tour” in 1997, when Kid Capri was spinning snippets from Annie in between sets; so when Jay got together with the 45 King to sample it for the hit title track on his new album, it was maybe a bit less ‘out of left field’ for me than it was for some other people.  That said, I’d reckon that it was that song (or possibly the phenomenon where you become the only rapper the voters have actually heard of) that won Jay his first Grammy award, and its crossover appeal likely played a part in giving Jay his first #1 album, which remains his best-selling work to date.

By this point, Jay had pretty much emerged as the rapper in the wake of Pac & Biggie’s deaths, and his choice of producers reflected it.  Bringing in Timbaland helped Jay segue into a new feel for his songs (and it finally yielded a decent Foxy Brown track), and the album as a whole essentially consists of a who’s who of the hot producers at the time (minus Diddy’s crew, which Jay had the sense to shift away from).  Overall, this was a very listenable album, and while I’ll acknowledge that there are probably a few too many guest appearances — there’s more than enough good Jay here to make this one of his top 5 albums.

In My Lifetime, Vol. 1
Released: 11/4/97

Wikipedia: The album received positive reviews from critics but fans were not embracing Jay-Z’s commercialized new image. The album features a much more pop oriented sound than his debut release Reasonable Doubt and went on to receive a Platinum certification from the RIAA, selling more than 1.2 million copies in the U.S.

Producers for Reasonable Doubt such as DJ Premier and Ski contribute to a limited number of beats on this album, though the majority of the production is handled by beatmakers from Puff Daddy’s Bad Boy label, giving the album a generally glossier sound than its predecessor. It displayed a shift from the mafioso rap themes of his first effort to the so called “jiggy” era of late 90’s hip-hop, often credited to videos and albums from Puff Daddy and his Bad Boy record label’s roster of artists including Notorious B.I.G. (the first two singles from his second album were both huge pop hits) and Mase.

(in my iTunes)

Intro: A Million and One Questions/Rhyme No More — 4.0 / 5.0
The City is Mine (feat. Blackstreet) — 3.0 / 5.0
I Know What Girls Like (feat. Lil’ Kim & Puff Daddy) — 2.0 / 5.0
Imaginary Player — 3.5 / 5.0
Streets is Watching — 4.0 / 5.0
Friend or Foe ‘98 — 4.0 / 5.0
Lucky Me — 3.0 / 5.0
(Always Be My) Sunshine (feat. Foxy Brown & Babyface) — 3.0 / 5.0
Who You Wit II — 4.0 / 5.0
Face Off (feat. Sauce Money) — 3.0 / 5.0
Real Niggaz (feat. Too Short) — 3.5 / 5.0
Rap Game/Crack Game — 3.5 / 5.0
Where I’m From — 3.5 / 5.0
You Must Love Me (feat. Kelly Price) — 3.5 / 5.0

Album Rating:
Allmusic — 4.5 / 5.0
Rolling Stone — 3.5 / 5.0
chrispazen — 4.0 / 5.0

…

“I’m not a rapper; I’m a hustler.  … just so happens I know how to rap.”

this was my introduction to Jay-Z, having been completely in the dark about Reasonable Doubt, so I came into this album fresh; and because of this, it might be rated a bit more highly in my memory than it may deserve.  This is really almost a tale of two separate albums, by two different breeds of producers. 
Jay no longer was just a hustler, as the success and acclaim he garnered with Reasonable Doubt had already started to put some “baller” into him.   This, mixed with the desire (likely from the studio, but possibly from himself) for a bit more commercial success, saw Jay mix up his mafioso style with something a little more radio friendly; and thus came Bad Boy & the Hitmen (and Teddy Riley) to work their “magic”.   Obviously Diddy was on top of the world at the time, but he and Lil’ Kim render “I Know What Girls Like” into an almost unlistenable song, and I wonder what type of album we would have gotten had Jay stayed a little closer to home.   Had In My Lifetime been about three tracks lighter, and opened with “Intro…”, leading straight into “Imaginary Player”/ “Streets is Watching”/ “Friend or Foe ‘98”, I have to think that would have more than lived up to whatever expectations fans had for Jay’s follow-up to his debut.

Still, there’s more than enough good here to make up for the bad, and the Hitmen did do good work on both “Imaginary Player” and the closing track.   On last week’s episode of Real Time with Bill Maher, Jay talked about his evolution, and how the music and the songs progress — mentioning how a track like “Ain’t No Nigga” becomes “Song Cry”; and while that may be true, I listen to “You Must Love Me”, and it strikes me as a more obvious precursor, both thematically and from a storytelling perspective.  This album definitely served as a transition for Jay between being ‘the unkown’ vs. ‘the superstar’, while showing signs of where his music would be going in the future (both good and bad); and for me — all in all — it’s remains to be an album that I listen to with great fondness.

Reasonable Doubt
Released: 06/25/96

Wikipedia: Reasonable Doubt features production by DJ Premier, Ski, Knobody, and Clark Kent.  It peaked at #23 on the Billboard 200, receive platinum status in 2002, and sold 1.5 million copies as of 2006.  Four singles were released, the most popular being “Ain’t No Nigga” and “Can’t Knock the Hustle”. Both reached the top 40 in the United Kingdom, but were less popular in the United States; the former reached #50 on the BillboardHot 100, while the latter reached #73.

Reasonable Doubt received strong critical reviews and has been heralded as Jay’s “crowning achievement”, a seminal work, and an “undisputed classic”. The Source ranks it among the Top 100 albums of All Time, Blender ranks it as one of the 500 Best Albums of All Time, and Rolling Stone ranks it at 248 on their “500 Greatest Albums of All Time”.

(in my iTunes)

Can’t Knock the Hustle — 3.5 / 5.0
Politics as Usual — 4.5 / 5.0
Brooklyn’s Finest (feat. Notorious B.I.G.) — 4.0 / 5.0
Dead Presidents II — 4.5 / 5.0
Feelin’ It (feat. Mecca) — 4.0 / 5.0
D’Evils — 4.5 / 5.0
22 Two’s — 3.5 / 5.0
Can I Live — 3.5 / 5.0
Ain’t No Nigga (feat. Foxy Brown) — 3.0 / 5.0
Friend or Foe — 4.0 / 5.0
Coming of Age (feat. Memphis Bleek) — 3.5 / 5.0
Cashmere Thoughts — 3.5 / 5.0
Bring it On (feat. Big Jaz & Sauce Money) — 3.0 / 5.0
Regrets — 3.5 / 5.0
Can I Live II (feat. Memphis Bleek) — 3.5 / 5.0

Album Rating:
Allmusic — 5.0 / 5.0
Rolling Stone — 5.0 / 5.0
chrispazen — 5.0 / 5.0
…

arguably the greatest solo rap debut ever (more tracks than Illmatic, and more even-handed than Ready to Die), this should probably be mentioned in the discussion for greatest debuts by a solo artist in any genre (Amazon lists it as #11 on its list of Top 100 Debut Albums, behind only Miles Davis and Bob Dylan in terms of solo artists).  Looking back at Jay’s career/discography, it’s amazing how well-written and well-produced this album was.  It’s hard to pick my favorite track (probably ‘Politics as Usual’), but it’s also hard to pick my least favorite track, which I think speaks to the overall steadiness of a really solid album.  It’s a ‘pick ‘em’ between this and The Blueprint as Jay’s best, but either way, it’s pretty obvious why the Source famously had to go back and correct their mistake, giving this album a ‘classic 5 mics’.

The Ruler’s Back — 11 Days of Jay

in anticipation of Jay-Z’s ‘Blueprint 3’, I’ve decided to go back and revisit each of his first ten albums — one per day — leading up to BP3’s release (and my would-be attendance of his benefit show at Madison Square Garden) on 9/11.

I plan to post a little bit on each one as I go (including updated iTunes ratings) and I’m open to discuss each album with anyone via email/disqus on its day. (which I’m hoping will work out better than Mr. Show’s “Pre-Taped Call-In Show”)

the schedule is as follows

9/1 — Reasonable Doubt

9/2 — In My Lifetime, Vol. 1

9/3 — Vol. 2 … Hard Knock Life

9/4 — Vol. 3 … The Life and Times of S. Carter

9/5 — Dynasty: Roc La Familia

9/6 — The Blueprint

9/7 — The Blueprint 2: The Gift and the Curse

9/8 — The Black Album

9/9 — Kingdom Come

9/10 — American Gangster

9/11 — The Blueprint 3

(and if for some reason I don’t follow through on it, I reserve the right to collapse this post inward upon itself, and ask that you all pretend this never happened)