unnamed

Snoop Dogg Relaunches Doggystyle Records With New Artist, Clay James

Doggstyle Records is alive and kickin' again!

Rising Atlanta rap artist Clay James was recently signed to Snoop Dogg’s relaunched Doggystyle Records. The Doggfather’s longtime imprint is back to churning out new albums after some time in hiatus.

James elaborateed on how he managed to link up with the West Coast pioneer at the South By Southwest (SXSW) music festival.

"It's actually a dope story about how I got brought under the "DoggyStyle Records" umbrella. At the SXSW I performed on the "Black Auerbach & Friends" stage," says James. "When I came off stage I was greeted by Yung Zeke, JU, and Young Hunnid of the Dawg Crew Entertainment collective. They liked my performance and formed an organic relationship with me."

According to the Georgia native, they managed to remain in touch after the world famous music festival and he was eventually brought to the attention of Doggystyle Records A&R, Pocket Norwood.

“Pocket asked me to send some music to him, and he played it for Snoop Dogg. Now here we are,” said James.

Although he was born in Atlanta, Clay was a resident in Savannah, Ga. for some time until he moved back to the A for his music career to flourish. In honor of his new deal, the buzzing artist recently released a slapper dubbed “Southern Playa S**t” -- featuring Messiah Da Rapper, which is now available on iTunes.

From the Web

More on Vibe

Leon Bennett

Ranking The Game's Discography

Most likely, the first time you saw Jayceon Taylor was in the background of 50 Cent’s “In The Club” video. It was a nondescript cameo for a future platinum superstar. If you’re an avid follower of the game show Change of Heart, you may have seen him there on the wrong side of a change of heart. Even with that prior knowledge of his existence, when he officially arrived as The Game it was a refreshing and earth-shattering revelation.

As the West Coast representative of 50’s G-Unit, Game leaned into that personal, never failing to let the listeners know where he was from or what he had done. Raised in Compton by parents who were members of the Crips, Game gravitated towards the Bloods thanks to the influence of his older brother. After giving basketball a try, Game dove into the streets and when he was shot in 2001 it was a turning point in his life.

After a three-day long coma, Game decided rap would be his path and spent months studying some of the greatest albums of all-time. What emerged from all of that was one of the most talented rappers of his generation, with a propensity for paying homage to his rap peers via name-dropping. Game also boasts one of the greatest ears for production ever, making every time out a pristine listening experience.

With a debut album that sold over five million copies worldwide, Game was a superstar from the gate and has spent the rest of his career trying to live up to those lofty standards he set back in 2005.  This past Thanksgiving weekend, on his 40th birthday, The Game released Born 2 Rap, what he has said will be his final album. So how will his career be remembered? Was The Documentary his best album, or are there others in his catalog that can compete? Here are all of The Game’s nine studio albums (including a sequel and a sequel of that sequel), ranked.

9. The R.E.D. Album

Released in 2011, The Red Album very much represents the mid-career slog many legends suffer through as the years grow longer. Then a greybeard in the game, something he once scoffed at, Game relied on far too many tropes and familiar sounds rather than forge his own new identity within his own framework. On one track, he’s trying to out crazy a demonic Tyler, The Creator, on another he’s predictably wooing the fairer sex with Wale. It makes the album feel generic for long stretches, in a coaction where you can see the seams and threads of the tapestry.  Rather than creating his own new album, The Red Album feels like Game took leftovers off the cutting room floor from other superstars and tacked on his own verses to retain ownership.

That’s not to say the album is a waste entirely. This is the only place where you can get Rick Ross and Beanie Sigel on the same track, rampaging through a brooding Streetrunner production with a cascade boss talk and war-ready rhymes. Game also famously spends nearly six minutes trading bars with a motivated Kendrick Lamar on “The City.” Game menaces his way through the haunting Cool & Dre production, perfectly settling the table for K. Dot’s closing acapella verse.

Later, Game would say the album was created in a time where he “was kind of lost in trying to re-find the love for hip-hop." That explains the uneven outing, but when a career is as long and storied as Game’s there are bound to be a few misses.

8. LAX

The critical reception to Game’s third album haunted him so much he decided to rap about it on his next album. Admitting you’re “stressed the fuck out” about the lukewarm reception of an album is basically an admission of guilt, and he’d be right to feel that way because that’s about exactly what LAX was.

There’s really nowhere else to go but down when you open your career up with a classic and a possible, so some slippage was to be expected from Game. What fans got with LAX was a little bit more than that, though, as he just never seemed to get his footing right.

The album is a lethargic, by the numbers affair. The plan was obvious, as Game went after radio-friendly production with guest appearances to boost the appeal. Keyshia Cole pops up for a song that screams “summer time in Los Angeles” in the laziest way possible. Ne-Yo is there for what is supposed to be a flirtatious ode to women and ends up being a clumsy proposition for threesomes instead.

That’s not to say the album is a failure entirely. On “Angel,”  Kanye West provides a production that sounds like a sunny day in 1980s LA in a lowrider as palm trees sway above you. That just makes it easy for Game and Common to float all over beat and churn out an earworm worthy of repeated listens.

Then, of course, the album is bookended by a soulful Hi-Tek instrumental that Game and Nas rip to shreds for nearly six minutes on  “Letter To The King.” In one fell swoop they give LAX its lasting highlight, one of the greatest songs in Game’s career, and annoy by teasing what a focused Game could have provided here. Poignant commentary on race relations on top of a powerful production from a legend? Imagine if Game focused and knocked out 10 of these.

7. 1992

There’s nothing inherently wrong with 1992. It’s a fine album, ripe with decent production and a neat concept that Game relishes in. Nostalgia and retrospection has become his brand over the years, so really hammering it down with an album full of those two ideas only make sense. It starts with a classic Marvin Gaye flip, and includes nods, homages and outright remakes of classics from Ice-T, D.O.C., Wu-Tang, Ice Cube, Grandmaster Flash and the Furious Five and more. It’s fine.

The problem is, we’ve heard this all before, both figuratively and literally. Game’s album immediately preceding this thrived within this sphere, giving new takes on familiar sounds. Here, instead, he’s just recycling them and rapping over things we’ve heard already, years and decades ago.

He’s still telling us he went 5x platinum on his first album. He’s still telling us about his relationship, or lack thereof, with Dr. Dre. He’s still telling us about Biggie and Pac influencing him. Wash. Rinse. Repeat.

If anything, it’s a testament to Game’s talent that he can make this a listenable and enjoyable experience after a decade in the industry. In fact, “All Eyez” became a modest hit thanks to a seductive chorus from Jeremih and tons of wit from Game to turn what could have been a flop into a bouncy little bop. The album’s highlight is “The Juice,” another jog down memory lane for Game with Lorine Chia adding haunting vocals between Game’s musings about his life and career highlights.

6. Jesus Piece

After two lackluster outings in a row, The Game came back with a vengeance in 2012, reestablishing himself as one of the most respected emcees in all of hip-hop. Per usual, he did so with a ton of friends along for the ride, but unlike the past few years preceding Jesus Piece, Game had a renewed vigor and focus that made it so those guests didn’t overwhelm or outperform his own effort.

The lead single alone features superstars  Lil Wayne, Chris Brown, Tyga and Wiz Khalifa, making “Celebration” another modest hit for Game. But contributions from the likes of Rick Ross, 2 Chainz, Kanye West, Common, J. Cole, Pusha T and of course Kendrick Lamar that make the album an impressive and lasting piece of work.

Armed with a biblical theme to keep him focused, Game seems at ease as he rides every beat he’s provided effortlessly. It could be that’s what he has always needed to reach his peak, focus and motivation to hone in on one particular idea or concept for direction. The theme here gives him framework to work within, and even when he strays away to touch on other topics he deems worthy of commentary, he makes sure he doesn’t stray too far and betray the rest of the album.

The album starts as aggressively as possible, with Game throwing his weight around on “Scared Now,” with Meek Mill before the energy reaches a triumphant high on “Ali Bomaye” with the aforementioned Ross and 2 Chainz. It never really dies down from there either, only taking brief breaks before shifting right back in fifth gear.

“All That (Lady)" is a welcome reprieve, featuring a flip of "Lady" by D'Angelo as Game, Big Sean, Wayne, Jeremih and Fabolous all take their favorite women on massive shopping sprees.

The album represented a return to form for the Compton legend, but was just the beginning of a massive resurgent run a full decade into his career.

5. Born 2 Rap

Retirements in rap are usually about as temporary as one of those tattoos out of a vending machine, but Game swears his retirement is legit. If so, Born 2 Rap would be his swan song, a massive but enjoyable mix of old and new all in a tightly wound, kind of contradictory and bipolar package. It’s The Game in a nutshell, mostly for the better and certainly on his own terms.

On this 25-track opus, Game seems to empty his coffers, relying on the mind’s nostalgia and reverence for hip-hop classics from all over the map as a sweetener for the dish he’s serving. That may not be new, as Game seems to enjoy giving listeners the rap version of Tory Lanez’s Chixtape series, what is refreshing is just how deep he dug on this album. While he has mostly wallowed in the shallowest and most cliché waters possible, here Game gets more introspective than ever before, recalling his struggles within the industry, battles with his brother, fear over death, his insecurities and so much more.

Yes, there are name drops, Jay-Z, 50 Cent and Dr. Dre references and tons of California clichés, but more than anything Game reminds us he’s possibly the biggest hip-hop fanboy there ever was. Whether he’s shouting all those greats out, or giving his own take on their records – there’s even an impressive take on Nas’ mind-bending classic “Rewind” – his only doing so as a fan who is just happy to be mentioned on the same breath as them.

But Game truly does sound like a man at peace with his place amongst the greats that came before him and will come after him. “I been rappin' at this level for like 15 years,” he says almost modestly on “One Life.” But that’s after he let it be known “Last 15 years of my life, I cut any hip-hop nigga fuckin' throat with this mic,” earlier on “The Light.” It’s only he spits out one thought, in two separate ways, and it’s effective each time. It gets no more Jayceon Taylor than that.

4. The Documentary 2 

After nearly three years away from the industry, The Game returned refreshed and obviously motivated in 2015 with the sequel to his revered debut album. Like most Game albums, The Documentary 2 was loaded with guest appearances, as everybody from Diddy to Ice Cube and many, many more pop up throughout.

When Game struggled through a mid-career rut, it was due to him stuffing several albums full of lazy rehashes and generic attempts to recreate other rapper’s styles. On D2, he added a twist, instilling more of his own rambunctious energy on top of flips of classics we’d all come to know and love. This allowed him to still pay homage like he loves to do, but at least made it refreshing and new this time around.

Take, for instance, the album’s opener “On Me,” a flip of Erykah Badu’s “On and On” featuring Kendrick Lamar. Here, he gracefully approaches the tranquil Pops production, until later he decides to speed up the flow and rumble through the finish line with a riveting third verse.

The second half of the album is buoyed by two superstar guest appearances that Game expertly navigates, giving them room to operate while refusing to be overwhelmed by the presence. On “Dedicated” Future sets the table for Game with an anguished chorus and verse that feels straight out of his Hndrxx album two years in the future. Game takes the baton and dishes out his own bit of impassioned scorn over everything from a custody battle to the prices of purses.

Eventually Game does what just about everybody has done this decade when it comes album time: lean on Drake. But he may have done it the best. On “100,” Game gets the best of both worlds as The 6 God gifts him with a memorable hook along with a lengthy and somber verse that helped Game own a chunk of the summer in 2015.  It all leads to Game’s best outing and years, plus a sense of renewed confidence in his ability from his fans, and rightfully so.

3. Doctor's Advocate

By the time Game was set to release his sophomore album he was a superstar in turmoil. Yes, he’d had one of the biggest years of any rapper in 2005, but it was time for him to follow that up and this time he’d have to do it without two of the biggest weapons in his arsenal. Gone were 50 Cent and Dr. Dre, the results of infighting that left Game on the outside looking in, jettisoned from G-Unit and Dre’s Aftermath Records. He landed on Interscope subsidiary Geffen, taking matters into his own hands and nearly surpassing his stellar debut album – a feat that virtually none of other Dr. Dre’s collaborators have been able to do after parting ways from him.

This time around, Game leaned heavily on traditional West Coast sounds thanks to a who’s who of producers like Kanye West, Just Blaze, Swizz Beatz, Hi-Tek and more. Lyrically, Game practically screams Los Angeles on every song, beating you over the head with West Coast staples like ’64 Impalas, Chuck Taylors, Bloods and Crips. On the aptly-titled “Compton,” he even screams it over and over: “I’m from Compton.” The album almost feels like a throwback to early Dr. Dre, making it a minor miracle that Dre doesn’t lend any production or insight to the project.

There were a few moments when Icarus flew a little too close to the sun, though, most notably the album’s lazy second single “Let’s Ride.” The formulaic, clear radio reach was produced by former Dre protégé Scott Storch, and featured Game name-dropping Dre and mimicking his invoice to the point you’d be remiss if you thought it was Dre himself singing the chorus. But that’s not nearly enough to derail this worthy follow up to a classic, where Game steps out onto his own and creates his own space within the hip-hop universe, even if begrudgingly.

2. The Documentary 2.5

Released just a week after The Documentary 2, this outing was instantly hailed as the better of the two. While the original seemed to focus on new takes on familiar sounds, on 2.5 Game chose to create something wholly new. He sounds rejuvenated, finding new ways to attack within his trademark framework. Yes, Dr. Dre is mentioned often, as are many other rappers, but Game feels refreshed, motivated and like a man with a lot to get off his chest.

On “The Ghetto” he exchanges verses with Nas twice, with will.i.am there to organize all of the madness and bridge each verse with a vocoder to amplify his agony. It’s an example of the vastness of the album, wherein Game lands in so many boxes effortlessly, it’s a wonder he can pull them all off. On each song he seems to leap into another world, roam around it like it was his own before leaving abruptly to join another superstar in their own world seconds later.

After “The Ghetto,” is an especially pained outing with Lil Wayne titled “From Adam,” where he seems to sob through his first verse as he eulogizes fallen friends. A few songs later Scarface shows up to heartbreakingly pay tribute to 2 Pac. There are more jubilant moments throughout, but it’s when Game wallows in misery and terrifying bouts of anger where the album really shines. Whether he’s menacingly waving his red flag around with a laundry list of Los Angeles emcees on “My Flag/The Homies,” or he’s more remorseful for the same thing on “Gang Bang Anyway” alongside Schoolboy Q and Jay Rock, Game knocks it out of the park.

There’s no single chasing or pandering for multiple audiences here, just The Game in an unrelenting onslaught for nearly 20 tracks for his best outing in over a decade.

1. The Documentary

As the years have gone by, there has been some debate about just where The Game’s debut stands historically, and what its exact classification should be. If you need any extra confirmation of its status as a capital C Classic, look no further than the album’s first five songs. In that initial burst of songs, the listener is treated to three Dr. Dre productions, a Kanye West classic and a smooth Cool & Dre instrumental with some touch ups from Dr. Dre. Amongst those is two Top 5 hits, and another Top 40 banger, making The Documentary’s opening third one of the most iconic openings to a career ever.

The 50 Cent influence is apparent, not only in the arrangements within the tracks or the sing-songy nature of the choruses, but with his actual presence as well. The G-Unit boss makes appearances on massive hits “Hate It Or Love It” and “How We Do” as well as the album’s opener “Westside Story.” Though both artists have debated just how much work he did on the album and each specific song, 50 sings the chorus on each record, handing Game the palette he’d used to become the biggest artist in the world over the preceding two years.

But it was up to Game to take that recipe and run with it, and he did, taking it further than any of his other G-Unit cohorts. On The Documentary, his rap style is straightforward, foregoing any lyrical gymnastics in lieu of passionate recollections of his past, boastful quips about his present and the hopeful extrapolations for his future.

Game invites a slew of guests onto the album, including bucket list additions like Eminem, Mary J. Blige and Busta Rhymes, holding his own next to all of them. As the album progresses and he gets further from 50’s tutelage, Game gradually carves out his own sonic identity.

It’s abundantly clear that while his background haunts him and has shaped Jayceon Taylor before his rap career, The Game is little more than a student of hip-hop with a thirst to pay homage at every turn. On The Documentary, he wanted to prove that he’d furiously studied for this very test, as he looked to ace it on his very first attempt. He did that, earning the classic and respect from his peers he’d so desired, and kicking off a career that spans decades and eras.

Continue Reading

Video Premiere: Steff Reed Takes A "Stand" In Self-Awareness And Strength In Unity

Some artists have to announce that they are artists, be they music or visual art producers. But that wasn't the case when Steff Reed visited our office in June of 2018. He and his rapping homie Dupree G.O.D (formerly known as Word Spit of America's Got Talent success fame) come through our doors looking like the stars they are. Both did an incredible live performance of Dupree's newest song at the time, "Take Me Away," acoustic style. With Dupree on the vicious vocals and Reed on the guitar, the pair gave us an energetic but soulful performance.

Fast forward to now, and Steff Reed is releasing his newest video for the song, "Stand" off his The Power of Love Experience EP. Being one to have worked with the best in the music biz, Reed has songwriting and production credits with Swizz Beatz, Jhene Aiko and so many more that have shaped his acute style of free spirit and socially ground sounds.

"Stand inspired me to express resistance in a very symbolic way," says Reed. "I wanted to show that even though we all have our own personal battles we are stronger when we are united and we should fight in the war together." Strong words from a gentle and loving soul. Watch the video, then listen to the EP below.

Continue Reading
Theo Wargo

Jay-Z's 50 Most Underrated Songs

The following sentence is guaranteed to make you feel old: Jay-Z turns 50 on Wednesday, December 4, 2019.

Arguably the most celebrated hip-hop artist of all-time, Shawn Corey Carter, has lived multiple lifetimes as he comes to the halftime of life. He’s been a street hustler, a misogynistic, materialism fueled lyrical mastermind, a real musician, a successful businessman, a husband, a father, and a teacher. Looking back on a musical catalog that spans some 25 plus years, there's a substantial amount of standouts, from “Takeover” to “Hard Knock Life” to more recent triumphs like “Family Feud.” What about the tracks that fell through the cracks? The ones that had momentary flashes of adoration but have faded as the years have gone by? Here is a definitive list of Jay-Z’s 50 most underrated songs.

--

“Lucky Me” – In My Lifetime Vol. 1 (1997)

Arguably Jay-Z's most underrated song, "Lucky Me" is less about the sonic soundscape and more about the lyrics, which may be Jay's most introspective on wax, rivaling even that found on the profoundly personal “4:44.” The song sees Jay reflecting on the perils of fame and the legacy he wants to leave behind:

"And ain't nothing changed so even in my afterlife I show it up/Don't grieve for me, my art remains/Like a dart from the speaker to your heart/Spiritually through the portal now my words is immortal"

The song is easily missed on the flashy and braggadocio filled '...Vol. 1’, but it's one of Jay's most notable songs and timeless in its content around the trappings of fame and what it truly means to be Hov.

“Dopeman” – Volume 3...Life and Times of S. Carter (1999)

Playing out like a movie on record, the Digga-produced "Dopeman" is underrated in more than one sense. The tension-filled, anthemic production provides a canvas for Jay to testify in a mock trial as the state brings charges against Jay's "criminal enterprise" known as Roc-A-Fella Records. The songs second verse is a time capsule looking back at late 90s hip-hop and the music business that was:

"Your distribution's Polygram, and through your connects/Def Jam, you pushed over five million SoundScan/And not to mention, your cohorts and henchmen/Dame, Biggs, Lyor, Kev and Russell Simmons/And we ain't gon' talk about Murder Inc./that just establishes a deeper, darker criminal link."

Storytelling in rap isn't a lost art per se, but storytelling that puts the listener in the courtroom and builds suspense throughout the song is rare, and "Dopeman" is one of hip-hop’s best examples of storytelling as a part of the art form.

“Young, Black & Gifted Freestyle" – S. Carter Collection (2003)

Appearing on Jay-Z's only official mixtape (don't we wish now that Hov was more prolific in the mixtape game?), "Young, Gifted & Black" features one of Jay's most fluid flows as Jay goes in over Big Daddy Kane's "Young, Black and Gifted" instrumental, originally produced by Marley Marl.

Some of the freestyles most memorable bars include:

"I'm America's worst nightmare/I'm young, black, and holdin' my nuts like "Geah!"/Y'all was in the pub, havin' a light beer, I was at the club, havin' a fight there"

"Downloadin' all our music on ya iPods there/I'm Chuck D, standin' in the crosshairs here"

“Caught Their Eyes” Feat. Frank Ocean – 4:44 (2017)

As anticipation built for the release of Jay's 4:44 album and guests and rumors began to swirl, fans locked in on "Caught Their Eyes" with Frank Ocean. The song doesn't immediately stand out as one of 4:44's most lyrically dense; however, the No I.D.-produced track expertly sampling Nina Simone's "Baltimore" is hypnotizing to the ear. And this isn't to say that it doesn't deliver lyrically either. Jay's 2nd verse is a glimpse into the music business, and Hov's relationship with the late Prince as Jay doesn't shy away from calling out those who he believes profited from the singer's death:

"Now, Londell McMillan, he must be color blind/They only see green from them purple eyes" "You greedy bastards sold tickets to walk through his houseI'm surprised you ain't auction off the casket"

“Cashmere Thoughts” – Reasonable Doubt (1996)

In a 2011 interview with Complex, “Cashmere Thoughts” producer Clark Kent said the song was a joke of sorts with him and Jay talking pimp sh*t back and forth at the beginning. But the song is anything but a laugh as the song sees Jay pre-super stardom spitting pure pimped out, braggadocio lyrics saying his words are “worth a million” like he was spitting them through platinum teeth. Clark Kent’s production on “Cashmere…” is wildly underrated as he beautifully spins Hamilton Bohannon’s “Save Their Souls” into a groovy street soundscape for Jay to talk his sh*t.

“I Know What Girls Like” Feat. Puff Daddy and Lil’ Kim – In My Lifetime, Vol. 1 (1997)

“I Know What Girls Like” isn’t a great song, but time has rendered the jiggy-era track from “In My Lifetime Vol. 1” more impressive. Save for the stomach-turning chorus, verses from Lil’ Kim and Jay-Z are everything late 90s hip-hop was: flashy, filled with innuendo, and hosting enough brand name drops that pretty much every listener felt poor as hell listening to the song.

“Safety deposit in the walk-in closet/Marble faucets and matching Rolls Royces” spits Lil’ Kim in a time in Hip-Hop when Bad Boy and ‘The Roc’ ruled the world.

“If I Should Die” (Feat. Da Ranjahz) – Vol.2...Hard Knock Life (1998)

Roc-A-Fella artists before there was actually a Roc-A-Fella, Wais and Haph AKA Da Ranjahz appear on the Swizz Beatz-produced “If I Should Die” off Jay’s breakthrough album Vol. 2...Hard Knock Life. Beat wise it’s a time capsule to Swizzy’s stutter-step, spastic production, and what makes the song underrated isn’t so much Swizz or Jay but rather some underappreciated verses by the aforementioned Wais and Haph. Haph (or Half Dead as he was known then) especially comes through with some vicious, vivid bars to finish off the song:

“I'll be down in hell scorchin' preparin' for life/Afterlife still torchin' and blazin' these mics/It'd rain for 40 days and 40 nights/And I'd return on the 3rd like Christ/(Without my physical portion)/My spirit a poltergeist for sureI'll be back through the Heights tomorrow/Blood over y'all fake ni**as door”

“Snoopy Track” (Feat. Juvenile) – Volume 3...Life and Times of S. Carter

Sounding like an engine revving at the starting gates of the Indy 500, the Timbaland-produced “Snoopy Track” off Jay’s Vol. 3 released in December 1999 is an impressive coming together of Hov’s growing NYC rap domination, and Juvenile’s Cash Money bred southern slick talk. It would be easy to make the argument for “Snoopy Track” being of Jay’s top three most underrated songs if it weren’t for what is ultimately hollow lyrical content, but pure uncut dope nonetheless. Juvenile assists on the song's hook while Hov tells tales of “Spanish cats with the keys of coca” and liking women with Gucci shoes and “new coochie.”

“There’s Been A Murder”– Volume 3...Life and Times of S. Carter (1999)

If you've forgotten this gem from 'Vol. 3…", one only needs to go back and look at the lyrics of this hidden masterpiece which reads like the script for the yet-to-be-produced Jay-Z biopic:

"Follow the life of this reckless minor/At sixteen in the 600, unlicensed driver/Playin', cops and robbers, like shots can't stop us/Flippin' a bird to the choppers (f**k you coppers!)"

The song gets its charge from the Alana Davis-sampled chorus with the aching refrain of "think there's been a murder…" Lost in the tales of drugs, gun, murder, and hustling is the fact that the song is the first time Hov "killed Jay-Z" with the 2nd being on "Kill Jay-Z" off his 4:44 album.

“Soon You’ll Understand”– The Dynasty: Roc La Familia (2000)

Relationships are complicated, and Jay-Z attacked them head-on with "Soon You'll Understand," one of the few solo tracks on Jay's should-have-been-a-compilation 'The Dynasty…' album. Rumors suggest the song is about model Shenelle Scott, a model who Hov was once rumored to have a child with. Song's intended target aside, the haunting Just Blaze production allows Jay to paint pictures of relationships lost amidst guiding exes in his black book:

"But still when your boyfriend ditched you, life's a bi**h you cried/Over my right shoulder, I told you to wipe your eyes/Take your time when you liking a guy/'Cause if he sense that your feelings too intense, his pimp'll die"

“Girls, Girls, Girls Part 2” – The Blueprint (2001)

A hidden treasure for Hip-Hop purists, Jay-Z’s “secret” track from his hip-hop classic The Blueprint album is a chest of historical music facts. Most people know about the uncredited Michael Jackson background vocals. The song is also one of Kanye’s first beats for Hov and along with MJ, features background vocals from Chante Moore. Pt. 2 brings substantially more soul than its album single counterpart “Girls, Girls, Girls,” thanks to a smooth Persuaders sample of their song “Trying Girls Out”.

Where the original “Girls, Girls, Girls” was more accessible for the masses, “Pt. 2” is dripping with soul and brings a stronger lyrical performance from Jigga:

“I'm lookin' for a Southern girl that cook like Patti LaBelle/Big ghetto booty, scarf over her doobie/Chanel under the Louis, Gucci over her booty”

“Bi**hes & Sisters” – The Blueprint 2: The Gift and the Curse (2002)

“ Sisters work hard, b**ches work your nerves” said Hov on his criminally unnoticed “B**ches & Sisters” bonus track from his bloated The Blueprint 2… album (but hey, “mid” for Hov is the peak for many). Sampling N.W.A.’s classic “A B**ch Iz A B**ch” and Kim Weston’s 70s cut “When Something is Wrong with My Baby,” the song sees Jay breaking down the differences between “b**ches” and “sisters.” Some examples? “Sisters tell the truth, b**ches tell lies,” “Sisters do it slow, b**ches do it fast”...you get the point. For his part, Just Blaze gives Jay a horn-fueled banger to spit game on what could be considered one of the Roc-A-Fella honcho’s last overtly misogynistic songs.

“Guns & Roses” Feat. Lenny Kravitz –The Blueprint 2: The Gift and the Curse (2002)

It’s not everyday Lenny Kravtiz guests on a Hip-Hop track. The forgotten banger from Jay-Z’s only truly average album ‘The Blueprint 2…’ is chock-full of interesting facts that make this one a must revisit track from Hov’s catalog. First off, the song samples Cake’s “Arco Arena.” What makes the Cake sample even more impressive is it was crafted into the song’s track by the late hip-hop pioneer Heavy D. In one of his last interviews in 2011, Heavy D told Tim Westwood that he played the track for Jay-Z in Los Angeles as they drove around. Jay crafted the lyrics in his head. Little known fact: Hov and Lenny performed the song on Saturday Night Live in 2002.

“Meet the Parents” – The Blueprint 2: The Gift and the Curse (2002)

Because of the mixed reaction to its initial release, not much credit is given to Jay-Z's The Blueprint 2… album. Not only did it follow up one of the essential albums in music's history with The Blueprint, but the collection was bloated with substantial filler. That being said, it's time to give Hov and Just Blaze their flowers for some of what they did on the project. Case in point: "Meet the Parents." Just Blaze's synthy, gloomy backdrop was the perfect track for Hov to speak on the perils of street life and telling a story with the ultimate lesson of being there for your children. One of the song's more emotional moments is Hov's nod to the passed on B.I.G. and Aaliyah:

"So, give Big a hug, tell Aaliyah I said hi/Till the next time I see her, on the other side"

“Do U Wanna Ride” Feat. John Legend – Kingdom Come (2006)

As the story has been told, Jay-Z's close friend Emory "Vegas" Jones was sentenced to 16 years in prison, missing Jay's meteoric rise to the top of the entertainment world. But like a good friend, Jay never abandoned Emory, ultimately helping secure his early release with a job offer at Rocawear. Now a successful executive at Roc Nation and entrepreneur with his  ‘Bet on Yourself' Puma collaboration, Emory has turned his life around.

It wasn't always this good, however, and Jay's Do U Wanna Ride from his Kingdom Come album was a letter to his incarcerated friend, even beginning with a recording of a call Emory made to Jay while locked up. The song was said to have been critical in keeping Emory's spirits up while serving his sentence. As Hov says on the song, any time Emory called him while inside he just wanted to hear Jay "talk fly" and Hov does just that on the song's 2nd verse:

"International Hov, I told you so/ 40/40s out in Tokyo/ Singapore, all this from singing songs"

“30 Something” – Kingdom Come (2006)

Getting older is unavoidable, but aging gracefully is within your hands. Jay-Z's 2006 track "30 Something" aimed to shine a light on aging Hip-Hop fans, including Hov himself. The song set out to teach Jay's aging audience how he has managed to transition gracefully into adulthood. Think of it as a precursor to Jay telling fans about the artwork he bought for one million with early investment advice around stocks and clubs:

"I don't got the bright watch, I got the right watch / I don't buy out the bar, I bought the nightspot/I got the right stock"

Dr. Dre mans the boards and while Dre's production on "30 Something" won't have anyone confusing it with "Still Dre," it's reliable and shines on the song's remix with Ice Cube and Andre 3000.

“People Talkin'” – MTV Unplugged (2001)

After making history with his MTV Unplugged live album backed by The Roots playing his hits, Jay-Z placed this gem as a hidden track at the end. Armed with a beautiful sample flipped by frequent collaborator Ski Beatz, Hov celebrates his rarity and his excellence in hip-hop through that point of his career. "Damnit man, this is a gift from God," he insists. Amen.

“Heaven” – Magna Carta Holy Grail (2013)

When people list Jay-Z's "hardest" songs, it's unlikely they reference the Timbaland, The-Dream, and J-Roc produced "Heaven" from 2013's often panned Magna Carta Holy Grail album. But when Jay spits "arm, leg, leg, head - this is God body" with ferocity, Hov launches into an examination of religion, life, and death that can only be described as one of Jay's more underappreciated songs. Hov even tackles the Illuminati rumors head-on providing a believable explanation: "Conspiracy theorist screaming Illuminati/They can't believe this much skill is in the human body."

Fun fact: The song was supposed to feature Ghostface Killah and Raekwon.

“Somewhereinamerica” – Magna Carta Holy Grail (2013)

"Somewhereinamerica" should be remembered as one of Jay-Z's most poignant on racism and the state of race relations in America. Unfortunately, it's more often remembered for the line "Cause somewhere in America/Miley Cyrus is still twerkin'" which was followed up by a Miley tweet and subsequent Hov acknowledgment.

Hov seemingly brushed off the line as a slight at Miley but looking at the context of the song's lyrics, it's obvious it's a sharp commentary on not only white appropriation of black culture but the out front racism of new America: "New money, they looking down on me."

“This Life Forever” – Jay-Z: The Hits Collection, Volume One (2010)

For the Jay-Z purists, "This Life Forever" is about as pure as it gets for a song that didn't appear on 'Reasonable Doubt.' The underrated street hustler's tale appears on the 1999 soundtrack for the unreleased film Black Gangster based on the 1972 novel by Donald Goines. Much of the credit for the purity of "This Life Forever" goes to Queens producer Ty Fyffe whose hard drums give Hov the canvas to spit lyrics like: "I'm the truest ni**a to do this, ni**a, and anything else is foolish/Like those who stay high, under God's grey skies/My lyrics is like Bible, made to save lives"

And when Jay says, "All day, socks explode and sweatpants pockets is bulging" you can see a young Shawn Carter on the corner moving his work while dreaming of what could be.

“Imaginary Players” – Reasonable Doubt (1996)

The Prestige produced “Imaginary Players” could have easily found itself on The Blueprint. The Rene & Angela-sampled track is dripping with soul as Hov speaks on his pre-and post-rap riches and his love of finer things. It’s interesting to look back and see the brands name-checked by Hov back in the late 90s - Cartier, Versace, Hummer, and Rolex. “Imaginary Players” is really that “down south Master P, bout it, bout it” sh*t as the listener rides shotgun with Hov early rap fame and seeing visions of what the future holds.

“Always Be My Sunshine” Feat. Foxy Brown & Babyface – In My Lifetime Vol. 1 (1997)

Wait, underrated? Wasn’t this is one of Jay-Z’s most successful songs? Not really. “Sunshine” peaked at #95 on the Hot 100 and #16 on the rap charts. And chart struggles aside, the song was the one in Jay’s career that seemingly everyone loves to hate, including former Roc-A-Fella executives. In an interview with the ItsTheReal podcast in 2017, Roc Nation’s Lenny S. said, “We were kinda digging out of a hole after “Sunshine,” and the video didn’t help…”

But is the hate warranted? Ring off “Sunshine” at any party and no one is going to tell you to turn it off. The Prestige-produced track samples MC Lyte, Alexander O' Neal, Kraftwerk, and The Fearless Four providing a sugary canvas for Jay and Foxy Brown to trade playful lyrics while Babyface lends his vocals to the song’s hook. No, “Sunshine” is not Blueprint quality Hov, but it is one of the jiggy era's more enjoyable guilty pleasures.

“Rock Star Freestyle" – S. Carter Collection (2003)

With a nod to Run-DMC’s “King of Rock” to kick off the freestyle, Jay’s destruction of N.E.R.D’s “Rockstar” beat off the ‘S. Carter Collection’ mixtape was the official signal to Jay’s “retirement” when the Roc head honcho rapped “Rap’s my hobby, spending money’s my job.”

Hov had reached such heights at the time of the freestyle that a comparison like “bigger than U.S. steel” (U.S. steel was at the time the 15th largest steel producer in the world) didn’t seem so far fetched. By no means Hov’s most magnificent set of bars but a forgotten moment off of Jay-Z’s only official mixtape.

“Glory” Feat. Blue Ivy

In the music blog era, the drop of “Glory,” Jay-Z’s tribute to the birth of his daughter, was a huge moment. At the time of its release, Rolling Stone called the record “rushed,” but a more accurate description of the song is “pure.” Featuring the first sounds of his newborn daughter, the Neptunes-produced track is one of Jay’s most-open lyrically on wax. The feelings of a new father seep through lines like “Your mama said that you danced for her/Did you wiggle your hands for her?” and deeply personal bars around previous miscarriages suffered by Jay and B. “False alarms and false starts/All made better by the sound of your heart.”

But it’s the song’s 2nd verse that genuinely cements this as one of Jay’s most underrated. Where the first verse sees Jay reflecting on his daughter’s birth, the second speaks to some of Jay’s trials growing up, including those with his father: “Your Grandpop died of ni**a failure/Then he died of liver failure/Deep down he was a good man.”

“The City is Mine” Feat. Blackstreet – In My Lifetime, Vol. 1

What makes “The City is Mine” notable is that it feels like New York City at night. When Jay says, “I snatch your girl if your arm ain't strong enough/plus y’all don't stay in the studio long enough” you can visualize the late-night NYC studio sessions followed by club nights into the wee hours of the morning in the early Roc days. The song, like much of the shots at Pop stardom on ‘...Vol. 1’ was a moderate success and sure, the Teddy Riley production and Blackstreet helmed chorus isn’t the hardest you’ll ever hear Hov coming. However, much like “Sunshine”, the song’s lyrics still hold to what made people fall in love with Jay-Z in the first place: clever wordplay, vivid lyrics, and a sense of motivation for the listener who saw the street hustler beginning to rise Rap’s ranks.

“Party Life” – American Gangster (2007)

Somewhere between underrated, despite overall incredible reviews, and misunderstood, you will find Jay-Z’s American Gangster album. A concept project inspired by the film of the same name starring Denzel Washington, the album was steeped in 70s soul and funk with Diddy and The Hitmen helming the boards for six of the album’s tracks.

“Party Life” isn’t one of the tracks that jump out immediately from the project, but it encapsulates the build of the project. Diddy and team more or less jacked Little Beaver’s “Get Into the Party Life” for the song which Jay-Z chews up and spits out, using a slower, almost Southern drawl flow with tales of parties, sex and enough classic gangster references to fill a novel:

“I make it look good to be this hood, Meyer Lansky/Mixed with Lucky Lefty, gangster effortlessly”

“Dear Summer” – Memphis Bleek: 534 (2003)

In 2005, two years had passed since Jay-Z released what many believed was his swan song with The Black Album. So that made "Dear Summer," his solo song on Memphis Bleek's album 534, particularly resonant when it dropped. Over a nostalgic production by Just Blaze, Hov writes a breakup letter to the summer, in homage of the way that he would drop a new record or start the album cycle during the summer of every year. Thankfully, he would return full force the following year with Kingdom Come, launching a new era of his already storied career.”

“Ignorant Sh*t” Feat. Beanie Sigel – American Gangster (2007)

Yes, Just Blaze killed "Ignorant Sh*t." Yes, both Jay-Z and Beanie Sigel skate on this track like they play for the New York Rangers. And yes, "Ignorant Sh*t" is underrated - underrated in the sense that it should forever be referenced for being one of Hov's brightest moments. Digging deeper into Jay's lyrics on the 'American Gangster' track, Hov gets in between the bars on this one:

"Then, actually, believe half of what you see / None of what you hear, even if it's spat by me / And with that said, I will kill ni**as dead"

It's like Jay pulled back the curtain on hip-hop the same way CM Punk pulled back the curtain on pro wrestling during his infamous pipe bomb promo, exposing the scripted nature of much of what you hear on a record.

"Oh My God" – Kingdom Come (2006)

With its hints of “U Don’t Know”-like rowdiness and ferociousness, but with a bit of a lighter feel, the Just Blaze-produced “Oh My God” is a standout from Hov’s Kingdom Come album. Just’s masterful sampling of “Whipping Post” (originally performed by The Allman Brothers Band) anchors the chorus screams of “good lord” as tension builds into each verse. The 3rd verse is the highlight with Hov recanting visits to Africa and having dinner with Italian designer Roberto Cavalli:

“I got crowned king down in Africa/Out in Nigeria, do you have any idea/Sold out shows out in Seoul, Korea/Jo'burg, Dublin, Tanzania/Lunch with Mandela, dinner with Cavalli”

“I Made It” – Kingdom Come (2006)

Never one to shy away from braggadocio bars, "I Made It" off Jay's Kingdom Come album is one of those rare moments where it's less about making a hit and more about therapy. The therapy, in this case, is what feels like Jay-Z finally exhaling the countless hours in the studio, trials and tribulations and trappings of success to proclaim that he had “made it.” The first two verses recap Jay's relationship with his mom Gloria Carter with the 3rd bringing the song to the present day, giving the listener a glimpse into Hov's current relationship with Mrs. Carter:

"CEO of Carter Foundation, wow! I know pop looking down/I know Colleek somewhere up in the clouds like/Go get 'em Grandma make me proud"

Colleek is the reference to Jay-Z's nephew who passed in a car accident in 2005. Jay references the incident on "Lost One", another standout from his Kingdom Come album:

"My nephew died in the car I bought / So I'm under the belief it's partly my fault"

“Bam” Feat. Damian Marley – 4:44 (2017)

4:44 is arguably Jay-Z’s latest hip-hop classic filled with painfully personal lyrics around infidelity, loss, and redemption. “Bam,” while one of the album’s more shallow moments (i.e. it doesn’t talk about family or cheating on Beyonce), the song is underrated for one primary reason. Where much of 4:44 is meant to make the listener think and look inwards at their own life, “Bam” serves one primary purpose: to show that Jay-Z can still get a listener amped and bang their head. – nothing more, nothing less. It sees Jay leaving the family talk alone and getting back to that Pyrex talk telling tales of stuffing a million in a sock drawer and having ARs before A&Rs.

“Anything” –  Beanie Sigel: The Truth (1999)

When Beanie Sigel dropped his Rocafella debut The Truth in 1999, label boss Jay-Z provided his client with an assist by placing the solo song "Anything" on the album. The song had similar vibes to "Hard Knock Life," the breakout single from his album Vol. 2...Hard Knock Life that dropped the year before: clunky drums, a sample of a child singing on the hook, and lyrics that reminisce on his time growing up in Brooklyn's Marcy Projects. The song also appeared on the European version of Vol. 3...Life And Times of S. Carter as a bonus track.

“Intro” ‘The Dynasty: Roc La Familia (1999)

A Jay-Z album intro track is always a thing of beauty. From the classic that is “Intro / A Million And One Questions / Rhyme No More” off Vol. 1 to “The Ruler’s Back” off The Blueprint, it’s always a guarantee that the opening darts on the board from Hova are sure to be fire. “Intro” off The Dynasty… album is one of Hov’s intro tracks that many people don’t immediately look at as a “go-to,” but once it’s played, memories of just how fire it is coming rushing back. If “Intro” was on The Blueprint or Vol. 1 or one of any other more memorable Jay albums, it would be a more recurring play. It isn’t a stretch to say that the production on this is some of Just Blaze’s most exceptional work ever.

Interesting fact: The singing in the sample that occurs every four bars was a mistake due to two separate loops playing at the same time. In the end, it’s one of the most memorable parts of the song and cements this as one of Jay’s underrated intros.

“100$ Bill” – Various Artists: Music From Baz Luhrmann's Film The Great Gatsby (2013)

Don’t feel too bad if your first response was, “what Jay-Z song is this?” Jay’s contribution to The Great Gatsby soundtrack didn’t exactly light the music world on fire, but it’s worth a revisit if for nothing the way Jay dissects the “roaring 20s” and compares it to modern-day. When Jay compares himself to Mark Twain as a writer or to Malcolm X as a revolutionary, it’s like Hov verifying his pages in music’s history book. Producer E*Vax gives Jay one of the more awkward, skittish beats of his career, which makes this one a little less pleasing to the ear but worth a revisit nonetheless.

“In My Lifetime” (Remix) – Various Artists: Streets is Watching (1998)

“In My Lifetime” (Remix) is 90s hip-hop encapsulated in 4 minutes and 37 seconds of pure bliss. Nothing but an incredible Jaz-O rework of the original track produced by Ski and a fresh-off-the-streets Jay-Z enjoying life “lettin the Cristal breathe at the Barnacle Bar.” The song continues the theme of early Jay-Z struggling with his past experiences with lines like “I’m a prisoner of my crimes.”

“A Week Ago” Feat. Too $hort – Vol 2 ... Hard Knock Life (1998)

MIA producer J Runnah helms the beat on Jay-Z and Too $hort's collaboration off Jay's Vol. 2… album. Fueled by a beat centered around 80s-like rock guitars and devastating piano keys, Hov and $hort tell the all too common street tale of a former partner snitching when the chips are down:

"I ran to the spy store to add some more features on my phone/To see if I had bugs and leeches on my phone/Can't be too safe, 'cause ni**as is two-faced"

The song is said to be directed at Jay-Z's former friend DeHaven Irby who Jay has accused of snitching on songs in the past.

“What We Talkin’ About” Feat. Luke Steele – The Blueprint 3 (2009)

“I ain't talkin' about gossip, I ain't talkin' about Game/I ain't talkin' about Jimmy, I ain't talkin' about Dame/I'm talkin' about real sh*t, them people playin'”

With those bars, Shawn Carter took yet another step in leaving the old Jay-Z behind. This underrated album cut from The Blueprint 3 features MGMT's Luke Steele on the song's hook. "What We Talkin' About" is Jay's shot at the critics and the fans for that matter, asking for the old Hov or wanting to know about perceived shots at the throne from other emcees. While the song isn't the pinnacle of Jay album intros, there are still some true lyrical gems to be found here, including Jay reminding people of his part in getting Barack Obama elected to office: "A small part of the reason the president is black."

“I Can’t Get Wid Dat” B-Side

The first comment under the YouTube video for Jay-Z’s “In My Lifetime” b-side is “I wanna see Jay z rapping like this in 2019.” And with good reason. “I Can’t Get Wid Dat” is a lesser-known Hov time capsule to his “wiggity wack,” Das-Efx like early 90s flow. The crazy thing about “old” Hov is that the vocal inflections and vibe have never been lost. In a way, this track from 1994 captures why Jay-Z is still at the top of the hip-hop world in going into 2020: presence, a raw but crisp delivery, and the ability to ride any track, including this Clark Kent banger, to critical acclaim and adoration.

“You Must Love Me” – In My Lifetime, Vol 1 (1998)

"You Must Love Me" type hip-hop music is unfortunately not made too often anymore. Sure, rappers make songs about life's trials, growing up in stressful situations and doing wrong to those close to them, but how authentic is it truly? "You Must Love Me," a Kelly Price-featured gem that gets somewhat lost in the "jigginess" of Hov's In My Lifetime..., feels real. It feels so real that the listener can envision Jay stealing from his mom's purse, shooting his brother, or having "girlfriends" smuggle drugs on planes. It’s one of those rare moments where a song becomes so vivid that it makes the listener feel like they’re hearing things they shouldn’t know about.

“It’s Like That” Feat. Kid Capri – Vol. 2...Hard Knock Life – (1998)

Nothing revolutionary content-wise, this standout from Kid Capri’s Soundtrack to the Streets album also appeared on Jay’s third album Vol. 2...Hard Knock Life. Produced by Kid, the song sees Jay politicking on his street origins and singling out the only rappers he f**ked with at the time:

“You dudes is too soft, why I don't f**k with you all I might bark at X, or spit at The LOX/But, other than that, I don't be f**kin' with cats”

“I Did It My Way” – The Blueprint 2: The Gift and the Curse (2002)

In hindsight, “I Did It My Way” could have been a bigger song for Jay-Z had the label ante’d up on sampling the Frank Sinatra version of “My Way” rather than the Paul Anka version, which Hov communicated at the time was the cheaper route.

“All Around the World” Feat. LaToiya Williams – The Blueprint 2: The Gift and the Curse (2002)

The lyrics from “All Around the World” aren’t going to sit in any hip-hop hall of fame, but this forgotten track from Jay’s The Blueprint 2… album is fun. And many times “fun” hip-hop is cast away shortly after its release due to its lack of substance, but there are some great bars on this song – not because of the content but Jay’s uncanny ability to use flow and cadence to make something stay in the listener’s head:

“London, England, South of France/And all points between they know about your man / Konichiwa ladies when I'm out in JapanI'm a Tokyo Giant like Ichiro, I am”

“Runnin', then I wake up in Martha's Vineyard/St. Bart's this year, I think I'm gon' spend Christmas/Reminiscin' 'bout the time my mom couldn't spend Christmas”

Whether the Ichiro line or Hov’s double-play on “Christmas,” the song’s concept is simple, but there are more to the bars than what’s on the surface.

"Blueprint 2” – The Blueprint 2: The Gift and the Curse (2002)

Ask most hip-hop fans, and they'll tell you that the classic rap beef that was Jay-Z vs. Nas is primarily wrapped up in Nas' "Ether" and Jay's "Takeover" and "Supa Ugly" (which was so disrespectful that Jay's mom made him apologize). But Jay-Z's "Blueprint 2" off The Blueprint 2: The Gift and the Curse is a wildly underrated chapter in the story of one of Rap's most historic beefs. Yes, the chorus is beyond awful, but the song contains some of Jay's best body blows at Nas:

"Is it Oochie Wally Wally or is it One Mic?Is it Black Girl Lost or shorty owe you for ice?"

"And the little homie Jungle is a garden to me"

"Can't y'all see that he's fake, the rap version of T.D. JakesProphesizin' on your CD's and tapes"

The almost comically apocalyptic backdrop from producer Charlemagne isn't "Takeover" level punishing, but it serves the purpose for Jay's last shots in the battle.

“Show You How” – The Blueprint 2: The Gift and the Curse (2002)

The appropriately titled “Show You How” is the essence of Jay-Z’s famous line “I can’t help the poor if I’m one of them” off his classic Black Album song “Moment of Clarity.” The song provides the listener specific instructions on how to ball-out like Hov and go after what you want in life. But it’s the fairer species who may have gotten blessed most by Hov on this album cut:

“And ma don't give him nothin', unless he's treatin' you special/Soon he'll get desperate, and go down and bless you/And when he come up for air, with a mouth full of hair/Just grab your coach bag and get the f**k outta there, yeah”

“Minority Report” Feat. Ne-Yo – Kingdom Come (2006)

It’s hard to believe that “Minority Report” isn’t celebrated more when it comes to Jay’s broader catalog. Similar to Lil’ Wayne’s underrated “Tie My Hands”, the challenging subject matter on “Minority Report,” centered around the devastating Hurricane Katrina that battered New Orleans in 2005, opens up wounds around race in American that many listeners likely don’t want to revisit too often. Which is a shame because the song contains some of Jay’s most meaningful bars, including one of the truest ever spoken on record at the onset of the song - “People was poor before the hurricane came...”

As much as the song is about America’s response to the hurricane, it’s also about Jay-Z looking inward at his response to the tragedy and questioning if he did enough: “Sure, I ponied up a mil' but I didn't give my time/So, in reality, I didn't give a dime.”

“Nickels and Dimes” – Magna Carta Holy Grail (2013)

At the time of Magna Carta Holy Grail’s Samsung-sponsored release, Jay-Z produced a series of videos where he talked about the meaning behind the album’s songs including the underrated “Nickels and Dimes”:

The song’s theme is one many can relate with who have found success in life despite close friends, family, or even strangers for that matter continuing to struggle day-to-day. How do the successful reconcile a beautiful experience with a dark mess left behind? Jay gets knee-deep in trying to answer the question on the Kyambo “Hip-Hop” Joshua-produced track, including considering the beauty of the struggle:

“Something 'bout the struggle so divine/This sort of love is hard to define/When you scratching for every nickel and dime”

But Jay isn’t there anymore; he’s further away from the struggle than most people on earth with a net worth north of $1 billion. And this is why Jay is brutally honest in saying that sometimes he feels “survivor’s guilt,” and instead of simply giving money to the less fortunate, he wants to provide opportunity.

“MaNyfaCedGod” Feat. James Blake – 4:44 (2017)

A bonus track from Jay’s critically-acclaimed 4:44 album, “ManyFacedGod” features James Blake, hip-hop's favorite white boy crooner next to Bon Iver. The trip-hop-like beat was produced by the aforementioned Blake and English producer Dominic Maker and continues the theme of Jay reflecting on a significantly rough patch with his wife, honing in on the timing of the release of Beyonce’s critically-acclaimed Lemonade album which many see as the onset of infidelity accusations levied against Hov:

“Look at all we been through since last AugustSkating through the rumors like, "Aw, sh*t!"Still came back, f**ked up the red carpet/Shows how big your heart is”

The production on the track is one of the song's more underrated elements as it lays out a gloomy, painful layer for Jay-Z to pile on with truly deep-cut bars like "Woulda broke me down had you got away/It woulda broke me up, you took my child away/I'm glad we found a way"

“Things That U Do” Feat. Mariah Carey – Vol. 3...Life and Times of S. Carter (1999)

If Jay-Z's "Sunshine" is pop sugar-filled radio candy, "Things That U Do" off 'Vol. 3…" is a truck full of raw sugar dumped on a pile of pink lollipops. In other words, it's up there with the most poppy material Jay has ever done. That being said, the song is still an undiscovered gem in Jay's catalog, driven by the riddled flute backdrop from Swizz Beatz and surprisingly substantive lyrics from Hov. Mariah's airy, somewhat forgettable chorus leans into a third verse from Jay that touches on his entry into the game and his versatility as an MC:

"Don't matter to me the Garden or flowin' on Clue...You know I've traveled through zones/Homes spazzed like a bad back/I came into this game on Jaz's back”

“Fallin’” – American Gangster (2007)

“Fallin’” is everything a song should be on a concept album like Jay-Z’s American Gangster. Vivid, poignant, and with lyrics at the forefront. The production from Jermaine Dupri isn’t minimalist in the most real sense, but it isn’t overpowering and lets Jay’s tales of taking the street game one-step too far room to breathe. The song is centered around the “alphabet boys” closing in on Frank Lucas, the legendary gangster the American Gangster film is centered around, and Jay references some other famous gangster flicks to communicate just how close Frank had taken it to the edge:

“Damn, you f**ked up like your favorite movie scene/Godfather, Goodfellas, Scarface, Casino/You seen what that last run did to De Niro in Heat”

Continue Reading

Top Stories