![]() Jay-Z feels that the crowd isn't as lively as they could be, so he plays Jigga What, Jigga Who tells the left side to say "Jigga What" and the Right side to say "Jigga Who" and Jay-Z gets the crowd really involved in the song, and performs great despite missing Jaz-O's awesome verse, you can tell Jay-Z is having trouble rapping fast, and "Jigga What, Jigga Who" Is his fastest song of his career, but he still makes the most of it. ![]() Jay-Z decides to cool of and perform Girls, Girls, Girls which isn't really that great of a song, but Jay and the roots make it likeable, but against the other tracks, it's nothing special. Just a really great performance and after that. Then Jay-Z says that he's going to go through the many moods (Party, Emotional, Reasonable Doubt) but first, he wanted to do a battle song, and what better battle song than Takeover This really is the most brilliant song on the album, not only is it very exciting and hard, but the band switches the song many times when Jay-Z disses Mobb Deep, the band switches the tune to Shook Ones (A Mobb Deep song) then it switches to Oochie Wallie (A Nas Song) then NY State Of Mind. ![]() The Album starts out with Jay-Z speaking to the audience, one thing that's so great about this album is how much Jay connects with the crowd he starts out by talking about the different alias names he has, which is a good segue to Izzo (H.O.V.A.) Which is very energetic and sounds much different from the studio version, right away, you realize this is going to be another great moment in Jay-Z's career. And forgive the pun, but there’s still no real blueprint for him: Past 50, a billionaire, married with children-not only capable of artistic growth (as he proved so eloquently on 2017’s 4:44), but also willing to embrace it.In 2001, there was no question, Jay-Z was the best rapper around by miles, it seems he could do no wrong, so Jay-Z decided to do a Live album with the Roots, though there wasn't the doubt surrounding LL Cool J when he became the first rapper to do an unplugged show nearly 10 years previously, but it seemed a little far fetched, especially for a rapper that was used to the best production (Neptunes, Timbaland, Kanye West, Just Blaze) what would he do with a live band and a crowd? well, he'd make the best Live Rap album to date. Even as he ascended to the executive suite-a move that not only rechristened rappers as the vertically integrated businessmen they already were, but also opened up new paths for black artists navigating corporate America-he remained stoic, a little ruthless, playful about a past that most might not have come back from.Īdd to it a dexterity on the mic-not to mention a deep, intuitive love for language-that helped bring rap out of the yes-yes-y’all era and into another in which MCs functioned as American griots, chroniclers of the black American experience whose chains flashed bright but whose words flashed even brighter. Jay-Z (born in 1969) didn’t romanticize the streets (“Recruited lieutenants with ludicrous dreams of gettin’ cream/‘Let’s do this,’ it gets tedious”), but he never claimed remorse for them either. By the time he released 1996’s Reasonable Doubt, he said he was the oldest 26-year-old you’d ever want to meet. ![]() His childhood was violent: He started selling crack in his early teens and later quipped that getting a gun in Bed-Stuy was easier than getting public assistance. Growing up in central Brooklyn (“I’m from Marcy Houses, where the boys die by the thousand”), Shawn Carter wrote rhymes everywhere: standing at a streetlight, on the backs of brown-paper bags, banging out beats on his windowsill to find the rhythm.
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