I didn't feel right when writing this, so it may seem kind of confounded a bit. I also was having a little fun with this review, so don't take it seriously


The Blueprint



The album that set Jay-Z on a pedestal that no other rapper, currently living, could ever hope to achieve. The album that established him as the greatest thing since sliced bread. Full of dense introspective rhymes and brillant production, this LP was one of the new century's greatest creations. Not to mention the fact that some sell-out, wannabe-great-once-again emcee named Nas tried to take this King off the throne with his "comeback" album Stillmatic (which should've been named Wackmatic) that couldn't touch this creation. Jay-Z showed us all he was the greatest emcee since Biggie on this release. I have to agree with the Jigga fans out there: Can't no one stop his takeover...................................


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Wait, you all thought I was being for real?....Nah, just kidding, obviously...Let me start this over again


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Seldom have I had difficulty reviewing a rap CD, but a CD with this much hype and talk surrounding it when it first released as the album that gave Jay-Z back his title of King of New York since Frank White makes it hard for a reviewer to have an unbiased reaction to it. (In addition, this CD's been out for a few years, so opinions of this CD have been deeply ingrained) Nevertheless, my opinion of this effort is that it is a slightly overrated and over-hyped CD. I'll admit Jay-Z had his moments on this supposedly "comeback" release, but we all have to admit that he isn't the greatest lyricist. Anyway, what are my true opinions of this LP???....Well, let's take a trip down the same road we did with Stillmatic, somewhat, using the ideal of a blueprint for a commercial classic CD as our basis for this musical journey (Yeah, I know it sounds kind of confusing, but it'll clear up as we go on through the LP)


Track List

1. The Ruler's Back (***1/2)
2. Takeover (***1/2)
3. Izzo (H.O.V.A) (***1/2)
4. Girls, Girls, Girls (****1/2)
5. Jigga That N*gga (*1/2)
6. U Don't Know (****)
7. Hola' Hovito (**)
8. Heart of the City (Ain't No Love) (*****)
9. Never Change (****1/2)
10. Song Cry (****)
11. All I Need (***1/2)
12. Renegade f/Eminem (*****)
13. Blueprint (Momma Loves Me) (****1/2)

Bonus Tracks

14. Breathe Easy (Lyrical Exercise) (***1/2)
15. Girls, Girls, Girls (Remix) (***)


This is the course called How to Have a Commercially Classic rap album 101 being taught by Professor Selloutson. Tonight, we are going to focus on how to have a classic album that is loved by the mainstream, even by some of the "real" hip-hop critics. We will be using the album by Jay-Z called The Blueprint, which you all know was commercially accepted to be one of the best rap CDs to come out in a while. Personally, I believe that Nas's underrated effort Stillmatic is better, but I digress from that point. But before we start, do we have any opening questions about Jay-Z's music, the man himself, or anything pertaining to these subjects?........You in the back

Student 1: Are we going to like this CD, because most of us don't like Jay-Z since he seems like a sell-out to us. For many years, he has made commercial, wack albums one after another, so how can we trust our ears to this, since most of us haven't heard this before, even though it came out a while ago?

Professor: Well, we shall see how good it is. But, let us start this CD with the first two songs: The Ruler's Back and Takeover. On the former, class, is how to get the listener finitely involved in your lyrical and musical prowess You need to have a soulful, underground beat backed with sped-up samples and celebratory horns to make the listener want to hear more of your gifted rhymes. Let me put this on the board as the first rule:


Rule No. 1 for Making a Commercially Classic CD
Open up the album with an ear-catching, powerful beginning.


On the latter track, this lyricist seems to aim out at a particular rapper. Do any of you know who this rapper is?...You in the red and black Johnny Blaze jacket.

Student 2: The answer is Nas. Jay-Z tore Nas a new pie hole, didn't he?

Professor: That's right. But, to answer your question, maybe he did, maybe he didn't. I'm going to let the "true" reviewer of this piece take over.


With the opening drum roll that leads to thumping drums and celebratory horns, we know that The Ruler's Back is supposed to be a "reintroduction" the Reasonable Doubt version of this lyricist, but does he succeed in making us realize that he's back to rule in this rap game???......Well, there's two answers to that question. On one hand, he's a bit too high on himself, calling himself the ruler of hip-hop and that it's time to for him to regulate the game once again. On the other hand, he makes nice lines such as "I'm representin for the seat where Rosa Parks sat/where Malcolm X was shot..." that makes us realize that he's possibly getting rid of the generic and intensely commercial image that he made of himself. This is a good way to start off this CD, because it introduces the listener to a "new" Shawn Carter and makes us want to hear more of this album.

What follows is one of the most overrated diss tracks in hip-hop history: Takeover. Made during the middle of the Nas/Jay-Z beef back in 2001, Jay-Z takes many lyrical potshots at Nas, Prodigy, and other nameless rappers who might challenge the supposed King for his throne later on. What makes this song so overrated is that he relies on the production, based on a sample of the classic Doors song Five to One, but over-emphasizing his syllables (example: "You're a FAKKKEEE) a la a quasi-bootleg Ludacris. Although, he may have said some truths about the sometimes-hypocritical Nas and Prodigy, who seem to be dissed on all sides, this wasn't the best example of a diss track. (Nor was his rebuttal to Ether with Super Ugly, which was so retarded and idiotic, but I digress from that point.)


Back to the lecture at hand, to have a commercially classic album, you should have that powerful opening that evokes the image that "THE CHAMP IS HERE" (extra points to the one who said that when entering some places, immediately following a drumbeat on a wall) using braggadocio as a jumping point and emphasis to your rhymes. But, that is not the only thing needed. You also need some songs that would appeal to the lowest common denominator, since those are the people that are going to be buying your CDs. These people will tell their people who will tell their people to get your album. All of that leads to the second rule of having a commercially classic LP.


Rule No. 2 for Making a Commercially Classic CD:
Have some songs/singles for the uneducated, quick-to-be-pleased crowd.


To help further explain that point as it comes across on Jay-'s album, I'll defer back to the main "reviewer". When he gets done, I might start taking a few questions, pertaining this CD and/or other subjects pertaining to Jay-Z and his music


Izzo (H.O.V.A.) is one of those examples, but not to the extreme example of being blatantly commercial. On this song, over various keys with bass accompaniment that make a breezy feel, Jay-Z raps egotistically, of course, but he's more introspective then he usually is...on a commercial single, anyway. His lyricism seems to pick up a bit, using witty punch lines and nice metaphors, even though he blatantly copies Snoop Dogg's flow for the chorus. (But, the chorus was still catchy as I don't know what). With songs like this, I can see why many people found his music to be one of the best in 2001. To the uninitiated, it has what they may want; a catchy hook, decent lyricism (that many people think they are geniuses when they figure a couple punchlines), and nice production. (Yes, I know I'm beating this commercial vs. "real" hip-hop angle to death, but that's my approach, I guess).

Jigga That N*gga and Hola' Hovito are blatant examples of the commercialism that Jay-Z doesn't seem to want to leave behind on his journey to lyrical nirvana. Both of these songs feature production that resemble club-ready tracks (the former; a over-produced Neptunes clunker. the latter; a Timbaland club anthem). On both of these songs, Jigga spits nothing but commercial and generic lines, which makes the listener forget about all the songs on here that seemed like more than one brain cell was spent on it. Listening to these type of songs on here make me realize that I can't like this CD like most people seemed to. After hearing these types of songs (I've been hearing nothing but commercial bulls*it for the last week or so), I'm getting so..well, this isn't the time for such a rant, so let me continue with this review (All I Need can be lumped in here, because it deals with commercial subjects, wasting a beautiful production)


By now, you all know what rappers love to talk about in their songs other than their "brothers' and where they come from......That's right, the ladies. There's nothing wrong with rhyming about the ladies, if it's done to an effect that hasn't been done to death. Most songs have the supposed rapper coming from an aspect that he's spitting game to a girl, which sounds generic and fake. However, when it's done to its best, and from the heart, such a song is amazing to listen to. This leads me to the next rule:


Rule No. 3 for Making a Commercially Classic Rap CD
Always dedicate a song to a love or about girls in general


I'll let Keelen go off with this one as it pertains to the Blueprint


At first listen, Girls, Girls, Girls seemed to be commercial single dedicated to different girls that Jay-Z has encountered. With each passing listen, my appreciation for this song has increased. Nevertheless, the production, with the customary sample, which makes it sound R&B-ish to a great effect, is astounding to listen to. Jigga seemingly dedicates this song to the different girls he has met. In the first two verses, he meets girls that have normal characteristics, but for the last verse, he meets these weird chicks, such as Chinese girls who bootleg his CDs, weed-heads who keep forgetting to leave him, and etc. If you take this song at face level, of course, you're not going to like it, but if you just enjoy his different descriptions of all these girls, it's a nice listen. A pleasant addition is the usage of different hip-hop legends such as Slick Rock and Q-Tip for the chorus.

I hated Song Cry when it first came out as a single. I thought it was a overly-sappy piece of terrible garbage of Jigga trying to make us feel bad since he lost a girl. Well, maybe, if he wasn't so commercialized and generic-sounding, maybe we would've cared...Those were my thoughts back then. I kind of still have them, but I'm going to ignore the fact that he "sold out" just for this one ocassion. But, the song grew on me as I heard it more and more. Simply put, it's a song dedicated to a girl that he has lost, but he realizes he has to stay strong and not show any emotion, so he's going to make the song cry instead. Interesting premise and I felt his vocals, but the fact that he "sold out" couldn't totally leave my mind, so I figured he could just find another girl...and it looks like he did. Nevertheless, for what it's worth, this song is sad to listen to, but ultimately, a good listen.


So, do we have any questions, so far?...you in the pink Roc-A-Wear shirt.

Student 3: Why does everyone hate on Jigga a lot? It seems like whatever he does, someone always finds something wrong with it. Every legend has a problem, such as Nas with his hypocriticalness, Eminem with his obvious sell-out abilities, and many, many more other reputable rappers. Why they aren’t quote-unquote hated on with so many fury as the Jigga-man?

Professor: Well.....maybe it's the fact that Jay-Z has delved into the pit of commercialism for so long that the idea of him ever returning to his truly hungry, powerful stage is forever gone from people's minds. Honestly, I don't know why there is a catharsis when it comes to this. It seems like it could go both ways. For example, there is this rapper named White Boy who comes from Chicago and is slowly becoming a presence in the hip-hop scene through his connections with the sadly arrogant Kanye West. Now, if you hear what he raps about, he supposedly raps about life, his race, having sex, etc. (And, no, this is not the basis for a racial joke or anything of that nature) What does that have to do with this discussion? Absolutely nothing. I was just proving the point that if you throw enough stuff at the wall, some of it will stick...Do you follow, class? We have reached the end of the lecture after this rule, so after Keelen finishes explaining, you are free to go.


Rule No. 4 For Making a Commercially Classic Rap CD
Include songs that seem to be introspective in nature, but to those with trained ears, it's the sound of the cunning fox trying to sneak one past you, for he's in search of the hound (the money). Although, this rule has a side note to it: Sometimes, the rapper is being serious and is coming from the heart. In that case, applaud the emcee for being truthful to his fans that have paid good money to know what he or she thinks of the world surrounding him or her.


Keelen will explain more on this one as it pertains to the Blueprint.


Several songs on here can go with this subject, but let's start with the one that comes first on the playlist: U Don't Know. Immediately, the loud, head-nodding-causing mixture of horns, pounding bass and screeching synthesizers hit our eardrums that bring up deep into the song. On here, Jay-Z speeds up his flow a bit, still sounding laid-back, but he uses good lyricism once again, this time spitting witty punchline after punchline. Many people have compared his lyricism and flow on this track to be Reasonable Doubt-esque. I'll have to agree, even though I've only heard that album a couple times. But, this song is more than braggadocio explaining his importance to the game, he also includes rhymes on how he was brought up and how he believes he is the best in the game. Aside note: it seems like as I go on with this album, I like it more and more (still can't forgive him for including those wack commercial tracks). I see why he has so many fans. It's hard to not like him when he's at his best.

Next is the song that I was amazed that Jigga had in him: Heart of the City (Ain't No Love). This is the example of the closest to perfection that Jigga comes to on this album, in my opinion. Over a soul-tinged background with bass accompaniment also with a flute melody that always will be remembered, Jay-Z spits some true introspective lyrics that I was admittedly touched by. On this song, he uses a extended metaphor, comparing a "city" to where the underground fans reside. He feels that the underground has deserted him, which I believe he deserved. He mentions the breakups of old classic groups such as the Fat Boyz and the Fugees to evoke the effect that he still has love for what the underground fans love, even though he has obviously moved on since then. He also throws shots as his critics, saying that he's been doing it his way and has been successful at it. I believe that this is his swan song...or one of them on this album.

The delving into the past continue with Never Change On here, over a production with soft bass and a soul sample, Jay-Z goes retrospective as he describes what he had to do certain things to get what he wanted back in the day. He mentions certain things that he has done that he's learned lessons from. He is saying that the ghetto will always reside in him, no matter where he goes. His lyricism in describing all these things is good once again, but there were things about this song that didn't spark with me. Number one, the production was a bit sparse, and the subject matter, compared with other "soul-searching" songs on here, did not resonate with me. He goes from a metaphor about underground fans not loving him to talking about the ghetto is always going to be within himself. Not a good connecting point, I guess, but moving on.

Now up, we have the infamous song Renegade that is widely known as the track that Eninem ripped to pieces, leaving Shawn Carter to choke on the dust behind him. Nevertheless, the subject of the song seems to be that the critics and press provoke these two emcees, so they explain that they are here just to make music and explain their inspirations, childhood, and stuff like that. It's very obvious that Jigga can't even compete with the pre-sellout Marshall Mathers (review throw-in: Be sure to check out my future review of The Eminem Show from a perspective of looking for when Eminem first showed the impulses of commercialism). Jay-Z tries his best, using the best lyricism he has used for the album on this track, but Slim still steals the show with both his humorous, caustic rhymes and his dark, melancholy production. As much as a classic this song may be, it may have been what gave Nas the ammo to diss Jigga. (because no one could really deny that Em had better verses than Jigga on here) Nevertheless, this is a great track and is one of the best on here.

We end this album (skipping over the bonus tracks, sorry) with Blueprint (Momma Loves Me). Over a soulful production with soft piano melodies and background vocals, Jigga is probably at his most emotional and and honest. He talks about growing up with no father, becoming the best rapper he could be (with help from such legends as Primo and other semi-legends such as Jaz-O), then going on to creating a successful record label and clothing company. He's probably at his greatest lyrically (I know I've said that so many times, but I'm writing this to get done during the early morning). There is much more I can say about this track, but the many quality reviewers on this site have probably covered it to death. So, with that, we have finished the Blueprint, but is it truly the best Jigga could've done?


Final Thoughts

Reading back over the introduction, it feels like a different person wrote those words, because I found myself liking this CD a little more with each successive listening. This is a great album. Minus a few missteps, this would be a classic album. Jay-Z returns to his prime or close to it with this release. Even though, I still think it's overrated, I truly enjoyed listening to it. Therefore, I recommend it to all hip-hop listeners......And for the record, I believe that Stillmatic's still better lol.


4.0 stars

Recommended: Yes

Great Music to Play While: Listening