"The Blueprint" met with enormous success among both audiences and critics, which encouraged the Brooklyn emcee to rely on the same producers for his next project, a double album. Half of the entire effort was produced by Just Blaze and Kanye West. Timbaland was brought back, and The Neptunes were also given a spot (though the style of the Trackmasters’ beat on the previous record had clearly been inspired by them), along with Jay-Z himself, Dr. Dre, No ID, Big Chuck, Ron Feemster, Heavy D, Charlemagne and Darrell "Digga" Branch.
Unlike the previous record, which was virtually devoid of guests, the artist decides to throw a big, boisterous party open to everyone, inviting as many people as you can possibly imagine to take part in his double album. The guests are Roc-La-Familia rappers Beanie Sigel, Freeway, Memphis Bleek, Young Gunz, Peedi Crakk, and Sparks, as well as Rell, Faith Evans, Biggie Smalls, Dr. Dre, Rakim, Truth Hurts, Beyoncé, Sean Paul, LaToiya Williams, Big Boi, Killer Mike, Twista, Kanye West, Lenny Kravitz, MOP, Scarface, Marc Dorsey and Pharrell Williams.
The project is divided into two discs, the first is titled "The Gift". It opens with Biggie Smalls and Faith Evans, appearing as guests on a Jay-Z track produced by Kanye West. It features a rocking sample from Blackjack’s "Stay", sparse drums, a vibrating bassline, and shimmering keyboards, the track finds Jay-Z sounding far from his best, a stark contrast to the form he displayed just a year earlier. Faith Evans sings the hook over scratches by Just Blaze, and then, for reasons unknown, the entire first verse from The Notorious B.I.G.’s "Juicy" is copy-pasted into the song. Jay-Z responds to the criticisms of his rival Nas, and the track "Ether", which accused him of using too many bars from the late Biggie, by including an entire verse from his favorite rapper to close out the first track on his new album.
Just Blaze goes behind the keyboards for the second selection: a quite questionable sample from TLC’s "Diggin’ on You", which leaves the rhythm struggling. There are cheap, squeaky synthesizers, annoying and chaotic cymbals, and keyboard parts that sound played quite haphazardly. It’s a rare track with no guest features, yet it’s incredibly disappointing. The beat is undeniably modern, it has a bounce, but it’s "modern" in the worst sense of the word, and it’s too flawed to be saved by a Jay-Z who's clearly not at his peak. Chosen as the album’s second single, it remains, at the time of this writing, the worst-performing single in the history of the rap charts for the rapper.
Jay-Z takes to observing and keeping watch over the ghetto alongside Dr. Dre and Rakim in a track that serves as a direct homage to Dr. Dre’s "The Watcher" (from the album "2001"). The beat is credited to Dre and Scott Storch: raw drums and vibrating bassline, over which Jay-Z delivers an extra-verse with one of his smoothest flows. It's worth noting that part of the original track was likely penned by Nas as ghostwriter. Truth Hurts, an artist from the Dr. Dre's Aftermath Entertainment roster, sings the pre-chorus, while the hook is performed by Terri. Dr. Dre delivers the second verse, nodding to his own "Still D.R.E." (which was ghostwritten by Jay-Z, hence the homage): for the record, the verse of this song was written by Ab-Liva. The track concludes with Rakim, who steps in and steals the show with an incredible flow, a stellar verse.
The following track is Hova’s personal take on 2Pac’s "Me and My Girlfriend": a song that went down in history as the first musical collaboration between the rapper and Beyoncé. Jay-Z had previously appeared on the track "Bonnie & Clyde Part II", a guest feature for Foxy Brown on her 1999 LP "Chyna Doll"; some journalists consider this new track a follow-up to that earlier effort. While 2Pac’s original song refers to his firearm, Jay-Z’s version is about his actual girlfriend. Tasked with crafting the best beat of his life to serve as the foundation for this duet with the former Destiny’s Child singer, Kanye West looked to the album "The Don Killuminati" (1996), deciding to sample that piece.
Nevertheless, time was running short and Def Jam executives had only one day to secure permission for the sample from Shakur’s mother, Afeni — but in the end, they managed to get it. Incorporating live instrumentation, West built a delightful sonic landscape for Carter, even if it wasn't quite the Kanye West's best production ever. The track features a vibrant bassline, along with drums that are boisterous, gritty, dry, and fast-paced. It includes guitar arpeggios, a sharp, focused delivery from Jay-Z, and an enchanting hook from Beyoncé, whose vocals envelop the entire song. It’s an excellent cut on an album otherwise full of weak moments.
Released as the first single from the double CD, it was very well received by both critics and the public, reaching number four on the Hot 100, marking Jay-Z’s second top-ten single and Beyoncé’s first as a solo artist. The song achieved international success, charting across Europe (peaking at #1 in Switzerland and #2 in the UK) and earning gold certification in the U.S. and platinum in Australia. It received a nomination for Best Collaboration at the 2003 BET Awards, ultimately losing to Snoop Dogg, Pharrell, and Uncle Charlie Wilson. The song's music video — conceived by the artist even before the lyrics — was nominated for Best Hip-Hop Video at the 2003 MTV Video Music Awards. The release also sparked a controversy involving singer Toni Braxton, who claimed that Jay-Z had stolen the track from her; she had previously recorded a song titled "Me & My Boyfriend" for her album "More Than a Woman" (2002), which utilized the same 2Pac sample.
Track number five is another hit, "Excuse Me Miss", one of the first love letters to his future wife. I’ve spent my whole life criticizing The Neptunes’ production choices, but this track is undeniable, it’s a masterpiece. Props to Pharrell and Chad. The bassline is overwhelming, the synthesizers sound wonderful, and the drums, featuring a clapping effect, sit perfectly in the background; the production radiates a positive aura all its own. Jay and Pharrell perform an extended intro, with the producer humming along, before the MC delivers three verses with a smooth, velvety flow, leaving just enough space for Pharrell to sing the chorus.
The result is a fluid track of a quality rarely seen from The Neptunes, it’s fantastic. Pharrell does a great job; the song is modern in the best sense of the word. It’s truly splendid and ranks among my favorites on the entire double CD. Rightfully chosen as the project’s third single, it landed on charts across three continents. While it didn’t quite achieve the same global impact as the other track, it still climbed to number eight on the Hot 100, became one of the best-selling singles of the year in both the UK and the US, and earned a gold certification from the RIAA.
On the next track, "What They Gonna Do", Timbaland shows up to launch an assault on your ears. What the hell was he thinking here? It’s ridiculous. The rhythm is deeply unsettling and annoying; Sean Paul and Jay-Z handle the hook, resulting in an impressively poor, badly executed, and banal performance. Skip this one if you can, it’s among the worst tracks Jay-Z has ever released, arguably the absolute worst due entirely to the production. No I.D., in one of his earliest appearances as a producer on an album by an artist other than Common, restores some luster to the overall effort with "All Around the World", which harks back to the soul-infused sound of the first installment — fitting, given that it was recorded around that same period. The track was pulled from the archives at the last minute to make the final cut. It features a sample from The Edwin Hawkins Singers' "Children Get Together", crisp cymbals, bright piano loop, solid bassline, strong rap performance by Hova, and a gorgeous soul hook by LaToiya Williams.
"Poppin' Tags" is the only posse cut on the first CD. Kanye West delivers a boom bap beat with soul undertones, featuring a solid sample, sparse midtempo drum pattern, crisp bassline, arpeggios, and playful keyboard work. Sleepy Brown provides an introductory chorus, and Jay-Z kicks off the track with a fluid flow. Twista then cuts through the track with a sharp, rapid-fire delivery — sounding like a wild machine gun — which is fantastic. Killer Mike is quite solid on the third verse, and after another chorus, the song is brought home by Big Boi of OutKast — who are also shouted out by Hova in his opening bars. Big Boi delivers a dope performance on a track that stretches to six minutes, yet remains an essential listen on the record.
The Neptunes return to the production helm a quarter of an hour later with "Fuck All Nite": funky synthesizers, gritty samples, and a vibrant, prominent bassline that drives the rhythm, with handclaps and warm hi-hats replacing a "typical" drum beat. Jay-Z delivers his lyrics on another sentimental track, one that perhaps could have benefited from a more precise production approach. Instead, the beat is loose, cheerful, and extroverted; it works in its own way, even if it never truly excels, fitting for an album that doesn't prioritize a cohesive concept or tight thematic unity.
Timbaland wastes another track. He's credited behind the keys alongside Kanye on "The Bounce". The rhythm certainly "bounces", but it’s awful. It feels cheap, leaning into an Indian-inspired sound. The drums are terrible, the sounds are poor, and the bouncy rhythm is just annoying. Hova delivers a solid performance, but Kanye, making his first appearance as a guest on a Jay-Z track (the very man who launched his career as a producer), falls a bit short; Carter, for his part, isn't quite ready to officially credit him as a guest on one of his albums. Although he is, albeit with some uncertainty, believed to have written an uncredited hook on "Never Change" (from 2001’s "The Blueprint"), this track marks Kanye West’s debut (still officially uncredited) as a rapper on a Roc-A-Fella release. It doesn't leave a particularly positive impression; it sounds amateurish.
"I Did It My Way" pays homage to Frank Sinatra. For the intro, Jay-Z brings in the song's original writer, Paul Anka. The reason for this is quite simple and clear: licensing the sample from Anka, rather than from Sinatra, is significantly cheaper. Charles "Big Chuck" Stanton and Jimi Kendrix handled the production: light percussion, subtle hi-hats, a graceful piano melody, and a sparse, midtempo drum. The intro features an exchange between Paul Anka and Carter, who then launches into a spirited bridge to kick off the song. His flow is energetic and fluid, though the rhythm itself leaves something to be desired. There's no true hook; instead, Hova lets Anka take that space. With two verses to close out the first disc, the track doesn't exactly go down in history: the rhythm is a bit grating, which is a shame, as a different approach could have yielded something truly memorable.
The second disc, titled "The Curse", opens with a solo track, "Diamond Is Forever". Big Chuck remains on the keyboards and is joined by Ron "Neff-U" Feemster. Heavy boom bap, gritty, full-bodied synths, sparse mid-tempo drum, essential rhythm. The track features a fluid rap performance from Hova and a solid chorus: the second CD boasts a strong start with this joint that truly crawls through the streets. Heavy D samples Cake’s "Arco Arena" for the production of "Guns & Roses". Since the sample is indie rock, the track is dominated by a crisp guitar sound, a striking musical soundscape crafted by Heavy D. It’s a somewhat atypical vibe for Jay-Z, who nonetheless delivers a strong rap performance amidst the guitar licks. For the hook, the guys enlist Lenny Kravitz.
The double album also serves as a showcase for Roc-A-Fella artists, among the latest additions are MOP, whom Jay-Z introduces on the remix of "U Don't Know", one of the many standout tracks on "The Blueprint". The beat remains largely the same as the original, though beefed up to fully support the overwhelming energy of Lil' Fame and Billy Danze, who come in with a hardcore intensity that tears everything apart. The chipmunk soul sample seems to energize the duo, and Jay-Z rounds it all out, delivering what is easily one of the best tracks across the entire double CD.
Next, Jay-Z turns to a dramatic street narrative inspired by his own life ("Meet the Parents"), set to top-tier production by Just Blaze — the most prolific beatmaker on the album, and especially on this second disc. Violins, synthesized guitar licks, cautious piano keys, vibrant bassline, solid piano loop layered with an organ loop, and dry, dusty drums: the soundscape crafted by Just Blaze is magnificent. Jay-Z’s delivery, smooth and measured, makes this one of the standout tracks on the double album. Originally, the beat chosen by the producer was quite different; however, due to potential issues with a sample, the entire beat was swapped out during the mixing stage, near the very end of the album's production.
"Some How Some Way" is one of the final standout tracks on the entire double LP, and also the last contribution from Just Blaze, though the beatmaker would return to the boards later on. The lineup — Jay-Z, Beanie Sigel, and Scarface — is the same as that of "This Can't Be Life" (from "The Dynasty", 2000). Jay-Z provides a chorus that calls back to that earlier collaboration, and he also delivers the first verse, bolstered by exquisite production from Just Blaze: chipmunk soul sample from Jermaine Jackson’s "Castles of Sand", a crisp bassline, lively drums, and fresh synths. Beanie Sigel, the first guest rapper from the State Property crew, makes his return to a Shawn Carter album after a two-year, two-record absence. He delivers his verse with a strong rapping style and also handles the second hook. Scarface closes out the track with the third verse and a dope flow, followed by final hook from Hova. The rhythm is allowed to breathe freely for a full minute, a fabulous choice. Together, they craft one of the most brilliant tracks on the record.
Kanye West serves as the primary producer for the first disc, and the second beatsmith of the entire double LP, yet he contributes only one beat to the second CD, returning to the keyboards for the first time in about half an hour on "Some People Hate". The track features a sped-up sample from Brian and Brenda Russell’s "Word Called Love", styled in the "chipmunk soul" vein, alongside sharp, fast-paced drums, synths, tense violins, and an uptempo rhythm. The Brooklyn emcee addresses his haters here, spitting his verses with a palpable sense of anger, though the track is neither particularly memorable nor especially vicious.
After igniting a feud with Nas by releasing "Takeover" — only to be met with the response "Ether" — Hova fired back with "Supa Ugly". He ultimately lost the feud, as his retort lacked the weight to stand up to "Ether" — not to mention that Carter’s mother told him enough was enough after he took things too far. Jay then released the title track, another diss aimed at Nas, who responded with "Last Real Nigga Alive", effectively putting an end to the feud (which had, in truth, already been decisively settled by "Ether"). Charlemagne samples Ennio Morricone’s "The Ecstasy of Gold": raw, gritty drums, the track features a simple, tense, and dark rhythm, it’s beautiful. In it, Jay-Z also takes shots at his former friend, Jaz-O. This is the last solid track on the record; after this, the entire project collapses miserably.
"Nigga Please" features a guest appearance by a second member of State Property on this double CD. Young Chris joins the lead rapper over a stripped-back production by The Neptunes: Middle Eastern-inspired sounds, deep synths, and sparse drums, with Pharrell handling the intro and hook, while Jay glides through with effortless fluidity. Young Chris closes out the track with a distinct style — one that many fans argue was later co-opted by Jay-Z himself. On the following track, Timbaland misses the mark with the beat yet again, delivering another club-oriented song. His choice feels completely disconnected from the rest of the double album and this is a major issue, as it undermines the music cohesion that this second half of the double LP had been painstakingly building. With heavy, grating synths, irritating sounds, chaotic bassline, and random hi-hats, there’s nothing Jay can do to salvage this garbage. It’s a track to skip. There’s a reason if it’s one of the most hated songs in Jay-Z’s entire catalog.
On "As One", Hova gathers State Property for the project's final posse cut. Jay-Z’s engineer, Young Guru, has said that they never should have made the track or included it on the album. In reality, the idea itself wasn't bad. The beat simply doesn't work as it should, even though Just Blaze is back behind the keyboards: the Earth, Wind & Fire sample ought to work — theoretically, it does — but once it enters the track, it immediately turns fluid and practically dissolves. The synths work against the track, the drums are lively but thin, the keyboards, which should sparkle, instead move in a clunky, labored way, and the bass never emerges or sounds quite right. There are simply too many musical elements that, when combined, fail to gel into a cohesive whole. Intro by Rell, fresh second intro from Hova, and verses traded by Young Chris, Neef Buck (uncredited), Omillio Sparks, Beanie Sigel, Freeway, Peedi Crack, Jay-Z, and Memphis Bleek, the track spans four minutes. It’s not as bad as some claim; it’s just that the beat doesn't work as intended, leaving the track feeling a bit too soft to the point where, with the exception of Freeway, none of the rappers manage to deliver a truly worthy performance.
Closing out Jay-Z’s double LP is a ballad produced by The Neptunes. The artist chooses to narrate life in the ghetto, bringing a disappointing project to an end on a melancholic note. It features an R&B hook by singer Marc Dorsey, mellow synths, a thick bassline in the background, gentle keyboards, sparse downtempo drums, and a careful vocal delivery from Jay-Z. Having been embroiled in a feud with Prodigy just a year earlier, Jay-Z pays homage to him here, borrowing his lyrics from "Survival of the Fittest" for the track.
"Show You How" is the first of three bonus tracks on the double album. It features synths raining down from the sky, a sparse uptempo drum beat, a gritty bassline, and a freestyle from Hova over a Just Blaze production that falls flat — far from his best work, and frankly, quite annoying. The same producer remains at the controls for the following song, the second bonus track: it incorporates a vocal sample from N.W.A. and another from Kim Weston’s "When Something Is Wrong With My Baby", layered with blaring horns, a lively drum, and a driving bassline. Jay-Z delivers a solid, determined performance, though the track stands as one of his most misogynistic, an odd attempt to appeal to a female audience. The third and final bonus track is "What They Gotta Do, Part II": the beat, crafted by Darrell "Digga" Branch, is poor, simplistic, and weak. The drums sound cheap and thin, and the cymbals, along with a recurring, cacophonous sound looped alongside a "woo" vocal, are personally grating. While Jay’s rapping is sharp, the beat is rotten, resulting in a pretty lackluster and entirely unnecessary track.
Final Thoughts
Seventh studio album by Jay-Z. Audio engineer and Hova frequent collaborator, suggested to him to create a double album to reach the level of 2Pac and Biggie Smalls, to attain a status in hip-hop that is virtually unreachable for a living artist: that of a revered Legend. Jay-Z didn't hesitate and he made it happen. There was already an entire album, if not more, ready to go, with only a handful of tracks missing. Why not? They pulled in some outtakes left over from "The Blueprint", brought in State Property for a couple of joints, added a few guest features and a pop star or two, and that was that. The result is a 110-minute project, more than Hova can effectively handle. It’s split into two parts: the first leans toward pop-rap, targeting commercial radio and a mainstream audience, while the second is rooted in the streets, aimed at a hardcore fanbase. There are some excellent tracks, a few good ones, many mediocre pieces, and some truly terrible ones.
Like every double album in rap, this one is sprawling, bloated, excessive, messy, chaotic, muddled, lacking any real direction or concept, and self-indulgent. There's little variety and depth to the lyricism offered by a weary Jay-Z: he boasts, retreats into narrative-driven tracks, lashes out at enemies, embraces friends, and celebrates his own lifestyle. The artist has essentially been making this same album his entire career — he’s doing it again here, perhaps in a different way, but it’s the same record. It doesn’t even have a proper title. "Blueprint 2", should be fine.
Musically, Kanye West and Just Blaze — who were fantastic the previous year — return here and don't disappoint. Timbaland, having delivered one of the worst beats on the previous installment, is somehow rewarded with three tracks — all of which are terrible. The Trackmasters, who had previously copied The Neptunes, are absent, replaced by The Neptunes themselves; they do a solid job, and I have no complaints. No I.D., Heavy D, and Charlemagne also turn in good work. As a new producer for Roc-A-Fella, Digga contributes one of the ugliest beats on the entire double CD.
The final result is what Jay considers one of his worst albums, though he’s not entirely right, as there are plenty of solid tracks. Upon its release, "The Blueprint 2" received a mixed critical reception: while most music journalists viewed the work positively, fans have since come to regard it as a misstep in Jay-Z’s career. It debuted at the top of the Billboard 200, achieved triple-platinum certification less than a month after its release, and the following year went double-platinum in Canada and gold in the UK. A few months later, the rapper decided to release a condensed, single-disc version titled "Blueprint 2.1". All in all, while this effort won’t go down in history as one of the greatest hip-hop double albums of all time, it’s certainly not a total loss: it may not be an essential listen for everyone, but there's still plenty here for fans of Hova.
Rating: 6.5/10.
No comments:
Post a Comment