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Each listen will bring a new favorite to the forefront: one time it might be the smooth Isaac Hayes samples of “Can I Live”, another the richly lusterous orchestral Primo sounds of “Bring it On” with Big Jaz and Sauce Money, or even the true debut of Memphis Bleek over Eddie Henderson grooves on “Coming of Age.” The song that probably sent the biggest shockwaves through hip-hop was the pounding piano keys and chunky bass of “Brooklyn’s Finest” featuring the one and only Notorious B.I.G. With this album there are so many highlights it’s hard to even pick out individual lyrics or songs to salute. That’s right, it’s wicked, that’s life, I live itĪin’t askin for forgiveness for my sins.”Īnytime someone questions Jay-Z’s value as a lyricist based on his commercial success, early songs like these confirm why Jay’s lofty perch atop rap is so richly earned. Life ills, poison my body – and used to say ‘fuck mic skills’ I’m trying to live it to the limit and love it a lot
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Nine to five is how to survive, I ain’t tryin to survive Whoever said illegal was the easy way outĪnd the workings of the underworld, granted None of my friends speak, we’re all tryin to winīut then again maybe it’s for the best thoughĬause when they seein too much, you know they tryin to get you touched “This shit is wicked on these mean streets Carter’s life clear when he raps, “Y’all feel a nigga’s struggle, y’all think a nigga love to hustle behind the wheel, tryin to escape my trouble.” Clearly, as much as he enjoys the fruits of his labors he feels success is itself a trap – an issue he addresses in even greater detail on the chilling Primo produced track “D’Evils”: “Politics as Usual” makes the duality of Mr. Who indeed could knock his hustle? With this album though, good things only get better as you go. Displaying a wide versatility in his rap verse, Jay-Z simultaneously avoids simplistic rhyme schemes, shows a witty use of similies and metaphors, and even makes a political statement on how urban youths are forced to make the best of limited opportunities. There you have it – Shawn Carter, out to bust the rap world wide open.
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Let’s, get together and make this whole world believe us huh?Īll us blacks got is sports and entertainment, until we evenĬan’t knock the way a nigga eatin – fuck you even!” Serve like Sampras, play fake a rappers like a campus Tried to get a nut and he got a nut and what “My pops knew exactly what he did when he made me Blige on the hook, the song was infinitely danceable, but the lyrics he spit were far from just the average shit: Even a nobody ironically named Knowbody put together an incredibly smooth opening track for Jay that became the mantra of his career: “Can’t Knock the Hustle.” With a bouncy beat and Mary J. Shawn had spent his time crafting his rhymes, and he paired a well prepared flow with the best beatmakers in rap: Ski, Clark Kent, and DJ Premier laced tracks so fat your ears would need Slim Fast.
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Even so, by the time “Reasonable Doubt” dropped in 1996, many people would have mistaken it for a new jack rapper’s national debut instead of an industry veteran’s first full LP.Įither way, the chance to introduce himself to the public was certainly not wasted. Cameos on hit Jaz songs like “Hawaiian Sophie” and “The Originators” though parlayed into bigger appearances on albums by New York favorites such as Big L and Mic Geronimo. Jigga paid dues for years as the protege of the rapper Jaz, to little acclaim. That’s not to say Jay-Z didn’t pay his dues and earn the right to be recognized, but like champagne good things only bubble up over time. You could actually respond with “Who?” when someone said his name out loud. That most commercially recognizable of all rappers used to have less visibility than a Kia Sportage. Hard as it is to believe now, there was a day and time in rap’s history when there was no H to the Izzo, no Jay-Hova, no Jigga Man, and even a time when there was no Jay-Z on radio.