Author Topic: JAY-Z - 4:44 (Official Discussion Thread)  (Read 4539 times)

Marco

JAY-Z - 4:44 (Official Discussion Thread)
« on: June 18, 2017, 09:26:09 PM »


1. “Kill Jay Z”
(S. Carter, D. Wilson, A. Parsons, E. Woofson)
Produced by No ID for Rich Daily Since 71.
Published by: Carter Boys Music / Administered by Warner Chappell (ASCAP) // BMG Monarch / Let The Story Begin Publishing (ASCAP); All Rights Administered by BMG Rights Management (US) LLC // Universal Music Careers (BMI) // Universal Music Careers (BMI).
Contains a sample from “Don’t Let It Show” as recorded by The Alan Parsons Project, used courtesy of Sony Music Entertainment. This composition embodies portions of “Don’t Let It Show” written by Alan Parsons and Eric Woofson.
Recorded by Gimel "Young Guru" Keaton.
Mixed by Jimmy Douglass at United (Hollywood, CA).
Mastered by Dave Kutch at The Mastering Palace.
________________________________________________________________
2. “The Story of O.J.”
(S. Carter, D. Wilson, N. Simone, G. Redd, J. Crosby)
Produced by No ID for Rich Daily Since 71.
Co-Produced by JAY-Z.
Published by: Carter Boys Music / Administered by Warner Chappell (ASCAP) // BMG Monarch / Let The Story Begin Publishing (ASCAP); All Rights Administered by BMG Rights Management (US) LLC // EMI Waterford Music Inc. (ASCAP) // Warner-Tamerlane Publishing (BMI) // Carbert Music Inc./Carlin America (BMI).
Contains elements from “Four Women” performed by Nina Simone courtesy of Sony Music Entertainment and King Records.
Contains excerpts from “Four Women” written by Nina Simone published by EMI Waterford Music Inc. (ASCAP) used by permission. All rights reserved.
Nina Simone appears courtesy of the Nina Simone Charitable Trust and Steven Ames Brown.
Contains elements from “Kool Is Back” by Funk Inc. courtesy of Concord Records.
Contains excerpts from “Kools Back Again” written by Gene Redd and Jimmy Crosby published by Warner-Tamerlane Pub. (BMI) and Carbert Music Inc./Carlin America (BMI) used by permission All rights reserved.
Guitar, Bass, Celeste, CS-80 & Electric Piano by Steve Wyreman.
Recorded by Gimel "Young Guru" Keaton.
Mixed by Jimmy Douglass at United (Hollywood, CA).
Mastered by Dave Kutch at The Mastering Palace.
_____________________________________________________________
3. “Smile” feat. Gloria Carter
(S. Carter, D. Wilson, S. Wonder)
Produced by No ID for Rich Daily Since 71.
Co-Produced by JAY-Z.
Published by: Carter Boys Music / Administered by Warner Chappell (ASCAP) // BMG Monarch / Let The Story Begin Publishing (ASCAP); All Rights Administered by BMG Rights Management (US) LLC // Jobete Music Co. (ASCAP).
Contains elements from “Love’s In Need Of Love Today” performed by Stevie Wonder courtesy Universal Music Entertainment.
Contains excerpts from “Love’s In Need Of Love Today” written by Stevie Wonder published Jobete Music Co (ASCAP) used by permission. All rights reserved.
Recorded by Gimel "Young Guru" Keaton.
Mixed by Jimmy Douglass at United (Hollywood, CA).
Mastered by Dave Kutch at The Mastering Palace.
________________________________________________________________
4. “Caught Their Eyes” feat. Frank Ocean
(S. Carter, D. Wilson, C. Breaux, R. Newman)
Produced by No ID for Rich Daily Since 71.
Co-Produced by JAY-Z.
Published by: Carter Boys Music / Administered by Warner Chappell (ASCAP) // BMG Monarch / Let The Story Begin Publishing (ASCAP); All Rights Administered by BMG Rights Management (US) LLC // Heaven’s Research/BMG Bumblebee (BMI) // Universal Tunes obo itself and Six Pictures Music(SESAC).
Contains a sample from “Baltimore” as recorded by Nina Simone, used courtesy of Sony Music Entertainment. Contains excerpts from “Baltimore” written by Randy Newman published by Universal Tunes obo itself and Six Pictures Music (SESAC) used by permission. All rights reserved.
Nina Simone appears courtesy of the Nina Simone Charitable Trust and Steven Ames Brown.
Frank Ocean appears courtesy of Frank Ocean.
Recorded by Gimel "Young Guru" Keaton.
Mixed by Jimmy Douglass at United (Hollywood, CA).
Mastered by Dave Kutch at The Mastering Palace.
________________________________________________________________
5. “4:44”
(S. Carter, D. Wilson, K. Keeny)
Produced by No ID for Rich Daily Since 71.
Published by: Carter Boys Music / Administered by Warner Chappell (ASCAP) // BMG Monarch / Let The Story Begin Publishing (ASCAP); All Rights Administered by BMG Rights Management (US) LLC // Kanan Keeney (PRS) published by Edizioni Record Kicks (SIAE) c/o Defend Music, Inc.
Features sample of "Late Nights and Heartbreak" performed by Hannah Williams & The Affirmations. Written by Kanan Keeney (PRS) published by Edizioni Record Kicks (SIAE) c/o Defend Music, Inc. Under license from Record Kicks.
Additional Vocals by Kim Burrell.
Kim Burrell Vocal Production by James Fauntleroy.
Recorded by Gimel "Young Guru" Keaton.
Mixed by Jimmy Douglass at United (Hollywood, CA).
Mastered by Dave Kutch at The Mastering Palace.
________________________________________________________________
6. “Family Feud” feat. Beyoncé
(S. Carter, D. Wilson, E. Clark, B. Knowles)
Produced by No ID for Rich Daily Since 71.
Published by: Carter Boys Music / Administered by Warner Chappell (ASCAP) // BMG Monarch / Let The Story Begin Publishing (ASCAP); All Rights Administered by BMG Rights Management (US) LLC // Bridgeport Music Inc. (BMI) // WB Music Corp. (ASCAP) and Oakland 13 Music (ASCAP) All rights administered by WB Music Corp.
This composition embodies portions of “Ha Ya” performed by The Clark Sisters, and written by Elbernita Clark © 1991 Bridgeport Music Inc.
Beyoncé vocals recorded by Stuart White.
Recorded by Gimel "Young Guru" Keaton.
Mixed by Jimmy Douglass at United (Hollywood, CA).
Mastered by Dave Kutch at The Mastering Palace.
______________________________________________________________
7. “Bam” feat. Damian Marley
(S. Carter, D. Wilson, W. Riley, O. Russell, D. Marley, J. Miller, R. Lewis)
Produced by No ID for Rich Daily Since 71.
Published by: Carter Boys Music / Administered by Warner Chappell (ASCAP) // BMG Monarch / Let The Story Begin Publishing (ASCAP); All Rights Administered by BMG Rights Management (US) LLC // Roynet Music (ASCAP) / Westbury Music ltd (PRS) // Roynet Music (ASCAP) / Westbury Music ltd (PRS) // Biddah Muzik, Inc. (BMI) // Pop Rock Music (ASCAP) // Pop Rock Music (ASCAP)
Contains elements from “Bam Bam” performed by Sister Nancy. Written by Winston Riley and Ophlin Russell. Published by Roynet Music (ASCAP) / Westbury Music ltd (PRS). Licensed courtesy of Techniques Records by arrangement with The Royalty Network, Inc.
Contains elements from “Tenement Yard” performed by Jacob Miller. Written by Jacob Miller and Roger Lewis.
Damian Marley appears courtesy of Republic / Ghetto Youths International.
Trombone by Jonah Levine.
Trumpet & Flugelhorn by Crystal Rovél Torres.
Tenor Sax by Kenneth Whalum.
French Horn by Nathan Mercereau.
Guitar, Bass, Electric Piano & Synths by Steve Wyreman.
Recorded by Gimel "Young Guru" Keaton.
Additional Recording Engineer, Michael Law Thomas
Assistant Engineer, Casey Cuayo
Mixed by Jimmy Douglass at United (Hollywood, CA).
Mastered by Dave Kutch at The Mastering Palace.
_______________________________________________________________
8. “Moonlight”
(S. Carter, D. Wilson, L. Hill, W. Jean, P. Michel, S. Remi Gibbs, M. Brockert, A. McGrier)
Produced by No ID for Rich Daily Since 71.
Co-Produced by JAY-Z.
Published by: Carter Boys Music / Administered by Warner Chappell (ASCAP) // BMG Monarch / Let The Story Begin Publishing (ASCAP); All Rights Administered by BMG Rights Management (US) LLC // Sony/ATV Tunes LLC (ASCAP) // Obverse Creation Music Inc. (ASCAP) // Huss-Zwingli Publishing Inc. (ASCAP) // Tete San Ko Publishing Inc.(ASCAP) // EMI April Music Inc. (ASCAP) // Salaam Remi Music Inc. (ASCAP) // Midnight Magnet Music Publishing (ASCAP) // McNella Music (ASCAP)
Contains a sample from “Fu-Gee-La” as recorded by The Fugees, used courtesy of Sony Music Entertainment.
Recorded by Gimel "Young Guru" Keaton.
Mixed by Jimmy Douglass at United (Hollywood, CA).
Mastered by Dave Kutch at The Mastering Palace.
________________________________________________________________
9. “Marcy Me”
(S. Carter, D. Wilson, J. Cid, T. Brito, T. Nash)
Produced by No ID for Rich Daily Since 71.
Published by: Carter Boys Music / Administered by Warner Chappell (ASCAP) // BMG Monarch / Let The Story Begin Publishing (ASCAP); All Rights Administered by BMG Rights Management (US) LLC // SPA (SPA) // EMI MUSIC PUBLISHING PORTUGAL ED MUSICAIS LDA (SPA) // 2082 Music Publishing / WB Music Corp (ASCAP)
Additional Vocals by The-Dream.
Contains elements from “Todo O Mundo E Ninguém” performed by Quarteto 1111, used courtesy of Valentim Records and written by José Cid & Tozé Brito courtesy of SPA.
Guitar, Hammond Organ, Synth by Steve Wyreman.
Guitar, Piano & Moog by Nate Mercereau.
Vocoder by Ron Gilmore Jr.
The-Dream Vocals Recorded by Mike Miller.
Recorded by Gimel "Young Guru" Keaton.
Mixed by Jimmy Douglass at United (Hollywood, CA).
Mastered by Dave Kutch at The Mastering Palace.
________________________________________________________________
10. “Legacy”
(S. Carter, D. Wilson, E. Howard, D. Hathaway)
Produced by No ID for Rich Daily Since 71.
Co-Produced by JAY-Z.
Published by: Carter Boys Music / Administered by Warner Chappell (ASCAP) // BMG Monarch / Let The Story Begin Publishing (ASCAP); All Rights Administered by BMG Rights Management (US) LLC // Universal Music-MGB Songs (BMI) obo itself and Kuumba Music (BMI), WB Music Corp. (ASCAP), Microhits Music (ASCAP)
Additional Vocals by Blue Ivy Carter.
Additional Vocals by James Fauntleroy.
Contains sample from Donny Hathaway recording “Someday We’ll All Be Free”. Produced Under License from Rhino Entertainment Company, a Warner Music Group Company.
Contains excerpts from “Someday We’ll All Be Free” written by D Hathaway, E. Howard published Universal Music-MGB Songs (BMI) obo itself and Kuumba Music (BMI), WB Music Corp. (ASCAP), Microhits Music (ASCAP) used by permission. All rights reserved.
This composition embodies portions of “Glaciers of Ice” written by Dennis Coles, Robert Diggs, Elgin Turner and Corey Woods used by permission.
Recorded by Gimel "Young Guru" Keaton.
Mixed by Jimmy Douglass at United (Hollywood, CA).
Mastered by Dave Kutch at The Mastering Palace.
________________________________________________________________

4:44 Bonus

11. "Adnis”
(S. Carter, J. Blake, D. Wilson)
Produced by James Blake.
Additional Production by NO ID for Rich Daily Since 71.
Published by: Carter Boys Music / Administered by Warner Chappell (ASCAP) // Sony ATV Music Publishing (PRS) // BMG Monarch / Let The Story Begin Publishing (ASCAP); All Rights Administered By BMG Rights Management (US) LLC
Piano by James Blake.
Recorded by Gimel "Young Guru" Keaton.
Mixed by Jimmy Douglass at United (Hollywood, CA).
Mastered by Dave Kutch at The Mastering Palace.
________________________________________________________________
12 .“Blue’s Freestyle / We Family”
(S. Carter, D. Wilson, S. Bazanta, R. Gilmore Jr.)
Produced by No ID for Rich Daily Since 71.
Co-Produced by JAY-Z.
Published by: Carter Boys Music / Administered by Warner Chappell (ASCAP) // BMG Monarch / Let The Story Begin Publishing (ASCAP); All Rights Administered By BMG Rights Management (US) LLC // Astar Artes Publishing/Womad Music (PRS) // Ron Gilmore Music (BMI) administered by Missing Link Music LLC
Additional Vocals by Blue Ivy Carter.
Contains elements from “La Verdolaga” performed by Totó la Momposina, used courtesy of Astar Artes Recordings.
This composition embodies portions of “La Verdolaga” written by Sonia Bazanta published by Astar Artes Publishing/Womad Music used by permission. All rights reserved.
Guitar, Bass, CS-80 & Electric Piano by Steve Wyreman.
Moog, Arp String Ensemble & Celeste by Nate Mercereau.
Recorded by Gimel "Young Guru" Keaton.
Mixed by Jimmy Douglass at United (Hollywood, CA).
Mastered by Dave Kutch at The Mastering Palace.
________________________________________________________________
13. “MaNyfaCedGod” feat. James Blake
(S. Carter, D. Wilson, J. Blake, D. Maker, S. Robinson, M. Burton, J. Peters, A. Poree)
Produced by James Blake & Dominic Maker.
Additional production by No ID for Rich Daily Since 71.
Published by: Carter Boys Music / Administered by Warner Chappell (ASCAP) // Sony ATV Music Publishing (PRS) // Warp Publishing (PRS) // BMG Monarch / Let The Story Begin Publishing (ASCAP); All Rights Administered by BMG Rights Management (US) LLC // Twenty Nine Black Music (BMI) obo itself and Songs of Universal, Inc. // Gambi Music, Inc. (BMI) obo itself and Songs of Universal, Inc. // Porpete Music (BMI) // Porpete Music (BMI)
This composition embodies portions of “Pillow Talk” performed by Sylvia Robinson used courtesy of Sugar Hill Records and written by Sylvia Robinson and Michael Burton.
This composition embodies portions of “Going In Circles” recorded and performed by Dwight T. Ross, and is used courtesy of The Ross Family.
James Blake appears courtesy of Polydor Limited.
Piano by James Blake.
Recorded by Gimel "Young Guru" Keaton.
Mixed by Jimmy Douglass at United (Hollywood, CA).
Mastered by Dave Kutch at The Mastering Palace.
______________________________________________________________
______________________________________________________________
EXECUTIVE PRODUCER: Shawn “JAY-Z” Carter
CO-EXECUTIVE PRODUCER: No ID for Rich Daily Since 71
A&R: Shawn “JAY-Z” Carter
CREATIVE DIRECTION: Willo Perron
ART DIRECTION: Brian Roettinger
MARKETING: Roc Nation
LEGAL: Christina Suarez & Todd Mumford
SAMPLE CLEARANCES: Deborah Mannis-Gardner, DMG Clearances, Inc.
A&R ADMINISTRATION: Karen Console & Krystian Santini
(p)(c) 2017 S. CARTER ENTERPRISES, LLC. MARKETED BY ROC NATION & DISTRIBUTED BY ROC NATION/UMG RECORDINGS INC.
« Last Edit: July 29, 2017, 04:36:35 PM by Marco »
 

Dogg Ly Dogg

Re: Jay Z Announces New "4:44" Album Exclusive to Sprint and Tidal Users
« Reply #1 on: June 19, 2017, 02:05:18 AM »
Jay Z aint relevent since Black Album 14 years ago... so no thanx
 

SuperSpider

Re: Jay Z Announces New "4:44" Album Exclusive to Sprint and Tidal Users
« Reply #2 on: June 19, 2017, 03:58:28 AM »
Wait, so they want to DISCOURAGE people signing up for Tidal and Sprint? I don't even remember the last time I heard of someone who waited on a new Jay-Z project unless it was someone recycling the same top 5 rappers' list over and over
 

Marco

Re: Jay Z Announces New "4:44" Album Exclusive to Sprint and Tidal Users
« Reply #3 on: June 19, 2017, 01:14:05 PM »
Jay Z aint relevent since Black Album 14 years ago... so no thanx

"American Gangster" was a dope album to me.
 

soopa-man

Re: Jay Z Announces New "4:44" Album Exclusive to Sprint and Tidal Users
« Reply #4 on: June 21, 2017, 09:52:12 AM »
It's the same marketing ploy he did last time, just another way to make it sound like he is selling more than he is.  Last time they said he sold a million because of the cellphone app he did with some cellphone company.  As long as the music is dope I guess
 

Dogg Ly Dogg

Re: Jay Z Announces New "4:44" Album Exclusive to Sprint and Tidal Users
« Reply #5 on: June 30, 2017, 12:33:10 AM »
10 songs, No ID on them tracks and it's pure trash!
 

doggfather

Re: Jay Z Announces New "4:44" Album Exclusive to Sprint and Tidal Users
« Reply #6 on: June 30, 2017, 12:34:26 AM »
album is out, and twitter went crazy after listen.
https://twitter.com/dggfthr

http://dogg-n-roll.blog.hu/

HELP

I'm an ol' school collecta from the 90's SO F.CK DIGITAL, RELEASE A CD!

 

HighEyeCue

Re: Jay Z Announces New "4:44" Album Exclusive to Sprint and Tidal Users
« Reply #7 on: June 30, 2017, 06:57:06 AM »
album is out, and twitter went crazy after listen.

a response to Beyonce's Lemonade album?
 

me1

Re: Jay Z - 4:44 (Official Discussion Thread)
« Reply #8 on: June 30, 2017, 06:48:40 PM »
I lost faith in Jay around the Empire State of Mind days... when he was friends with Arod and had run out of ways to floss over beats, talking about art, etc.

This one is good tho. Best content yet, one producer sound and feel. Too many quotables to list here, for real. Short though. 10 tracks, 36 mins
 

Ebony Zebedee

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Re: Jay Z - 4:44 (Official Discussion Thread)
« Reply #9 on: June 30, 2017, 06:55:34 PM »
Here's The Story Of OJ the only song Ive heard on twitter. Seeing all the bars being quoted and knowing I'll never hear the full album leaves me out the loop a bit but the video is a nod to racist era cartoonist impression of Blacks in the US and the hook is pretty deep. Seen comments about people knowing Jay a hustler so they aint getting hustled into buying the album and one person made a comment about this being Jays attempt to encourage Black Capitalism as a cure for Poverty which they dont agree with. Cant tell if anyone here actually bought the album. Suprised there hasnt been been more discussion.

Listen to and watch The Story Of OJ here https://twitter.com/unoriginaltrend/status/880887870759632896
 

Chamillitary Click

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Re: Jay Z - 4:44 (Official Discussion Thread)
« Reply #10 on: June 30, 2017, 07:13:08 PM »
This album is fire for what it is. No ID came with monster production.

Jay really impressed me. Jay gets deep, nothing commercial at all. Nigga just rhyming.
 

sofdark

Re: Jay Z Announces New "4:44" Album Exclusive to Sprint and Tidal Users
« Reply #11 on: June 30, 2017, 10:02:32 PM »
It's the same marketing ploy he did last time, just another way to make it sound like he is selling more than he is.  Last time they said he sold a million because of the cellphone app he did with some cellphone company.  As long as the music is dope I guess

That company was Samsung, 2nd biggest smart device makers in the world.
 

dnjp4life

Re: Jay Z - 4:44 (Official Discussion Thread)
« Reply #12 on: July 01, 2017, 04:46:30 AM »
I heard 'Family Feud' playing on the radio yesterday, and was impressed by it, but mainly for the beat.
I've never been a big Jay-Z fan but I might just give this a listen.
 

BIGWORM

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Re: JAY-Z - 4:44 (Official Discussion Thread)
« Reply #13 on: July 01, 2017, 03:55:43 PM »
This album is the shit! I bang'd it out on a hwy cruise today and enjoyed it from beginning to end. Production is nice and sounds like an album not a bunch of comercial gimmick singles smased together. Honestly I wasn't expecting anything from this so it was a surprise. Jay brought it back with this one.
 

Marco

Re: JAY-Z - 4:44 (Official Discussion Thread)
« Reply #14 on: July 01, 2017, 05:23:37 PM »
I really enjoying this album! No I.D. production is on top. :o 8)
 

me1

Re: JAY-Z - 4:44 (Official Discussion Thread)
« Reply #15 on: July 02, 2017, 05:44:16 PM »
Apparently the FLAC version was made free on tidal briefly for subscribers and non-subscribers alike for about 18 hours or maybe a full day...it's since been taken down tho.

anyone get their hands on that?
 

Lucifuge

Re: JAY-Z - 4:44 (Official Discussion Thread)
« Reply #16 on: July 04, 2017, 02:28:46 AM »
Shits trash hands down. No flow jsut a bunch words throw it down. Production is crazy.
ALESSANDRO DEL PIERO!!!

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tyranasaurus rex like fuck a bitch
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eat a bowl these bitch gobbling dick
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The Predator

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Re: JAY-Z - 4:44 (Official Discussion Thread)
« Reply #17 on: July 04, 2017, 03:51:49 AM »
NO I.D. made good use of what must of been a lavish budget.
 

doggfather

Re: Jay Z Announces New "4:44" Album Exclusive to Sprint and Tidal Users
« Reply #18 on: July 04, 2017, 06:28:13 AM »
album is out, and twitter went crazy after listen.

so do i.

really good album. i mean i am shocked, and suprised.
https://twitter.com/dggfthr

http://dogg-n-roll.blog.hu/

HELP

I'm an ol' school collecta from the 90's SO F.CK DIGITAL, RELEASE A CD!

 

b.laden

Re: Jay Z Announces New "4:44" Album Exclusive to Sprint and Tidal Users
« Reply #19 on: July 04, 2017, 06:54:34 AM »
Jay Z aint relevent since Black Album 14 years ago... so no thanx
;D i d say 20 years ...
 

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Re: JAY-Z - 4:44 (Official Discussion Thread)
« Reply #20 on: July 06, 2017, 12:19:44 PM »
<a href="https://www.youtube.com/v/RM7lw0Ovzq0" target="_blank" class="new_win">https://www.youtube.com/v/RM7lw0Ovzq0</a>

-------------------------

Quote
Jay-Z :: 4:44
Roc Nation

Author: Sy Shackleford

Four years ago, when "Magna Carta... Holy Grail" dropped, I considered it mostly a lyrical exercise in an indulgence that was just as pervasive in hip-hop as it was redundant. Though hip-hop music is a youth-oriented institution, if you can spit proper, then age is irrelevant. But my reservations at the time about Jay-Z didn't concern his age, but rather his unparalleled accomplishments, both personally and professionally. With all that he's done, what was there left for him to talk about? He's no longer hungry like he was on "Reasonable Doubt" and "In My Lifetime, Vol. 1"; he doesn't have a crew anymore like he did on "Vol. 3... Life and Times of S. Carter" and "The Dynasty Roc La Familia"; the man has done it all and rapped about it all. While I liked Magna Carta, I felt that he didn't have a wide range of topics to discuss going into it. Songs like "Picasso Baby" and "Tom Ford" unnerved me because I felt it was pretentious to rap about owning high-class art. Four years later, I now consider myself to be wrong.

Content-wise, Jay-Z was somewhat pushing the envelope on that album by referencing all this traditional artwork, particularly when you read up on Jean Michel's history ("Spray everything like SAMO" was a Basquiat reference). His seemingly bourgeois affectations and thirst for "unattainable" things in life was him telling his listeners to wake up and broaden their horizons. While he was bragging, he was definitely not bragging about the same things as everyone else. On his 13th studio album "4:44" that statement rings very true. Actually, he's not bragging at all. What he does is answer the questions that the public most certain has, and then some. Though he has addressed the dichotomy of Shawn Carter and Jay-Z before, "4:44" is his most personal lyrical analysis of his own juxtaposition of selves yet. A mix of confessions, regrets, life-lessons, and legacies, "4:44" is hip-hop as an adult contemporary style.

Much like his last album, Jay has shown that he can announce that he'll be releasing an album next week via technological applications and people will devour it in spades. Though this time his album was available exclusively through the Sprint-owned music streaming service TIDAL, the result was still the same. "4:44" has had no lead singles or that much promotion, but he knew the album would sell by the strength of his name and reputation alone. For his business acumen in the streets and the boardroom, he's an amalgam of Avon Barksdale and Stringer Bell. Veteran Chicago beatsmith No I.D. produced the entirety of this album. It was a good decision for Jay to work with him. The way No I.D. can flip samples makes his music fun to listen to straight all the way through. It's near-dearth of guest stars here is also a plus. With 10 tracks clocking in at under forty minutes, Jay-Z enlisted just three.

The album's opener, "Kill Jay-Z", has been heavily discussed for Hov's subliminal shots at Kanye West. The concept of the song, however, has Jay rapping at himself, and is a lyrical equivalent of the ending scene of his 2004 music video for "99 Problems" where Jay is riddled by gunshots, reportedly representing the death of Jay-Z and the rebirth of Shawn Carter.

The second track has a beat comprised of a piano sample, accompanying bass, and a sped-up vocal sample. Titled "The Story of O.J.", he drops some knowledge about what it means to be an Ÿber-successful African-American. With lines like "Y'all think it's bougie, I think that's fine, but I'm just tryna give you $1 million worth of game for only $9.99" (which is ironic because TIDAL made this album available for free with no subscription just this past Sunday night), it's clear he's been watching House of Cards on Netflix: "He chose money over power. In this town, a mistake nearly everyone makes. Money is the Mc-mansion in Sarasota that starts falling apart after 10 years. Power is the old stone building that stands for centuries. I cannot respect someone who doesn't see the difference." He expresses regrets over having so much money at one point with no real financial freedom or the foresight to make smart investments with it. He's at his most lyrical on "Smile". With frantic snares and multi-track gospel vocals in the background, he has his mother, Gloria Carter, deliver a Big Rube-like spoken word outro. Also, it's the most lyrically autobiographical track on the album with a revelation about his mother:

"Mama had four kids, but she's a lesbian
Had to pretend so long that she's a thespian
Had to hide in the closet, so she medicate
Society shame and the pain was too much to take
Cried tears of joy when you fell in love
Don't matter to me if it's a him or her
I just wanna see you smile through all the hate
Marie Antoinette, baby, let 'em eat cake"


Of course, this review would be remiss if it were not to include at least something about the biggest question about Jay-Z that everyone's had on their mind. That question was borne of his wife, Beyonce and her 2016 controversial song "Sorry", which alleged that Jay had a mistress. The title-track on this album finally answers that question and doubles as an answer record to "Sorry". He confesses his infidelities and apologizes profusely over a soulful sample.

As a man, husband, and father, he expresses a good level of shame at what he's done. He raps "what good is a menage-a-trois when you've got a soulmate". Apart from his mother, the other two guest appearances on the album are Frank Ocean and Damian Marley on the Nina Simone-sampling "Caught Their Eyes" and the Dancehall style "Bam", respectively.

One of two standout tracks on the latter half of the album is "Family Feud". In it, he addresses the current state of hip-hop in relation to the lack of support within rap culture, as well as its perception and inequality of wealth. The second is "Marcy Me", which is the second best song on the album after "Smile". The beat has a Marvin Gaye feel to it with the blues piano sample and is a love letter to the Marcy section of Brooklyn where Jay was raised, lyrically applying a mother as a metaphor to represent where he grew up.

Lyrically, Jay-Z still has his gift for wordplay and flow. For what he does not display in terms of technical emceeing ability on this album, he makes up for it by dropping clever gems filled with knowledge. Despite the album's flaws (the production on "Moonlight" and "Legacy" is their only saving grace), what makes it listenable as far as lyrics go is the that, on one hand, it's a swipe at his critics. On the other hand, it's self-aggrandizement mixed with self-criticism. Jay-Z is well-aware of how he's perceived, but he's mindful about it now more than ever. With the monumental ambition, drive and success, maybe he should've titled the album "How to Make It in America". After all, nothing succeeds like success.

Music Vibes: 9 of 10 Lyric Vibes: 6 of 10 TOTAL Vibes: 7.5 of 10
« Last Edit: July 06, 2017, 12:28:37 PM by The Predator »
 
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Blood$

Re: JAY-Z - 4:44 (Official Discussion Thread)
« Reply #21 on: July 06, 2017, 04:01:41 PM »
I fuck with the album, short but sweet and it's something different from Jay... probably ranks somewhere in the middle tier of his catalog  8)
 

Marco

Re: JAY-Z - 4:44 (Official Discussion Thread)
« Reply #22 on: July 06, 2017, 09:28:41 PM »
Album is now available on iTunes:
4:44 by JAY-Z
https://itun.es/us/jJ15kb
 

doggfather

https://twitter.com/dggfthr

http://dogg-n-roll.blog.hu/

HELP

I'm an ol' school collecta from the 90's SO F.CK DIGITAL, RELEASE A CD!

 

Okka

Re: JAY-Z - 4:44 (Official Discussion Thread)
« Reply #24 on: July 07, 2017, 11:39:21 AM »
I gotta give this one a spin. A lot of people were suprised by how good this album is.