If The Black Album is truly Jay-Z's last statement before retirement, he at least goes out near the top of his game. While it probably won't be remembered as his best album, The Black Album is his most personal to date and features some of his most compelling writing. Jay-Z is defiant and defensive here--he's trying to make sure his legacy is properly acknowledged, although he can get a bit heavy-handed at times. Still, he's rarely been more incisive or insightful in his rhymes, exposing his own childhood struggles on songs like "December 4th" while slapping at his haters with "What More Can I Say" and the cutting "Threat." Longtime Jay-Z collaborators Just Blaze and Kanye West churn out outstanding production, especially Blaze, whose beats for "December 4th" and "Public Service Announcement" are among the album's best. Newcomers Aqua and the Buchanans represent well also but Eminem's minor-key drone for "Moment of Clarity" is mired in mediocrity. Jay might fade to black after this one but his last shot doesn't miss. --Oliver Wang
An unofficial musical companion to the film of the same name (dir. Ridley Scott), American Gangster traces the rise and fall of a self-made American man. Sound tired? Perhaps, but a dozen albums into his career, Jay-Z can be forgiven his occasional dabbling in shopworn archetypes. A panoramic, cinematic work in four acts, American Gangster bulges with instrumental melodrama. Take "American Dreamin'": despite the Diddy-produced track's sultry, shifty beat, a pile of whining strings and tinkling piano flourishes all but completely suppresses the rhythmic interplay between the vocals and drums. Again and again, Jay-Z's otherwise compelling raps fall prey to a similarly overwrought studio aesthetic. (In this, the album resembles many a Ridley Scott film.) There are exceptions: Bigg D's "Hello Brooklyn 2.0" and the Neptunes' "I Know" and lead single "Blue Magic" are unqualified bangers, and Jermaine Dupri's "Success" (featuring Nas) flaunts a relentless organ lick with 'round-the-way mojo to spare, but the album's overriding sonic melodrama is all Diddy. Still, no one steals Jay-Z's thunder easily. Having long since joined the top ranks of the hip-hop elite, Jay-Z can (and does) ultimately weather the best efforts of another major-league ego and still come out on top. --Jason Kirk
Jay-Z's classic debut is a compelling reflection on his life as a hustler. It's invested with an uncommon complexity and candor that has noticeably faded in his later material. Armed with clever phrasing and sly deadpan wit, Jay-Z navigates indulgent romps ("Can't Knock the Hustle"), thought-provoking introspection ("Regrets"), and devastating street-corner soliloquies ("Friend or Foe") with savvy composure. The beats on Reasonable Doubt, provided by the likes of DJ Premier & Ski, are as irresistibly slick as his persona. "Brooklyn's Finest," his mic-passing session with his friend Notorious B.I.G., takes on a torch-passing significance in the wake of Biggie's death. That song, and the entire album, foreshadows Jay-Z's subsequent ascension to kingpin status. --Del. F. Cowie
The Blueprint may be Jay Z's most captivating record since Reasonable Doubt, but its predictably detached mood reflects the master hustler's superior ability to trick out lackluster subject matter with lyrical complexity and brief flashes of manufactured introspection. The Blueprint, a solid mix of preprogrammed radio hits ("Izzo," "Girls, Girls, Girls") and better-than-average mid-tempo compositions ("Never Change," "Song Cry"), confirms the Brooklyn rapper's legendary status. Blistering flames of the Queensbridge/Jay Z feud fan high with "Takeover," a direct attack on Nas, set over the Doors' rock & roll burner, "5 to 1." "Renegade" provides the album's only full-on guest appearance. Jay and Eminem take this opportunity to address haters (within the industry and in the general population) who don't understand the mind of an artist. Jigga spells it out on the title track: "Reasonable Doubt--classic, shoulda went triple." The Blueprint might not be quite on par with Reasonable Doubt but it is reasonably good. --Rebecca Levine
