[Bring the Noise deleted scene #61]

JAY-Z, The Blueprint
Uncut, autumn 2001

by Simon Reynolds

This is supposed to be Jay-Z's big comeback. Which is odd 'cos he's been "away" a year, and the last album sold a couple of million. Then again, the one before sold more, and the album before that shifted five mill. So the perception was that Jay-Z had fallen off significantly (and bar the Neptunes-produced monstergroove "I Just Wanna Love U," the last record did show signs of burn-out) while the hype is "Jay-Z reclaims the throne"--a coup almost unprecedented in the merciless, high-turnover world of rap supastardom.

Clearly the embattled star felt he had much to prove, because it's all nonstop Jay-Z: no verses farmed out to proteges from his Roc-A-Fella camp, and the only celebrity guest is Eminem, whose flow on "Renegade" is so dense and twisting it damn near sprains your brain. The CD booklet shouts out "To This Whole Fake Bulls**t Industry, Thanx 4 being so Fake and Keeping me on my Toes!!!," and the lyrics stomp down various upstarts who'd been sniping that Jay was slippin'. "Takeover" absolutely DESTROYS Nas, ridiculing his output ("that's a one hot album in every ten years average") and boasting alpha-male style of fucking his girl ("you know who/did you know what/with you know who"). The track is based on The Doors's "Five To One" (Morrison hoarsely hollering "gonna win, yeah/we takin' over") and there's more inspired pop intertexuality when the chorus from Bowie's "Fame" is transformed into a series of deathblow disses: "that's why you're... LAAAAAME!!!".

If The Blueprint is a triumph, it's one of form over content: Jay-Z's got nothing new to say, but loads of fresh twists on the same-old same-old. Plus he's always been able to cherrypick the hottest tracks from the most inventive trackmasters, and the sonics here are relentlessly ear-catching. Almost every tune sounds like a hit: Kanye West's insanely catchy Jackson 5-based "Izzo," the swampy reggaematic fonk of Timbaland's "Hola Hovito", the drum 'n'bassy tympani thunder of Bink's "All I Need," Just Blaze's "U Don't Know" with its sped-up diva histrionics like parakeets on amyl, the crunchy-yet-wet percussion and snakecharmer melodics of Poke & Tone's "Jigga That N***a" .

Apart from Jay's mic' hogging, the most striking thing about The Blueprint is how deeply steeped it is in 70s soul. Ignoring the fact that this music's melt-your-hard-heart tenderness was originally radically opposed to big-pimpin' niggativity, Jay-Z deploys the timeless sweetness of Al Green, Bobby Blue Bland, and David Ruffin to sugarcoat his own ultra-cynical worldview. The plea for social redemption in "Heart of the City (Ain't No Love)" gets flipped around into Jay-Z complaining about resentful haters: "where's the love?," he asks, as if it never occurred to him that rubbing your success in people's faces will rub 'em up the wrong way. Jay-Z's OG shtick involves the fact that he was wealthy through drug dealing before he became a rap star, and that "the rap game" is just a phase before even greater glories. "Put me anywhere on God's green earth/I triple my worth... I'm a hustler, baby/I sell water to a well". The sole chink in these delusions of invincibility comes with "Song Cry", an almost-apology to the girl he lost through fucking around. The title's clever concept is that the music (more symphonic soul) sheds the tears Jay-Z's too tough to weep.

Rap's mystery is that people pay to be entertained by what they'd normally flee: vivid death-threats, bores bragging about their income and sexual conquests. Clearly a deeply unpleasant fellow, Jay-Z is also mildly evil. How about the line "I'm still fuckin' with crime, 'cos crime pays" for socially destructive myth-mongering? Ultimately, though, resistance is futile. So give it up for the don of disrespect, the virtuoso of vanity, the king of conceit.