Mos Def & Talib Kweli are Black Star

Despite it being Half Term this week, I've really not had any time to sit down and write about an album until now, what with homework, driving lessons, gym... oh, and listening to a lot of new music as well, of course. It's been a surprisingly busy week, but now, on the final day of this holiday, I've finally found time to sit, chill, and make a blog. Nice.

In the mid to late '90s, underground hip-hop was starting to become more and more of a frequently used term, as the genre became more and more popular and therefore had more and more participants as well. While in the mainstream you had A Tribe Called Quest, Jay-Z, OutKast and Nas, and on the distributing but not quite "major labels" you had Tha Alkaholiks, various members of Wu-Tang Clan and Xzibit, on a small New York based label called Rawkus Records, some MCs were starting to make noise. In 1997, hip-hop trio Company Flow released their debut group album, Funcrusher Plus (already covered on here) - which was excellent - and beside them we had other artists making their name with singles, whether that be Shabaam Sahdeeq, Pharoahe Monch or R.A. the Rugged Man. Perhaps the two most widely anticipated, however, were none other than Mos Def and Talib Kweli, who's appearances on Rawkus' compilations garnered a lot of hype for potential albums. Perhaps what the audience didn't expect, however, was for the pair to team up on their very first outing in 1998. But they did, and what we got, was Mos Def & Talib Kweli are Black Star, a hip-hop classic.

As a younger listener, this certainly wasn't my introduction to either MC - in fact, both member's appearances on Kanye West's The College Dropout was almost certainly the first time I heard either. And, in fact, it wasn't until I had heard two Mos Def solo albums and one solo from Kweli that I finally got around to checking this thing out. And given that my exposure to Mos Def included his debut solo Black On Both Sides, as well as the brilliant and highly underrated The Ecstatic, it's safe to say that I had pretty damn high expectations for this thing going into it. Oh, and there's a Common feature too. Anyone who's familiar with this blog should know I would have been excited about that. 

So did this album deliver? Well, to answer that, just remember the name of the guy on the left of this album cover. 

Most Definitely.

1. Intro (prod. DJ Hi-Tek, co-prod. Talib Kweli)

A surprisingly eerie introduction track consisting of a sample from a speech, some dark piano keys and dusty drums, and some haunting record scratches that wouldn't sound out of place on a horrorcore album. This intro is intriguing as shit, though, and certainly does quite the job of hyping our two hosts up. As album intros like these go, this one ain't half bad. 

2. Astronomy (8th Light) (feat. Weldon Irvine) (prod. Mr. Walt of the Beatminerz)

The first actual song on this album is this slightly sinister yet also absolutely beautiful track, where Mos and Talib not only introduce themselves as brilliant MCs, but also spokesmen for their race and true knowledgeable men who have a lot to say. The intensity displayed within the back and forth verses here is highly intriguing, and surely not what anyone would have expected in the very first track, and it really helps excite the listener for what's to come. On the song, Black Star are like a hive mind, and with the amount of times they pass the mic back and forth between verses to relay their food for thought, and their explanation on why exactly the group and album were conceived, you have to wonder which bits were written by whom, as neither MC gets more than four bars at a time on the mic before the other swoops in and grabs it. On the track, Mos Def is the more entertaining with the clearly better voice, but Talib arguably is the more grounded of the two and the better lyricist (on this track at least), and they bounce off each other as smoothly as two beachballs. Team that with a fantastic instrumental that's just subtle enough not to take away from the two lead MCs, and you've got a brilliant opener on your hands. Could this be off to a better start?

3. Definition (prod. DJ Hi-Tek)

The lead single, that for some odd reason I didn't really enjoy on first listen. I think it's the beat, which is a lot more simplistic than I was expecting for something considered to be an absolute hip-hop classic. I was expecting something similar to the Mos Def solo song "Hip Hop" I think (don't ask me why, I have no idea), and when I didn't get that I was disappointed. Still, after two more listens I was seduced by the track's relentless energy, the incredible flows of both MCs, and the fantastically catchy hook. Oh, and the beat too, which is actually a lot better than I initially thought. Sure, there isn't a lot going on, but the drum pattern and bass teamed with the glittering keys and samples coming in every now and then make it one of the darker and more intense instrumentals seen on a so-called "conscious" hip-hop album. The lyrics on here consist of a mix of bragging and more socially conscious lyricism, and for my money Talib is the better rapper here, especially during his second verse - "livin' my life, expressing my liberty, it gotta be done properly, my name is in the middle of equality" is my favourite part. Still, Mos Def shines through on the incredibly catchy chorus anyway. Shit, this song is brilliant. Still, there's one thing - what would a darker, richer sounding version be like? Hmmm...

4. RE:DEFinition (prod. DJ Hi-Tek)

Oh right! It would sound like this! Coming in hot with one of the coldest titles in hip-hop history, this is kind of a remix to the last song, but it sounds very different. The instrumental is darker, with the use of violins giving it a cold and creepy air - meanwhile, the two MCs spit completely different verses, Mos Def's the most impressive yet on the entire album. I mean, just listen to that rhyme scheme! The only thing that remains the same really is the chorus, but that's fine because I really enjoy that anyway - and it's sung in a more dramatic way here in keeping with the thrilling instrumental. Mos Def's cries before the first chorus are indicative of the man's later ventures into singing, where on an album like The New Danger he would get really passionate with it. But here he sounds absolutely great, and his verse is truly astonishing. This is arguably even better than the song it's remixing, and if you read the paragraph above you'd know that was no small feat. Phenomenal stuff. 

5. Children's Story (prod. Shawn J. Period)

Where the last song paid tribute to a song on this very album (which is pretty hilarious come to think of it), this one (a Mos Def solo) honours an '80s classic, Slick Rick's "Children's Story", which has been parodied and interpolated countless times in the genre. This is perhaps the best reworking of it out there, though, as it tells the story of a guy who was misled into thinking that sampling R&B was a sure-fire way to make great hip-hop. Of course he was wrong, but the tale ends up giving him karma, by way of shooting him the fuck up. Perhaps he didn't quite deserve that, but nonetheless the story itself is compelling, and Mos Def's brilliantly funny delivery on this one completely sells it for me. Not to mention it being such an incredible homage - it takes a lot of skill to be able to maintain the exact same structure of the original song yet still make the lyrics completely different. Also, this beat is nice. Easily one of my favourites here, and one of the most memorable too. 

6. Brown Skin Lady (prod. J. Rawls)

This song? Oh, it's nothing. Just the greatest "song for the ladies" in existence. Yeah, you read that right. I mean, what to talk about first? The absolutely heavenly instrumental from J. Rawls with one of the best samples in existence? The chorus which is as catchy as all hell? The sensual yet not overly soppy lyrics? I mean, everything about this is just perfect. "And everybody on the avenue I know, when they see here say ahhh" is such a phenomenal chorus, and the verses are also really nice. The stop start during Mos Def's is dope, and Kweli's verses feel pretty relatable and interesting too, especially with lines like "I don't get many compliments but I am confident". The singing from Mos Def towards the end also shows an incredible amount of passion, and this whole song is the perfect example of a sensual song done right, from the beat to the rapping to the singing to where it's sequenced in the tracklist. You know, as much as I hate to say it, this may be my favourite song here. I mean, it's just perfection. What a song. 

7. B Boys Will B Boys (prod. Geology)

Another tribute to the golden age, this one in the form of an interlude with a witty title that I bet you didn't get first time. Oh you did? Darn. After a lengthy intro where Mos takes on persona of Master of Ceremonies, we get a quick back and forth verse before an instrumental outro that is actually really nice. Sure, this certainly isn't a highlight, but as interludes go, it's fun as fuck. I like this. 

8. K.O.S. (Determination) (feat. Vinia Mojica) (prod. DJ Hi-Tek)

Easily the most laid back track on the entire album, this Talib Kweli solo (with sung assistance from Vinia Mojica, seen all over conscious hip-hop projects from this era) is all about "Knowledge Of Self", and how that can help people to find "determination" and live a proper life. The theme of this track certainly isn't as close-knit as some of the other songs on this album, but Talib's verses are still pretty compelling, and Hi-Tek's beat is one of the most chilled out and relaxed on the entire album - this shit puts the feeling of a lazy afternoon into sound, in the best way possible. Also, I love Vinia Mojica's contribution, with her singing a memorable chorus with slightly awkward lyrics that are easy to tune out when you pay attention to her great melodies. If anything, this song's lack of energy is the only thing making it less standout compared with most of the other songs here - but I'm certainly not complaining. In the moment, this is absolutely wonderful. 

9. Hater Players (feat. Apani B Fly Emcee) (prod. Shawn J. Period)

Inside the booklet for this album, there's a rather hilarious alternate cover of sorts that pictures Mos and Kweli sat in beach chairs, with Pen-and-Pixel graphics surrounding them - "Black Star" written above in big, diamond encrusted lettering, two sparsely dressed women, cars, an alcohol advert, jewellery - basically a mockery of the No Limit/Cash Money album covers of the time, and also the general commercialisation in hip-hop. Well, that's kind of what this song deals in, helped along by Apani B Fly for some reason, who's sole duty here is to apply annoying ad-libs in the background. The title inverts the popular term "player haters", and there's a line in this song which I think sums up the track and it's themes best - "reverse psychology got 'em scared to say when shit is whack; out of fear of being called a hater - imagine that!". Kweli is really on point on this track. I'm a big fan of the theme of this one, and it's clear that it's message is even more relevant nowadays, with many rappers gaining spiteful and rampant fanbases no matter how good or bad the quality of their music, and these people will probably call you a "hater" if you say anything less than flattering about their favourite artists. The lyrics here are brilliant, and the pulsating beat that 's very very different from the previous one helps it along nicely. Dope stuff. 

10. Yo Yeah (prod. J. Rawls, co-prod. Talib Kweli)

And the award for best use of the English language in a song title goes to... this interlude, which contains some samples from speeches or documentaries or whatever. This basically serves to prelude the next two songs, but thanks to the lovely music, funny scratching, and hilarious ending moments, it's still rather entertaining. Yeah. 

11. Respiration (feat. Common) (prod. DJ Hi-Tek)

Quite easily the most depressing sounding song on this album, this track details life in the hood, and gets down into what really goes on down in there that you don't see in the clips shown on TV. The song is soundtracked by a tragic and highly emotive instrumental from Hi-Tek that oddly makes use of some guitars, and sounds absolutely mesmerising, as our two hosts plus my man Common deliver some of the most thought provoking verses of the entire album. I have to say that Com has my favourite verse too - his emotional delivery teamed with the lyrical content makes for a compelling moment that sounds brilliant over this beat. That said, I'm not about to disregard Mos and Kweli, because both shine in their own ways over this beat too. I will say that this is not my favourite song here (surprising, huh?). The instrumental is a little too somber, the song is too long, and the chorus is nowhere near one of the best on the album. But that's only because this album is so fucking good. Anywhere else this would be in the top three of the album. It's still bloody brilliant. 

12. Thieves In the Night (prod. 88 Keys)

Another highly emotional and deep track? Jeez, this is getting difficult to handle. This track is all about the oppression of Black people in America, and addresses some of the film samples heard throughout the album on previous tracks talking about conditioning and "brainwashing". The instrumental from 88 Keys on here is similarly haunting to the last track, only now it's much more lo-fi, which does make it easier to concentrate on Talib and Mos' performances on the track, as they pick apart some of the flaws they find within their own community. "Chasin' after death so we can call ourselves brave". Damn. I think what hit me hard about this one was that, with the title, I was expecting something fun about them two being "thieves" or something of that nature - when in reality the meaning of the title is something much darker and hard hitting. "Hiding like thieves in the night from life, illusion of oasis making you look twice" - and the haunting singing accompanying this lyric makes it even harsher. This song is blunt as shit, and for what it makes you feel it is the best track on the album for my money, and arguably a top 10 hip-hop song of all time. How this album keeps getting better, I don't know. But it does. 

13. Twice Inna Lifetime (feat. Jane Doe, Punch & Words) (prod. DJ Hi-Tek)

To end off the album, Mos and Talib decide it's finally time to finish up the deeper content, and end on a fun note with a posse cut full of braggadocio, spit over a slightly haunting and very underground beat that is actually one of the best on the entire album, and absolutely perfect for this kind of content. Outside of the hilarious juxtaposition in "Punch make rappers march like the third month (eye roll) / I build with friends, lyrically spit gems" (yeah, evidently not) - every bar and every verse here are filled with great quotables and lines, with Mos having my absolute favourite verse on the track, with a brilliant ending. I think it was a very smart decision to end the album like this too, as this was the sort of thing Rawkus listeners had come to expect, and the sort of thing Mos and Kweli were doing before this album - it's only right they went back to their roots. And while this isn't as deep or thought provoking as other stuff on here, it certainly is goddamn entertaining, and probably the best way this album could possibly have finished. "Like THIS!"

Even a hip-hop superfan like me has to admit when a project is flawed. There are very very few albums that I maintain to be absolutely perfect in every way - albums where every song is brilliant, there's lots of diversity, the rapping and production is both stellar and innovative, the sequence and length are perfect, etcetera etcetera. Mos Def & Talib Kweli are Black Star is one of these albums. This thing is simply phenomenal. Throughout this record, both Mos Def and Talib Kweli prove themselves to be top tier lyricists, with brilliant rapping performances throughout and a bunch of quotable moments relating to lots of different themes, including life in the hood, the commercialisation of hip-hop, the oppression of black people in America, and simply how they are great at what they do (because come on, this is a rap album). Not only this, but they both have unique styles that bounce off each other superbly - Mos Def certainly has more charisma, but Talib has more energy, making them almost like a friendly, non-confrontational Ghostface Killah and Method Man type duo. And having two rappers helps provide different perspectives on the topics, which always makes an album become more welcoming when it comes to discussion of political views. And how about we talk Mos Def's singing on this thing - because he is truly unbelievable. The choruses on "Definition", "Brown Skin Lady" and "Thieves In the Night" are some of my favourites of all time, and that's not just due to the melodies, but also Mos' passionate delivery - which he would hone even further later on, but shines through here nonetheless. And what about the production?? The beats on here are varied, and excellent - I mean, compare the pulsating relentlessness of "Definition" and "Twice Inna Lifetime", with the haunting and sinister "Astronomy (8th Light)" and "Thieves In the Night". These four songs exhibit two very different types of hip-hop instrumental, and yet are all some of the best of their kind. And to top things off, this legitimately has one of the greatest hip-hop songs of all time in "Thieves In the Night" - not just a personal favourite, but objectively. That song is perfection. But really so is everything on here. The skits. The atmosphere. It all ties up into one irresistible fifty minute package that stands as one of the best pieces of hip-hop ever released, and the perfect introduction to the genre for anyone. This is not only the perfect beginning to two of the more fruitful careers in the genre, but it's also the perfect hip-hop album full stop. Yeah, you read that right. This thing is quintessential, and unbeatable - and if you haven't, I insist you listen to it. If you ask me, the genre wouldn't quite have been the same without it. 

Best Tracks: "Thieves In the Night" is the best song, but every other track is phenomenal too.

Worst Tracks: Apani B Fly's vocal track on "Hater Players"

I've never written about either of these guys before, so until I do here's some Company Flow to tide you over. 

Jay-Z - The Black Album

Between 1996 and 2002, Jay-Z made a dizzying ascent to the top of the rap game, going from emerging boom-bapper to pioneer of the jiggy movement, to the man that bought the Dirty South to the forefront of the genre, to veteran and legend by the time The Blueprint was released in 2001. He proved his cemented status in hip-hop in 2002 when a collaborative album with newly-exposed-as-a-paedophile R. Kelly and a bloated mess of a double album both had his name on, and he still was considered one of the greatest active MCs in the game. Even being on the receiving end of one of the best and most brutal diss tracks in history couldn't stop him. By the time 2003 came around, Jay-Z realised that the only man who could realistically end his career was he himself, and since he was getting a bit long in the tooth for this rap shit by then, he decided it was time to retire. Therefore, he announced his final album, a project which would return to a humble one disc format (thank God), and have the interesting concept of different producers for every track (which was almost the case, although not entirely). The Black Album.

This was the first Jay-Z album to have no featured rappers whatsoever, and was also one of his most successful projects to date - hell, my geography teacher made reference to the track "99 Problems" a few weeks ago, and that wasn't even the lead single. I myself didn't really like this disc on first listen, though. I can't really remember why, as this was a long ass time ago, but I think I just didn't feel it's vibe. In all fairness Jay's was the third hip-hop discography I listened through after Eminem and 50 Cent, so I wasn't exactly ready for a lot of his work at the time, but even so the only track I remember enjoying on that first listen was the last track. However, the album grew on me overtime, and nowadays I think I can safely say that this is my absolute favourite Jay-Z album. Yes, above The Blueprint, and yes, above Reasonable Doubt. Maybe it's the thought that this was his final album, and the epic connotations that come with that. Maybe it's the diversity of producers, or the array of classic Jay-Z songs that are in more abundance than ever before. Whatever it is, this one edges it to the top of my list every time.

And now I get to review it! I realise it's been a while since I've done a Jay album on here, partly due to the heinous allegations levelled at him a few months ago, partly due to me trying to not review too much in case I run out of albums. But since he seems to have been cleared, and since I really, truly believe he is innocent in this, I figure it's time to bring his name back to the blog. Let's get into this one, then. 

L'album, noire. The Black Album.

1. Interlude (prod. Just Blaze)

Given that this was supposed to be his last album, Jay-Z decided that he may as well get the one thing he'd never done before out of the way while he still could - a rap album intro, complete with spoken word and a great instrumental that will sadly never be rapped over. Still, the instrumental really is "great", so this is enjoyable enough. 

2. December 4th (prod. Just Blaze)

The first song on this album serves as an autobiographical cut that aims to explain Jay's younger days as a drug dealer, why he got into that profession, and also how he managed to get out through hip-hop. Just Blaze's triumphant instrumental is fitting and poignant, and I absolutely love the interludes from Hov's mother - but it's Jay himself who makes this opening song as brilliant as it is. Aside from one or two cuts, I don't think the man has ever been as lyrically invigorating and engaging with his storytelling as he is here, and he uses his unique delivery to full effect too in order to give the audience as many quotables as possible. The track also introduces a common theme on The Black Album, referencing classic hip-hop tracks Jay grew up listening to - here it's Cypress Hill's "Insane In the Membrane". The verses are brilliant, but perhaps the best moment of this song is the outro, with Jay's echoes of "maybe you'll love me when I fade to black", leaving the listener sad, but also proud for this man who has had such a successful career despite humble beginnings. This track really makes you root for Jay-Z, and not only that, it sounds great too. I'm a massive fan of this one. 

3. What More Can I Say (prod. The Buchannans)

Over more horn-filled, triumphant production, Jay gets into explaining exactly why he deserves to retire - he's a brilliant rapper and he's made his fortune, so what else is left to do? This track is really just another classic Jay joint, filled with line after line of quotables - "I'm not a biter, I'm a writer for myself and others / I say a Big verse I'm only biggin' up my brother" - was there a better way to address those accusations? The line about Busta Rhymes is also pretty interesting, as is the subliminal to 50 Cent, and there's a bunch of others I could name too. This isn't my favourite on the album, as I'm not the biggest fan of the sung chorus from "Hum-V", but Jay's verses and the brilliant instrumental are quite enough for me to name this a great track. 

4. Encore (prod. Kanye West)

Yet another anthemic, brass-fueled instrumental accompanies Jay on this one, only now it's produced by a young Kanye West, and feels faster paced than the previous two as a result. This track is one of the more creatively structured on the album, what with it's live setting, amalgamation of backing vocals and an interlude which portrays an actual encore - but this is just one of the reasons why it's so brilliant. Not that it's short of those: the instrumental from Kanye is as fantastic as you might expect from him in 2003, and Jay's lyrics are motivational and exude masses of confidence, which is exactly the intention. This is simply a brilliant song. 

5. Change Clothes (prod. The Neptunes)

The lead single to this album, in the same vein as "Excuse Me Miss" in that it's a track for the ladies where Jay paints himself as a gentleman - only here it's even more convincing. Also, this song is just better. The Neptunes craft a wonderfully relaxing and very early 2000s beat for this one that really sounds nothing like the last three tracks, and it's the perfect match for Hov's lyrics about being the best rapper and pulling some chick. Sure, it's shallow, but it's the lead single so whatever. I also love the chorus from Pharrell Williams, and Jay's "so necessary" bridge is a surprising earworm. I know a lot of people think this one is a blemish on the album, but personally I'm a massive fan. 

6. Dirt Off Your Shoulder (prod. Timbaland)

Probably the nastiest beat Timbo has ever concocted, and some of the slickest rhymes and flows Hov ever spit. I mean, does it get much better than this? The waving synths, the main loop and the drums on this instrumental are all fire as fuck, and Jay's verses are as easy to learn off by heart as the alphabet, which is meant as a compliment by the way. The lyrics are pretty similar to what we've heard previously on the record, with some lyrics about drug dealing, cooking cocaine, being rich and successful, etc. etc.... but it still works, and Hov's extra swagger with his flow certainly helps this one stand out a lot. And what about that chorus, man?? One of the most memorable in all of hip-hop history. This might well be the definitive Jay-Z banger. Classic stuff.

7. Threat (prod. 9th Wonder)

Arguably the most underrated track on here in my opinion, this one is actually produced by 9th Wonder, who I've covered on here many times before thanks to his frequent work with one of my favourite underground rappers Murs. Don't ask me how this collaboration with Jay-Z came about though - it wasn't like 9th was a hugely sought after producer back in '03, and it wasn't til '04 and '05 when he made a name alongside Murs and Little Brother. Still, he shows a lot of promise on here, with an aggressive and, well, threatening instrumental with a great melody and nice female vocal sample. Jay-Z's rapping is also arguably the best it has been on this entire album so far, with the aggressive lyrics and silky smooth flow complementing the beat perfectly. This is top tier stuff. Also, Cedric the Entertainer is pretty funny on here. 

8. Moment Of Clarity (prod. Eminem, add-prod. Luis Resto)

I guess Jay-Z didn't like that Eminem produced a record on Nas' 2002 album God's Son without rapping on it, so for The Black Album he decided to get the same thing, regardless of the fact that Eminem isn't actually a very good producer - outside of his own albums his beats are all a bit drab and plodding for my tastes. This one is solid though, I guess, with a nice pounding bassline, even though it still drags on a bit - Jay-Z is left to make something out of it, and somehow he enhances this instrumental a million times with one of his best performances on the entire album. The chorus utilises the names of all of his studio efforts up to that point, which is absolute heaven for nerds like me - one of my pet peeves is when artists ignore the existence of their past albums. And on top of that, every verse is incredible too, painting a picture of Jay's realisation of his status in the rap game, and how exactly he rose to that point. The infamous lines about Common and Talib Kweli also appear on here, and to me those are definitely compliments - he's basically saying that he sold out, unlike them. As I said, the beat on this track isn't brilliant, but everything else about it certainly is. 

9. 99 Problems (prod. Rick Rubin)

Simply put, one of the best hip-hop songs in existence. Jay-Z takes Ice-T's original hook and puts it over some energetic, Beastie Boys style production from Rick Rubin, and then laces that with three of the most memorable verses of his entire career, the second which is his best ever in my personal opinion. I mean, this guy literally had a conversation with a police officer within his verse. It's just phenomenal, not to mention as memorable as waking up to someone breaking into your house (I say that because I had a suspicion someone had last night, but they hadn't (checks under bed for the tenth time)). That's not to discredit the other two verses either, because they are both full of quotables and classic Jay flows that are timeless and some of his best. Honestly, this might just be the best Jay-Z song full stop, and with that iconic of a chorus it's certainly one of his biggest. This song is the fucking shit!!!

10. Public Service Announcement (Interlude) (prod. Just Blaze)

Notable for its recent appearance in a Google advert that popped up all over TV recently. Also, because it's one of the greatest "interludes" of all time. I use quotation marks because this isn't really an interlude at all - instead, it's a two verse wonder (yes I just made that up) from Hov spit over one of the most iconically brilliant Just Blaze instrumentals of all time, and with one of the best opening lines in hip-hop history just for it's legendary status - "allow me to reintroduce myself, my name is Hov!". The tension built before this entrance is also perfect, and the line deserved every bit of that. Matter of fact, so did the song. This is unbelievably good. 

11. Justify My Thug (prod. DJ Quik)

Probably the only song on here that seems to be divisive in Jay's fan base, which I kind of understand given the dodgy Madonna interpolation on the hook - but still, can you really argue with that beat? DJ Quik's instrumental on this one absolutely bangs, with incredible synths and bass, and a perfectly placed Run-DMC sample that adds an almost creepy vibe to the track. And while Jay's opening lines are weirdly repetitive and completely irrelevant, he flows over the beat pretty well afterwards, and has some nice lines within his verses too - especially the second one, for sure the best here. Even if the hook probably should have been re-written, I'd say this is a decent attempt at a West Coast banger - and is certainly a hell of a lot better than "Get Your Mind Right Mami", his last Westside collaboration. 

12. Lucifer (prod. Kanye West)

Kanye's second effort on here certainly isn't quite good as the first in my opinion (which I appreciate will rile people up, and I understand), but it's still decent - I just think the samples and main instruments are a little... weird? They just don't feel like they fit the vibe of the album. However, I think that Jay-Z helps the track's case by dropping three incredible verses and a surprisingly catchy bridge that keeps this short track's quality in line with everything else on the album. I especially love the last verse, and specifically the last line poking fun at the belief that a Christian's wrongdoings are the Devil's, not theirs. As I said, I don't love the beat personally, but I do really enjoy Hov's performance - it's for sure one of the best here. 

13. Allure (prod. The Neptunes)

Alongside Kanye, The Neptunes are the only production outfit to get more than one credit on this LP, and I'm happy with that, as their contribution to this track is absolutely bloody lovely. I remember that when I was first listening to Jay-Z's music, this was actually my least favourite song on the album, but I can only imagine the reason was that I never payed enough attention to it and kept forgetting it - because now it's comfortably one of my favourites. Not only is the instrumental beautiful, but the rapping from Jay-Z is perfect, with a lot of reminiscent and regretful lyrics about drug dealing - and his delivery of the chorus is simply perfect. If this isn't Jay-Z at his finest, then I don't know what is. It's an absolute classic. 

14. My 1st Song (prod. Aqua & Joe "3H" Weinberger)

Ironically intended to be the very final song Jay-Z ever released - when you listen to the chorus and realise that fact you'll get goosebumps whether you like it or not, trust me. In contrast to the last song, this was my favourite track on the album on first listen, but since then it's ever so slightly grown off me, even if I still enjoy it. I mean, Jay's double time flows may have worked for him when he was young and hungry for a deal, but here he often doesn't sound entirely comfortable, and on top of that the extended outro where Jay announces he's going "golfing", before acting like ordering a cheap coffee is a massive treat, makes me not want to play this song as much outside the context of the full album. Still, the negatives don't outweigh the positives to any extent here - this beat is incredible, Jay's falsetto in the hook is surprisingly not awful, and the lyrics and chorus are compelling no matter how they're delivered. This is not only a great song, but a fitting way to close out Jay's impressive eight year run. Although maybe it would hold more weight still, had the retirement lasted for more than three guest-appearance filled years... 

It's no wonder that this project is frequently mentioned among some of the best hip-hop projects of the 2000s. The Black Album is incredibly diverse both musically and lyrically, meanwhile being equally consistent in its quality throughout the runtime, and ending exactly when it needed to around the 55 minute mark. This project contains probably the best track run in the Jay-Z catalogue from "Encore" to "Public Service Announcement", and even either side of that there's very little in the way of faults to be found. Oh, the choruses on "What More Can I Say" and "Justify My Thug" are kind of annoying. Oh, the beat on "Lucifer" is out of place. Oh, Jay-Z admitted to being a sellout. These are tiny nitpicks that are ants when put next to the monstrous levels of quality presented elsewhere in this album. You'd think a song like "99 Problems" would be an easy standout on whatever album it appeared on, but for me there's an argument for it not even making the top three of this LP - I mean it is competing with "Encore", "Dirt Off Your Shoulder", "Threat", "Allure" - I could keep going. And I also love the layout of this project, with (almost) every song with a different producer behind the boards - it allows Hov to both revel in what he's used to with Timbaland, Just Blaze, Kanye and The Neptunes, as well as experiment and work joys with the sounds of new producers to him, like 9th Wonder, Rick Rubin and DJ Quik. And for my money, this is the best Jay-Z has rapped ever. He sounded ever so slightly more comfortable on his first two albums, sure, but here he masters the swagger and confidence that has defined much of the man's music up to this point in his career. This isn't just one of the best Jay-Z albums, and a personal favourite for me - it's one of the best artistic statements in the genre full stop, and when it came to send offs, it couldn't possibly have got much better than this. There was only one problem...

Enter: Kingdom Come

Best Tracks: hmm... let me think about that...

Worst Tracks: Oh, come on. Are you kidding??

Catch up on quite a few more Jay-Z reviews I've written here.

Murs-athon pt. 16 - Have a Nice Life

Damn I haven't done one of these in a while.

I mean, it's not like I've fallen out of love with Murs' music or anything - since late September when I last covered a new Murs album on this blog (Jesus that feels like years ago) I've still been bumping quite a bit of his music from time to time, especially tracks from the first two 9th Wonder collabs, which still hold up as incredible projects. I think the main reason for me not listening to any of his new albums is simply that it was all becoming a bit samey. Murs was releasing so much music in the early 2010s, and with his flow being admittedly quite set in stone, and his lyrical content frequently teetering on the edge of corny while just maintaining more of a sense of relatability, it really just came to the point where I liked what he was making, but never really felt much urge to come back to it. I think having a long break from the Murs-athon was a good idea, as it means his style will seem more fresh to me now. Hopefully, since it was three years since The Final Adventure and the project we're covering today, it'll be more fresh for him too, but I won't get my hopes too high on that front. 

The hilariously titled Have a Nice Life is the 16th (!) project I'll be covering in the Murs catalogue, but make no mistake this is no regular release for the guy. Because in 2014, after switching between labels as fast as he was random collaborators for different albums (half of which I didn't even cover), Murs struck up a three album deal with Strange Music, the label headed by one of my favourite rappers of all time, Tech N9ne. This led to three appearances from Murs on Tech's Collabos project Strangeulation, and I still remember the first time I heard Murs' performance on "Hard (A Monster Made It)", incidentally the first Murs performance I heard full stop. I was blown away, as I'm sure a lot of Tech's (at this point) large fan base were as well. For an introduction to a completely new set of fans who would never have dreamed of checking him out before, this verse was phenomenal, as were his other two performances on the project. This meant that Have a Nice Life became one of Murs' most anticipated projects up to this point, and when it was released in May 2015 it charted at no. 94 on the Billboard Hot 100 - his first to land on the chart at all since 2010's Fornever. And this is without a single Strange Music artist even landing a feature - the only name I recognise on the back of this CD is E-40, who wasn't exactly mr. flamboyant anymore by 2015. 

The reception to this album was... alright. I'm seeing mixed reviews on the internet, complementing Murs' rapping but criticising some of the album's production. I've already heard two of these tracks, and I really like both, but then again these are two of the most well-regarded on the entire album, so I'm not going to get my hopes too high. What I'm most hoping to get out of this project is simply a different take on the Murs formula - I want an album that pushes Murs out of his comfort zone, into doing something perhaps a bit different to what he kept putting out over and over in the early 2010s. It doesn't have to be perfect, but with any luck it'll at least be interesting.

Right. Let's do this. 

1. Have a Nice Life (prod. The Arsonist, co-prod. DOC)

Starting off with one of the two songs I've already heard, the title track of this album is also one that's going to be bloody difficult to beat when it comes to the best track on this album. The song opens with a nice drum loop that soon is complimented by absolutely beautiful piano, and a long-ass verse from Murs that happens to contain some of his best writing ever - I will always remember the bar "I don't wanna dye my grey, I don't wanna hide my hair; 'cause a lot of my homies died before they got there", one of the most poetic and goosebump inducing lines this man has ever written. The verse is also helped my Murs' delivery, which for the first time sounds tired and weary - he sounds like an old man, one who is ready to settle into a veteran status that he has very much earned, and it compliments the reflective and content subject matter within the verse. Instrumentally, lyrically, vocally... this is the best song Murs has made in a long while, and I would be shocked if we get something better than it here. I love this track. 

2. Surprises (feat. Ryan "Myagi" Evans) (prod. Bernz & Gianni Ca$h, add-prod. Danny "Keys" Perez)

After such a somber and melancholy opener, I feel like a turn-up track might have been appreciated here, but that's evidently not what Murs has in mind - clearly the rather depressing photography for this album is going to be representative of it's overall sound. I didn't have high hopes for this one when guest vocalist Ryan Evans begun his crooning chorus, but I will admit that the track grew on me as it played through. Murs tells two stories here of people that he grew up with who no longer want anything to do with him, and it's quite compelling - Murs' matter-of-fact style of lyricism has always been put to good use when storytelling, and this track right here is a great example of this. I also like the chorus quite a bit - rather than hopeful and irritatingly pretentious like most of these male R&B hooks rap albums utilise, this one is accepting and agreeable - "nothing surprises me no more". The generic trap beat isn't exactly a winner, but everything else about this song went down as well as I would have hoped. This is a good track. 

3. Mi Corazon (prod. Jesse Shatkin)

Probably the most radio-friendly sounding song Murs has ever made in his life, this tale of love with a near-death experience woven in (easily the most engaging moment of the track) is helped along by a beat and female-sung chorus that could easily pop up on radio 2 in your mum's car. I was half expecting to hear a "this is Heart" followed by a swooshing sound effect after the last ear-worming cry of "tell me that you're never gonna leave me", sung by an uncredited Raquel Rodriguez, passed through my speaker. Murs' storytelling on here is pretty nice, and the music is very competent... but it's very clear that the man is aiming for a completely different audience here to what he was on Good Music and Murs 3:16. Also, the whole Spanish element of this song was completely random and unnecessary. There, I said it. 

4. Woke Up Dead (prod. Jesse Shatkin)

Say what you want about Jesse Shatkin, but you can't deny that he's got diversity. After the previous attempt at making a song for the white women, here's a track from Murs that he actually seems to have made for himself - a track about PTSD-induced nightmares where he's getting murdered by people for who he hangs out with - the crips. Murs is no stranger to commentary on gang violence, and here his message is only accentuated by Jesse Shatkin's intense instrumental, that makes you nod your head til it falls the fuck off. It's a great beat, and Murs' rhymes are both engaging and socially relevant, which is a pretty great combo if you ask me. I'm a massive fan of this one. 

5. P T S D (feat. E-40) (prod. Curtiss King)

While the synth-heavy beat from Curtiss King was clearly made in mind with the intention of guest E-40, Murs makes a pretty good case for himself over this beat, proving that he can move away from his usual flow and still sound good. Seriously, Murs' vocal delivery and flow have been really nice throughout this album so far. As for E-40... he's okay, but the constant ad-libs are kind of off-putting to me, and don't really help convey the seriousness of his message well at all. The subject matter of this song is good though, and it's sequenced well - Murs goes from talking about his own trauma on the last song to that of others here, and it's a good choice. The track as a whole is good - would've been better with a verse from Tech N9ne though...

6. Okey Dog (prod. Jesse Shatkin)

I'm pretty sure that this is Murs' most streamed song, and the only other song on here aside from the title track that I've already heard prior to today. It is a good track, and you can definitely see why it's so popular, even if personally I think this album has a couple of better tracks so far (especially "Woke Up Dead"). The instrumental is bouncy and percussion heavy, and one that's very easy to dance to - meanwhile the repetitive chorus is an earworm without being excessively poppy like that on "Mi Corazon".  Also, Murs exhibits a talent only few other rappers (like Andre 3000) have exhibited in the past - staying true to his storytelling self whilst still being able to make a radio banger. On this track Murs talks about a gang banger that he idolised whilst growing up, and the potent storytelling is only emphasised more by the great video. Overall, this one is a big time banger of a track. 

7. Pussy and Pizza (prod. Jesse Shatkin)

Jesse Shatkin's sentimental beat doesn't really reflect Murs' lyrical content on this song, which is about how he'll fucking kill you if you don't provide him with women and junk food. Seems like a good philosophy for life. It's a shame that this song failed to really engage me - Murs' lyrics aren't exactly likeable on here, and the chorus isn't profound enough to be played so many goddamn times throughout. I didn't hate this one, as the beat was nice and Murs still sounds good, but this is the first song where Murs' occasionally corny immaturity is evident on this album. In short: ehh.

8. Two Step (feat. King Fantastic) (prod. Jesse Shatkin)

I think I've heard this one before as well, although it does sound very similar to "Okey Dog", so I'll forgive myself for forgetting that. This track aims to do exactly what that track does, which is make a West Coast-style synthy banger for the clubs, and it does a decent job - again, it has a repetitive yet potent chorus, and this time the addition of King Fantastic (damn that guy must spend a lot of time in front of the mirror) helps out the track, as the guy has that West Coast drawl that Murs is missing. The track does feel like a bit of a rehash of "Okey Dog", but on its own it's still a decent banger that I enjoy a lot. This is pretty good. 

9. No More Control (feat. MNDR) (prod. Jesse Shatkin)

I'm only just now noticing how much of this LP is produced by Jesse Shatkin. I mean, he's good, but it's no wonder why there's such a mainstream air about this thing. "No More Control" is an attempt at a protest song from Murs - he claims on the track to want an "educated street movement", and follows it up with the rather incredible lyric "it's fucked up what the police doing / but motherfucker, look what we doing". This isn't the first time a hip-hop artist has mentioned how gang violence is just as if not more detrimental to the black community than police brutality, but it is still a powerful note to end the track on. Meanwhile the instrumental and chorus from MNDR help bring the anthemic movement feel of the track home, and I actually found myself humming this chorus as I was writing this up. Despite myself, I really enjoyed this song. Fuck it.

10. Skatin Through the City (prod. Plex Luthor)

Murs takes things a bit more down-to-earth on this one, talking about his progression as a skateboarder over a relaxing instrumental that's actually one of my favourites on here, and one of the few that sounds like it was made with Murs in mind specifically, rather than any Strange Music artist who would take it. This track is one of the few songs here that you could actually chill out to, and it's very successful at this vibe too - Murs understands the assignment, and makes sure not to drop any clangers of bars throughout, which I commend him for - and this beat is nice as hell (the scratching is also appreciated). Despite the title being a bit iffy, I overall enjoyed this track a lot. 

11. Anyways (prod. Jesse Shatkin)

Another dodgy title? Jeez Murs, anyone would think you'd want the consumer to leave this one at the stores. And that'd be a mistake, because I was actually surprised at how well this turned out. The track is about Murs' resignation to the fact that him choosing to get into rapping rather than drug dealing, and live an ethical life whilst uplifting others, isn't going to stop his neighbourhood from being the drug infested place it has been since he's been growing up. He begins the track by telling us how his father left his mother in pursuit of drugs when he was very young, and how cocaine and other hard substances have plagued his friends ever since. Sure, he can stop taking them, but he feels helpless to the plights of others, and the rather sad instrumental certainly helps exemplify this emotion. The track has a feeling of hopelessness about it, and without a happy ending it becomes one of the more depressing songs on the whole record. Oh, and also one of the best. 

12. The Worst (prod. ¡MAYDAY!)

This track, which stood out to me on the tracklist because it shares its name with a certain Tech N9ne album, is all about Murs being unfaithful to his wife, because he can't help having sex with this woman who was at one of his concerts. Musically, this song is really good, and with some better vocals this chorus could have been one of the catchiest on the whole album (even though I fucking hated it at first). However, I can't fully get into this track, because Murs seems to act like his infidelity is only a problem because his life will be ruined if his wife finds out - he expresses absolutely no guilt about his actions in the entire song, and acts like the woman texting him in front of his wife is an inconvenience for him and nothing more. It's like he doesn't even think his wife has feelings. Sorry to come off as some sort of Karen here, but I just really dislike Murs' demeanour on this track. Still, musically... it's good. 

13. Black Girls Be Like (prod. Gianni Ca$h)

I appreciate the sentiment, but no. Just no.

14. I Miss Mikey (prod. Jesse Shatkin)

Carrying a very similar vibe to the opening track, this was actually a really sweet closer to this album, even though I do have issues with it. My main problem with this one is that both of Murs' verses only have twelve bars, which is an annoyance because it's always bars 13-16 that hit the hardest, and when the verse cuts off at bar 12 it kind of reduces the impact of the message for me. Still, I liked Murs' flow on here, and I really enjoy the instrumental from Jesse Shatkin. Overall, easily one of my favourite tracks here. Also, it was interesting to hear the "Straaaangeeee Music!" tag on the end - even though I said a lot of the beats sounded like a product of the label, Murs' presence and the lyrical themes made this album feel completely separate from everything else the label had going at this time. 

The following song is the bonus track available with the pre-order version of this album.

15. Fun-eral (performed by Felt feat. Ces Cru) (prod. Jesse Shatkin)

Easily the grimiest and most underground song on the album, it's easy to tell why this was relegated to bonus track status - despite Ces Cru's involvement, the Strange Music audience were more used to airy trap beats and futuristic synths at this point in time. On a Rhymesayers release this track would have been promoted better, as it should be, because it's really dope. I love Murs, Godemis and Ubi on here, even if Slug sounds like a random white dad they pulled straight out of an office cubicle into the studio (sorry if that sounds harsh), and we've got more record scratching here too, which is always a good thing. I really enjoyed this track, and the fact that it's not available on a CD pisses me right off. 

And so we come to the end of Have a Nice Life (*emits light chuckle*). And... I liked it quite a bit! I feel like Murs did what I wanted of him here and switched up his sound a bit, experimenting with lots of different styles of instrumentals and managing to work his magic over most if not all of them. He also made attempts to switch up his flow on here, which was very much appreciated, and managed to place guests in the right places, without having too many of them (something his label head at the time definitely couldn't relate to). Have a Nice Life isn't without flaws - some of these songs sound way too radio friendly to ever be appearing on a Murs record, some of these song titles make me want to vomit (I mean, "Black Girls Be Like"? That sounds like the title of a two minute racist YouTube video), and occasionally Murs does get a little corny. But on the other hand, his ear for beats seems to be pretty clear on this thing, with variation but still a cohesive sound to the project, and his lyricism is more potent than it has been on some previous releases, with lots of great quotes and messages to be taken away. The overall vibe of this project is one of loss, but also one of acceptance of the ills of this world, and it's a relatable release that I'm sure most of my readers would enjoy listening to. Sure, it's not his best, but what it does do is make me a bit more interested in the Murs catalogue yet to come. So mission accomplished, I'd say. 

Best Track: "Have a Nice Life"

Worst Track: "Black Girls Be Like"

Catch up on more of the ever growing Murs-athon here!