(That being said: the problem with placing an anti-auto-tune song on an album featuring songs whose main hooks include obvious usage of auto-tune is notable.) “What We Talkin’ About,” with its warm synths and pounding bass, is a great intro “Thank You” recalls the neo-soul production of the album’s original predecessor “Death of Auto-Tune” overcomes its burdensome gimmickry with a stripped-down instrumental section and a take-no-prisoners Hov. The album’s primary fault is its length - at 15 tracks, it’s too damn long, especially since it’s relatively front-loaded - in other words: all the best stuff comes at the beginning. But it’s still not the flop that some critics are labeling it as. It’s more BP2 than BP1 more Kingdom Come than Reasonable Doubt. The production is more excessive the lyrics are often derivative Jay’s rhymes are inconsistent, jumping from hot (”D.O.A.”) to cold (”Hate”). The fact that he all too clearly blurred the lines between himself and his character on tracks like “Roc Boys” didn’t seem to matter the beats, the rhymes and the flow were all at a peak - and, collectively, a welcome resurrection after the disappointment of Kingdom Come in ‘06.)īad news, then: Blueprint 3 isn’t nearly as good as American Gangster. (It wasn’t Jay-Z rapping about slingin’ heroin - it was Jay-Z channeling an American gangster who just happened to bear a strong resemblance to young Jay. The new quandary becomes maintaining your self-proclaimed street cred whilst juggling decidedly non-street multi-million-dollar finances - something done in 2007 with American Gangster by hiding behind the “concept album” guise. And when you’ve branded your image to the point where you’re simultaneously managing a clothing line, sports club and record label, it’s fair to say the Hova has landed. Jay-Z isn’t a businessman - he’s a business, man.

Jay z albums blueprint 3