I think it's safe to say that something about Jay-Z's latest album, "Magna Carta... Holy Grail" is not quite right. Perhaps it's the way that early access was granted to those with Samsung Galaxy phones, yet another sign of the commercialization of music and art. Or perhaps it's because the arrogantly, or even insecurely, titled work equates itself to something iconic instead of allowing the music to speak for itself. Whatever it was, something rubbed me the wrong way before I even hit the play button.
That being said, if you are expecting a scathing review based on the way the album has been conceptualized and marketed, I can't write that for you. The music itself should stand alone from the way it has been promoted, as brilliant or kitschy one might find those promotional tactics.
The album opens with "Holy Grail," featuring Justin Timberlake, which, after a one-minute introduction, follows the tried-and-true formula of an up-tempo hip-hop hit. Heck, I already heard it in a fraternity basement on Friday night. I would be willing to call this song the new "All of the Lights," from Kanye West's "My Beautiful Dark Twisted Fantasy" (2010), but Timberlake's crooning during the chorus slows the momentum.
If there is one thing that Jay-Z does well on this album, it's name-dropping, at least if you're keeping count. From, "Picasso Baby," which mentions Andy Warhol, Leonardo da Vinci and Mark Rothko, to the album's repeated Miley Cyrus references, to a song named after fashion designer Tom Ford, Jay-Z seems to want to cover all his popular culture bases while winning a couple coveted obscurity points. However, the effectiveness of these endless references is arguable. Sometimes we just want a straightforward song, instead of verses hiding behind all these potential interpretations of lyrics. And in Jay-Z's case, his repetitive use of the n-word.
In a similar vein, Jay-Z's credit list, like West's "Fantasy", is littered with big names such as Timbaland, Pharrell and Rick Ross. But the guest appearance that we've all been waiting for is Beyonce's feature in "Part II (On the Run)." Even those that don't have the Queen Bey worshipping virus coursing through their veins will find the track a highlight. The opening, though, could have done without the auto-tune.
A personal favorite from the album is Nas' appearance on "BBC," a track that, though both chaotic and primitive, maintains complete control while remaining catchy. Although by no means their first act of civility, nothing assures us more that the feud between Nas and Jay-Z from the early 2000s has been put to rest for good than a collaboration discussing, what else, the drug trade.
The following track, "Jay-Z Blue," could be a game-changer for listeners. Jay-Z weaves together his relationship with his father with his own feelings of inadequacy and insecurity in being a father. While the track is probably the album's most genuine moment, we are left feeling a little sad. The song's mood seems incongruous with America's concept of the Carter family, worthy of only the most perfect Christmas cards. The track sets up the listener to be melancholy, and perhaps a little bit confused when the next track, "La Familia," starts. Thankfully, Jay reassures us that he has his priorities straight. "Family first, honor, integrity," he says within the first ten seconds. The next few minutes are filled with Jay-Z rapping in a repetitive loop over a shallow backing track, reminding me of something a 15-year-old might create in his bedroom with GarageBand and a cheap condenser microphone. No album comes without its lows, and we found it in a song that Jay-Z dedicates to the family.
One of the album's greatest strengths lies in its variety. From the neo-jazz hooks of the meandering "Versus" and "Somewhere in America" to what are bound to be basement anthems like "Holy Grail," the album itself is far from repetitive even though some songs themselves might be. The album's weakness, though, is what it fails to live up to. With all the black and white commercials of Jay-Z explaining his songs, and making a statement by not releasing a leading single, we expected to have our minds blown. In contrast to West's "Fantasy", this album seems a bit unfocused, uncaptivating and leaves the listener feeling let down. At the very least, you'd think something named "Magna Carta... Holy Grail" would be above mentioning Twitter and "twerking."
Rating: 5/10
