Chance The Rapper's "Acid Rap"

Track-by-Track Review:

Chicago should be excited because it has a lot of talent coming up these days.  Chance The Rapper has seen an unimaginable increase in popularity in the last few months because of the positive feedback from his second mixtape entitled Acid Rap.  In addition to this, he has collaborated with the likes of Lil Wayne and James Blake, gotten a visit from Madonna at a tour stop in Cali, and garnered interest from practically every major record label.

Good *ss Intro- Chance The Rapper begins this mixtape by talking about drugs such as marijuana and LSD, which fits perfectly with the mixtape name.  He displays a boatload of confidence in his rapping and rightfully so.  The piano chords and overall instrumentation here is quite appealing to the ear.

Pusha Man/Paranoia- At first, when you hear Chance whining over the beat with a plethora of “n-n-nahs”, it is easy to become extremely annoyed.  However, when you look past this, you realize that the guy is superbly talented.  The catchy hook before the beat switches up makes the first part of the song very enjoyable.  The song then becomes mellowed as Chance analyzes the negative sides of Chicago.

Cocoa Butter Kisses- In this song, Chance reflects on the times when his mom would kiss him because it gave him a certain comfort and made him feel safe.  This nostalgic song compares his life now to how it used to be.

JUICE- “Juice” represents power and respect, which is what Chance is now attaining.  His status as a rapper is on a steady incline.  He deserves to brag on this track because he is solely responsible for his incredible come-up in the game.

Lost- This is one of those joints that switches the mood up because of its slow feel.  The synthetic hi-hats go crazy in this song while the rest of the percussion is super chill.  This is a soulful masterpiece because of elements such as the piano and the jazz flute.

Everybody’s Something- “Everybody’s Something” is somewhat of an anthem.  This feel-good tune is meant to make people feel like they have something unique to offer and that someone cares for them, even when it does not seem like it.

Interlude (That’s Love)- This interlude is one of the most compelling songs on the mixtape.  Chance The Rapper downplays the significance of things like fame and fortune, and stresses that nothing is more important than family and falling in love.

Favorite Song- “Favorite Song” features a clever verse from Chance’s rap buddy and fellow talent, Childish Gambino.  A straight jam (as the chorus says), this song will make you move with its simplicity and repetition.

NaNa- This song is straight nuts!  Chance raps and makes a number of strange noises and Action Bronson even contributes a verse at the end of the song.  This is definitely the single most obnoxious song on Acid Rap.  It is a personal least-favorite, but I still cannot make myself skip it!

Smoke Again- This opens with a brass section, then a deep voice, and finally Chance sings in his raspy voice to begin the song.  This essentially goes on for the duration of “Smoke Again.”  Ab-Soul joins Chance on this track.

Acid Rain- Here, Chance raps about his life, friends, and his past.  This is his time for reflection as the mood of the mixtape settles and becomes calmer once again.

Chain Smoker- This song is super chill.  Soulful… but chill.  I fell in love with the beat when I checked it out for the first time and I now listen to this song tirelessly.  It is definitely one of the most satisfying jams on the mixtape and it leads smoothly into the outro track.

Everything’s Good (Good *ss Outro)- Just as the intro, the outro is no let down.  Chance talks about his life and how, as the title states, everything’s good.  The trumpets and trombones go crazy near what seems to be the very end.  Then, with the addition of hardly any words, every instrument you can think of floods in and carries the beat to the true end of the mixtape, as you have no choice but to dance.

I have bumped this mixtape more than anything else in the past couple of months and Chance The Rapper has become one of my favorite rappers in the game today.  I got to see him in concert at Miami University’s Brick Street Bar and it was one of the most exciting events because of the ever-soulful music, endless passion, and live instrumentation.  Chance is arguably hip-hop’s hottest and most sought-after young star, so be on the lookout for more great music in the coming year!

J. Cole's "Born Sinner"

Track-by-Track Review (not including skits):

It’s way darker this time.  J. Cole has put a lot of work in, perfecting his flow and beat-making, and it surely shows here on his sophomore album.  Cole purposefully dropped his album on the same day as Kanye’s Yeezus in a move that signified a more confident and competitive Cole.  He is in a different place, as fans get all they want and more on Born Sinner.

Villuminati- “Villuminati” sets the tone for the album and you can tell that J. Cole has found his comfort behind the bars that he spits.  The song samples a very recognizable sample of The Notorious B.I.G.’s “Juicy”, and contains elements of both good and evil, which foreshadows the rest of the album.

Land of the Snakes- You will find yourself bopping your head as Cole tells a story, reminiscing on his immoral ways of the past.  He has strayed from his old self, and must watch out for people trying to bring him down now that he is on top of the game.

Power Trip- This radio-friendly hit features supremely-talented R&B singer Miguel and is one that essentially ruled the radio in the summer of 2013.  Watch Cole’s thought process and see how he made the beat on YouTube:  http://www.youtube.com/watch?v=hjxdny59Coc

Mo Money (Interlude)- This interlude denotes money, but it’s deeper than that.  J. Cole is at a point in his career where he has amassed a certain level of money that many people have never even dared to dream of.  Although this is true, Cole knows that there are people with way more money than him, which is both humbling and motivating.   He is aware of other blacks getting into trouble monetarily because of urges to satisfy material needs and does not want to go down the same path.

Trouble- The last track segues perfectly into “Trouble” because J. Cole continues to discuss the pitfalls of fortune.  Money brings problems and this is heavily stressed on this sixth track of Born Sinner.

Runaway- This song has a simple beat at a moderate tempo.  The hook reels you in as Cole shows off his raw, yet soulful vocal range, while the rap is on par with some of his best storytelling.

She Knows- “She Knows” samples “Bad Things” by Cults and it works out wonderfully.  Once again, J. Cole offers up his voice on the chorus.  This effort serves as a song with relatively significant commercial potential.

Rich N*ggaz- Here is one of my personal favorites on the album.  The instrumentation is relaxing and the lyrics are sort of dark.  Once again, Cole provides solid storytelling, but this time his flow seems to be effortless.

Forbidden Fruit- A feature from Kendrick Lamar without a verse!? Sounds crazy, but it worked!  Kendrick is on top of the rap game right now and is a lyrical genius, so it would be understandable if J. Cole did not want K-Dot to get the best of Cole on his own song.  Cole, however, delivers some impressive verses as religious themes continue to cast their shadow upon Born Sinner.

Chaining Day- Slow.  Down.  This is exactly what this calming song does to the mood of the album.  It is far from my favorite, but still a jam.

Ain’t That Some S*it (Interlude)- This is just another interlude to transition to the next part of the album, and specifically into the song “Crooked Smile”.

Crooked Smile- Here is a radio-friendly, feel-good jam.  The mixture of an array of piano chords and a harmonious choir establish this as a fun, soulful piece for the album.

Let Nas Down- This song is about J. Cole’s single “Workout Plan” and how Nas perceived it.  Nas realized Cole’s talent, but did not feel as though Cole properly took advantage of his gift.  Here, J. Cole addresses his mentor and this creates for a must-listen.  Make sure you check out Nas’ response “Made Nas Proud”.

Born Sinner- We now arrive at the album’s title track, which does not disappoint.  This is the last song featured on the regular album and it certainly feels like an appropriate conclusion.  The chorus belongs to James Fauntleroy, who is best known for his recent success on the hook of Drake’s song “Girls Love Beyonce”.  This song leaves you singing and feeling at ease.

Miss America- This first bonus track could have been left off of this project in my opinion.  The beat is weak and the verses lack creativity.  With all of the quality songs, I suppose having a couple flops is okay.

New York Times- Other than a special feature from 50 Cent, there is not too much to say about this track.  Like the previous track, this is one of the weaker efforts of Cole’s on Born Sinner.

Is She Gon Pop- “Is She Gon Pop” has one of the lighter, softer beats on the album, but this is not a terrible thing.  The incredibly catchy beat in addition to Cole’s simplistic, laidback flow fit perfectly together in this short song.

N*ggaz Know- J. Cole gets his Notorious B.I.G. on, as he steals his flow here and there.  Dope beat, dope lyrics.

Sparks Will Fly- Up-and-coming artist Jhene Aiko is featured on the chorus of “Sparks Will Fly” and any project Ms. Aiko is involved in is hot lately.  Overall, this is yet another relaxing song that will have you channeling your inner singer/rapper.

I am blown away at the effort J. Cole put into this project.  He has made improvements not only in his rapping ability, but in his production.  Although he has certainly gone up my list of favorite hip-hop artists, in my opinion he will never have the appeal that a Drake or Kendrick has, simply because they are all rapping in the same era.  Drake is the LeBron James of mainstream hip-hop and J. Cole will have to settle for a Durant-type player, which isn’t too bad.  Overall, though, Born Sinner is a straight banger.

Childish Gambino's "Royalty"

Track-by-Track Review:

Between his previous works such as Camp, and this latest mixtape, Childish Gambino has proven to be versatile if nothing else.  Camp, which received generally positive remarks aside from being destroyed and mocked by some idiot’s review on pitchfork.com, was more of an experimental hip-hop record.  Royalty serves as a step away from his typical style and introduces a more self-assured Donald Glover.

Royalty- Blake Griffin makes a surprise appearance as a feature in this 9 second opener.  It leads into a comical voice that rises in pitch, which smoothly transitions into the first actual song.

We Ain’t Them- Donald Glover spits over a very catchy beat in a song that makes you bop your head.  It is extremely laid back and is definitely something to chill too.

One Up- Here is where Childish Gambino switches it up on us.  We are accustomed to his lighter, less aggressive music, but “One Up” is our first taste of his newfound confidence.  The beat goes hard.

Black Faces- Yet another song that showcases a new swagger as Childish talks about some of the more superficial aspects of life such as money.  He gives himself a metaphorical pat on the back because of the success he is having as a black male.  At the same time, he makes it known that he is going to the top of the rap game and plans to stay there to see the money roll in.

Unnecessary- Gambino, Schoolboy Q, and Ab-Soul destroy their respective verses in this song about rappers living in an immoderate manner.

Shoulda Known- “Shoulda Known” brings us back to enjoy a calmer, more relaxed Childish Gambino.  The chorus contains murmurs of Childish, while the verses are cleverly thought-provoking, as usual.

R.I.P.- “R.I.P.” samples “Nightcall” by Kavinsky.  Bub B’s presence is felt for the first minute of the song, and then Childish takes over.  Childish raps about his current state in the music industry, while he addresses his haters and puts himself on a pedestal.

American Royalty- This song uses music from a brass ensemble, which creates for a unique beat.  RZA makes an appearance on “American Royalty” and contributes to a tune that is anything but laid-back.

It May Be Glamour Life- Here, we have a song that strangely does not even include Mr. Glover!  Instead, Ghostface Killah shows up for a single verse.  It is a curious selection for the mixtape but I like the beat so I can’t complain.

Toxic- “Toxic” samples an easily recognizable section of Britney Spears’ song of the same name.  Danny Brown does his usual and yells over the beat, while Childish continues the pattern of bodying the second verses.

Silk Pillow- This song opens with singer-songwriter Beck uttering words over a piano-oriented instrumental.  Beck has been a friend and mentor to Childish Gambino and actually jokingly suggested Childish name his upcoming sophomore album “Because the Internet”…  Seems to have stuck!

They Don’t Like Me- Chance The Rapper has his typical strange but entertaining verse, as he whines over the beat.  The end of the song features a sample of Dem Franchize Boyz’s song “Ohh I Think They Like Me”.  The two rappers make for an intriguing listen.

Arrangement- A fairly simple beat plays in the background while Childish Gambino, with the help of Gonage, spits bars that go along with the chorus to create somewhat of an anthem.  This song gets me pumped!

Won’t Stop- Donald Glover thinks about the past in this song.  He considers his home in Atlanta, where he has not lived since high school, and wonders if his success has made his family, friends, and haters proud yet.  Overall, “Won’t Stop” is a change of pace for Royalty, containing a soothing chorus and bridge, soft piano chords, and less boasting than the songs that lead up to it.

Bronchitis- Simply put, the beat in “Bronchitis” is mysterious.  It is an extremely alternative form of hip-hop but it works.  It is one of the realer songs on the mixtape.

Wonderful- “We finally made it.”  This epitomizes the third-to-last song on Royalty.  Life is wonderful and Glover has worked hard to get to this point.  This track serves as a sigh of relief.

Make It Go Right- Vocalist Kilo Kish calmly kills the track in the beginning and on the chorus.  This is the perfect duo to complement the beat.  Childish Gambino hops on the track to get his LL Cool J on, as he begins his verse the same way LL did in his 1987 mainstream breakthrough single “I Need Love”.

Real Estate- This final piece is definitely a Wiz Khalifa type of beat.  Childish Gambino is joined by Alley Boy, Swank, and Tina Fey.  Tina Fey provides a comical interpretation of what she believes the typical end to a hip-hop song sounds like!

This mixtape is a testament to the incredible amount of skill that Donald Glover possesses.  He shows people that he is not bound to any one subgenre of rap because, unlike his previous works in which he spits modestly over alternative beats, Royalty is full of bravado over hardcore beats.  Now, after the release of his debut album and many mixtapes, Childish Gambino is making promotional rounds for his sophomore album, Because the Internet, which drops December 10^th.  According to him, there will, yet again, be noticeable differences between this and past efforts stylistically.  The anticipation is currently at a high and I can only hope that his upcoming second major-label album is what finally gets Glover the attention and respect he deserves as a musician.

Logic's "Welcome to Forever"

Track-by-Track Review:

People tend to wave him off initially because he seems like he could be a white guy, which is a shame since skin color and the ability to rap well have no correlation.  That said, however, Logic is considered black because he is mixed, much like rap peers J. Cole and Drake.  Regardless of what people think, this 23-year-old kid is on a mission to change the game and take his RattPack crew as far as possible.

Welcome to Forever- The beginning is purely piano, and it immediately lulls you in.  Percussion layers in to join the piano and these two loop together until the beat drops for the chorus.  Logic spits bars over the entire song and sets the tone for the mixtape.

925- Here, we have the typical boastful song that every rapper must have in their repertoire.  Logic talks about not wanting to work a real job, or a “nine-to-five”.  He wants to continue making quality music that people can relate to.  “925” is Logic repping his hometown in Maryland and his RattPack crew, while he gets excited about his future in the rap game.

Roll Call- Logic boldly samples the instrumental from Outkast’s classic, “Ms. Jackson”.  He gives it everything he’s got, though, and goes in.

5AM- This song’s title, “5AM”, is very similar to the title of the Drake song, “5AM In Toronto”.  At times, his flow is reminiscent of Drake’s, and at other times, Logic sounds like J. Cole.  They both likely have had a major impact on Logic’s style.

Break It Down- “Break It Down” has Logic spitting with a flow reminiscent of Kid Cudi, who is a huge influence of his.  It actually sounds like a song Kid Cudi would make because of the combination of the flow used, the feel of the chorus, and the meaning behind the lyrics.

Feel Good- Kanye’s song “G.O.O.D Friday”, which contains a chorus from Kid Cudi, is sampled in the sixth song on the mixtape.  This solidifies the fact that Cudi is someone who Logic looks up to, career-wise.

On The Low- This song contains features from both Kid Ink and Trinidad Jame$, whose versus are less than stellar.  Logic is trying to prove that he can venture out and make a song for the club, but although it has a nice beat, this one likely won’t be the first option for your average DJ.

Walk On By- If what you like is straight rap, you will love “Walk On By”.  He samples a song of Dionne Warwick that shares the same name.

The Come Up- When I listen to this, I cannot help but think to Drake’s “Started From The Bottom”.  However, unlike Drake, whose fan base is well-established, Logic is on the rise in popularity and is aiming to finally get noticed for his talent.  In addition to relatable song titles, the bass and tempo in the songs are eerily similar.  Check it out for yourself and you’ll see what I mean.

Nasty- The three verses here justify Logic being selected to be on the 2013 XXL cover.  You can tell what he says is real because of the passion that is felt in his rhymes.

Life Is Good- This is a chill, laid-back song about the positive changes that have come about in Logic’s life as a result of working hard and trying to perfect his craft.  It will be a struggle to not sing along to.

Ballin- “Ballin” starts out with steady clapping, and then immediately breaks into heavy bass.  This is one that deserves a full blast, especially if you need to get hyped for any kind of physical activity.  Fun fact:  This song is featured on the NBA Live 2014 soundtrack, which is featuring artists ready to take over the music scene.  I’d say that is a solid compliment to say the least.

Young Jedi- With a feature from Dizzy Wright, this song is one of the realest on the mixtape.  Logic showcases some of his finest rapping… And what do you know:  He opens the song with a lyrical reference to Kid Cudi!

The High Life- The lyrics sang by Elijah Blake at the end sum this song up best:  “Mama I made it.”  Logic analyzes his current situation.  Life is great and music has provided many great opportunities for him.  He is finally headed into the mainstream, where he will receive his proper recognition as a skillful rapper.

Common Logic / Midnight Marauder- In the first part of the song, Logic gives us a quick verse over one of the darkest beats on the mixtape.  In the chorus of “Midnight Marauder”, Logic spits “from nasty Nas, Big L, to Tribe Called Quest, we the RattPack.  In other words the tribe that’s next.”  Logic’s thought-provoking lyrics over the saxophone and trumpet instrumentals make this song.  So chill.

Just A Man- Everything from the flow to the beat used in “Just A Man” is reminiscent of the work of J. Cole.  Logic’s words are deeply introspective.

Man Of The Year- Any song that contains piano chords is a winner to me!  I love this song because it is full of melodic elements that immediately capture the listener’s attention.  “Man Of The Year” is mesmerizing.

 

The End- “The End” samples Adele’s song “Skyfall” from the latest James Bond movie, which is a beautiful song in and of itself.  This is a very fitting end to a solid mixtape.

A feature on the 2013 XXL “Top Ten Freshmen List”, a contract with the most iconic hip-hop label of all time in Def Jam, a fourth official mixtape release, and an invite to rap alongside Kid Cudi, Big Sean, and Tyler, The Creator on “The Cud Life Tour 2013”.  These major accomplishes that happened within the span of a year are building the anticipation for Logic’s debut album, tentatively scheduled for a 2014 release.  Stay tuned.

Kanye West’s "Yeezus"

A Track-by-Track Review

Kanye West’s sixth studio album, Yeezus, was meant to go where nothing in hip-hop had before.  The album was promoted by showing videos on buildings as well as performing in front of live audiences.  Although these were unique ideas, Yeezus still felt like it snuck up on us.  Fifteen days before the due date, ‘Ye asked for the help of producer Rick Rubin, who would strip down the record to achieve a minimalist approach.  Kanye also was said to have completed the lyrical components in somewhere around two weeks.  These were abnormal tactics, but would the final product push boundaries as planned, or just push people away?

On Sight- “Holllllyyy!”  This was my reaction the moment I heard the opening seconds of Yeezus.  Kanye was on some other stuff when he made this.  The song is strangely interrupted with a change in the beat, but soon after returns to the original beat, which is a recurring theme on the album.  The beat is out-of-this-world crazy, but at the same time somewhat catchy.

Black Skinhead- Kanye did not produce an official single before the album release date, but this song may serve as a hit commercially.  I heard it in a preview for Leonardo DiCaprio’s upcoming film The Wolf of Wall Street, early this summer, and it sounds amazing in a theater.

I Am A God- Yes.  Believe it or not, Kanye did include God as a featured artist on this track.  Here, ‘Ye compares himself to God, while also acknowledging the importance of God:  “I know He the most high.  But I am a close high.”  He views himself as being very important and influential to the music scene; almost as if he is a god.  The song uses a lot of medium-to-high pitched synths, a low bass beat, and the egotistical proclamations we have all grown accustomed to.

New Slaves- Here, Kanye says blacks are the new slaves for several reasons, all of which ultimately relate to money.  It has deep meaning… but enough to justify Kanye calling his second verse “the best rap verse of all time”?  Preposterous!  It is not surprising, though, coming from a guy who never shies away from an opportunity to share his opinions. (Taylor Swift knows best.)  After all, as he said, he wears his “heart on a sleeve.”

Hold My Liquor- Chief Keef and Bon Iver’s Justin Vernon on the same track!?  Only Kanye.  “Hold My Liquor” has Kanye battling his inner demons and addressing the dangerous effects drugs and alcohol can have on relationships.

I’m In It- In this song, the relationship theme continues, but is much more sexually explicit.  Justin Vernon continues to make his imprint on the album as he and Kanye are developing quite a repertoire of songs together.  Assassin provides an aggressive hook and his Jamaican touch makes it all the more memorable.

Blood On The Leaves- This is one of the more aurally pleasing beats on the album.  Kanye samples Nina Simone’s cover of Billie Holiday’s song “Strange Fruit.”  This song is an ode to past relationships as Kanye talks about what could have been.  It has captivating piano playing in various parts of the song throughout, as well as an intense brass beat, heavy synthetic percussion, and auto-tune effects.

Guilt Trip- “Guilt Trip” is about moving on from a relationship.  Kid Cudi is featured in the song, so of course it has a somber feel to it.  Originally, this song was intended for Kanye and Jay-Z’s Watch the Throne album, but the style did not match well.  The auto-tune-heavy track fits better on this experimental album.  It should also be noted that the rising synths in this song are sampled from Steve Miller Band’s classic, “Fly Like an Eagle.”

Send It Up- “Send It Up” begins with featured artist King L boasting about how great of a club banger the song is.  On the contrary, this is nothing that will get anyone up and dancing.  If you are going to skip a song, this would be the one.

Bound 2- The last track on Yeezus contains elements of Kanye that everyone has grown to know and love.  This soulful sample makes for a distinct sound reminiscent of his past work.  The song uses Charlie Wilson on the bridge in what feels pleasantly familiar, yet arguably unrelated to the rest of the project.  It is a nice song in and of itself, but it sounds like the end to a different album.

Yeezus is different… and if you don’t like ‘different’, you will not like Yeezus.  Kanye tapped into the realm of house music and was inspired while in Paris, where he recorded part of the album.  It is not a traditional hip-hop album, and you must absolutely keep an open mind.  It takes more than one listen to fully grasp what Kanye is trying to accomplish here.  Hopefully, instead of turning people off, this album encourages others to seek complete creative control of their marketing and their music, and to not feel like they need to restrict themselves to a single, defined genre.

Jay-Z's "Magna Carta... Holy Grail"

A track-by-track review:

Jay-Z is one of the most recognizable names in entertainment, and when he aired a three minute commercial during Game 6 of the 2013 NBA Finals, he garnered the world’s attention.  The commercial contained beats that seemed like eventual classics, especially because some of today’s best non-classical producers worked on them.  Everything about Magna Carta was to be special… but does it live up to the hype?

Holy Grail- This title track definitely sets the tone for the album.  Although the highly anticipated speaker-bursting downbeat from Jay’s three minute commercial is not fulfilled, “Holy Grail” is a song that begs to be played over and over.  It is not the flow of Jay-Z’s lyrics, but the simple piano before the beat drops in addition to the crooning of Justin Timberlake on the ever-captivating hook that makes this song so easy on the ears.

Picasso Baby- The beat in this song immediately commands your head to bop.  The lyrics are sort of boastful, but rightfully so.  The best example is at the end of the song where Jay claims to have artistic abilities that establish him as “the modern-day Pablo… Picasso, baby.”

Tom Ford- Get up on your feet and dance. That is what “Tom Ford” wants you to do.  Jay is a rare case of someone rapping and staying relevant past the age of forty.  This is an example of why he is still very much respected because he is able to connect with a younger audience.  This song is also a cool way of discouraging kids from popping the popular club drug known as molly.

F***withmeyouknowigotit- Rick Ross fans: Unfortunately, the self-proclaimed ‘Teflon Don’ doesn’t utter a single “uhhh” on this track.  He does, however, deliver a memorable verse that creates a smooth transition into Jay’s verse.  This beat continues with a dance feel like the last song.

Oceans- The mood of the album is mellowed with this darker, slower track.  Frank Ocean adds another chorus that you will be humming well after the remaining time hits 0:00.

F.U.T.W.- Magna Carta has been consistent thus far in that every beat is enjoyable, and it doesn’t stop here.  For the first time, though, there isn’t much of a hook or chorus.  We finally get straight rapping, and there are no disappointments.

Somewhereinamerica- This song talks about how old money (people who inherited money) looks down on new money (people like Jay-Z, who made a fortune himself).  Jay-Z rubs it in their faces, though, as he brilliantly observes that times are changing and the same young white girls all over America who come from privileged families are the ones that support him and contribute enormously to his paychecks… Hence the memorable reference to Miley Cyrus.

Crown- The chorus and verses of this song are clearly meant to show that although people will always try to put you down, you must keep your goals in mind and pay no attention to the haters and doubters.  Jay-Z has created an entire money-making empire (mostly outside of his lyrics) and has proven that it is possible to exceed expectations.

Heaven- “Have you ever been to heaven?”  This thought-provoking question, among many others, is brought to our attention.  According to Jay, it’s not his belief that “a just God will make you burn for eternity for free will that He gave you.”  Having been through a lot of struggle and turmoil early on in his life, Jay has made significant strides in righting his wrongs and transforming his life into one of meaning… and that’s all he can do.  Besides, in the end, “only God can judge us.”

Versus- This interlude is Jay-Z being real about his worth, success, and fame as compared to his peers and fellow rappers. 

Part II (On The Run)- We all know that when the ultimate celebrity couple decides to hop on the same track, it will be golden.  To no surprise, this follow up to “03 Bonnie and Clyde” is that and more.  Beyoncé does her thing on the hook, with Jay going in on the track.  This song about love and how two people would do anything for each other is my personal favorite on Magna Carta.

Beach Is Better- This is an interlude about money, Beyoncé, and everything Jay-Z has that nobody else does.  It has the makings of a great song, but is inexplicably cut short.  Rumors are that Jay will make an extended version, though, so stay tuned.

BBC- “Billionaire Boys Club” is full of stars.  Beyoncé, Jay, Swizz Beatz, JT, Pharrell, Nas, and Timbaland are all on this track.  It is heavily influenced by Pharrell, which is the main reason it has been compared to Robin Thicke’s “Blurred Lines.”  This is the most disappointing track by far, given the cast.

JAY Z Blue- Here, we have recognizable lyrical content from none other than The Notorious B.I.G., along with Jay-Z in his most vulnerable state.  This song displays an aspect of paranoia, as a man who grew up fatherless tries to learn how to treat a woman and raise a child.

La Familia-Jay-Z adjusts his flow to this slower beat.  If you look up the lyrics, you can see that Jay is finally addressing Lil Wayne’s latest shots at him.  Once again, there is no hook here.  It is strictly rap.

Nickels And Dimes- This is the final song on the album.  According to Jay-Z himself, it is about dealing with charity; family included.  He gives money to people back home all the time, knowing he has no control over the end result of that money.  He wonders, “…at what point are you enabling [people] and causing more harm than good?”  This is yet another song that just allows you to spend some time in thought.

The musical aspects of Magna Carta do not live up to the hype.  Lyrically, it is what has become expected of Jay-Z:  Well thought out double and triple entendres that require more than just a single listen to fully understand, provided to us via his awkward yet enjoyable flow.  Although the beats are solid, they hardly push boundaries as one would expect.  The marketing for this album was genius, and should be used as a model for future hip-hop albums to continue to write the new rules, as Jay-Z said in his commercial.  While it is far from the greatest hip-hop album I've heard, Magna Carta is definitely something that I would ride to.