1. Can’t Knock The Hustle (feat. Mary J.Blige) // 2. Politics As Usual // 3. Brooklyn’s Finest (feat. The Notorious B.I.G. & DJ Clark Kent) // 4. Dead Presidents II // 5. Feelin’ It (feat. Mecca) // 6. D’Evils // 7. 22 Two’s // 8. Can I Live // 9. Ain’t No Nigga (feat. Foxy Brown) // 10. Friend or Foe // 11. Coming of Age (feat. Memphis Bleek) // 12. Cashmere Thoughts // 13. Bring It On (feat. Sauce Money & Big Jaz) // 14. Regrets
Whenever the pointless debate about who is the best rapper ever rears it head, and the discusion doesn’t end in a face-off between two dead guys; Shawn “Jay-Z” Carter is oft brought up. From what music he produces these days the average hardcore hiphop head wouldn’t draw the conclusion that he is one of the best ever. Obviously he and his collaborators are, even today, way above average in creating bearable radio music, but that doesn’t get you the props the Jiggaman recieves on a daily basis from the people who love rap. Unlike what is the case with Lil’ Wayne there are quite a few people other than the man himself who think that he is the best to ever have tried his hand talking over beats in a rhythmnic manner. Therefore the reasons for his widespread acclaim lie, for the better part, in his past.
In 1996 to be exact. After having spent years under the wing of his mentor Jaz-O a.k.a. Big Jaz, and appearing on songs by artists such as Big L and Big Daddy Kane Jay still didn’t have a record deal. Hence he and two of his friends; Dame Dash and Kareem Biggs, started their own record label Roc-a-Fella records, named after J.D. Rockefeller, because that guy was filthy fucking rich during his lifetime, which was one of Shawn’s goals. (Although, if you are prone to buy gangster rap shtick then you believe mr. Carter to have been loaded with cash already when this album came out because of cocaine trafficing career.) Now he had a label he proceeded to record Reasonable Doubt. After it’s release it became clear why Jay never got a record deal before, as the Major labels were ostensibly right about the marketability of what he was doing at the time. The album never hit higher than #23 on the billboard top 100 and while this in and by itself was not bad for a rap album at the time, it is telling that it took until 2002 (that’s six years) for the album to go platinum. So the crouds initially did not go apeshit over it, causing our host to panick over the profitability of his career and have his sophomore album In My Lifetime, vol. 1 to be overseen by rap’s at the time midas touch producer, P. Daddy, resulting in a couple of really embarassing singles.
But back to the matter at hand, the critics did thoroughly enjoy Reasonable Doubt, applauding the combination of Shawn’s mafioso raps (which were in part modeled after what Raekwon had done on his ‘94 solo debut Only Built 4 Cuban Linx…) and the characteristically East Coast production by such respected veterans as DJ Premier (Gang Starr, NaS, the Notorious B.I.G.) , Ski (Camp Lo) and Super DJ Clark Kent (Dana Dane, the Notorious B.I.G., Slick Rick, Rakim). Critics like it so much that the album is still seen as one of the finest efforts the hiphop genre has produced since it came to exist in the late ‘70s.
Listening to it today one must conclude that this album has its faults. Some of the songs, such as the album’s biggest single Can’t Knock the Hustle, are plain boring. Some of the guests (Memphis Bleek and Foxy Brown to be exact) deliver dreadfully mediocre performances on otherwise good songs, giving the listener the idea that the only concievable logical reason for their inclusion is to make our host sound even better by comparison. (This would in and by itself explain perfectly why Jay left Sauce Money in a ditch somewhere in the late ‘90s, but kept Memphis Bleek around for guest performances, until he left his entire Roc-a-Fella boutique label to rot, in order to start his new boutique label; Roc Nation, in 2008) And some of the instrumentals are dated in a manner that inspires meh. (actually only the last track Regrets, fits that bill)
With that said, it comes as close to perfection as any other textbook classic rap album. (Reasonable Doubt is most definitely on par with the likes Ready To Die, the Chronic or Straight Out Of Compton. The only comparable album that I can think of, that is significantly better is NaS’ Illmatic, because it has only one questionable inclusion, compared to this album’s four. And you could even rightfully argue that, because Reasonable Doubt is four tracks longer than Illmatic they contain the same amount of classic material.) because all the other songs on here are fucking bonkers. After the lengthy, pseudo-ambient yawn inducer-slash-album opener that is Can’t Knock the Hustle the album picks up steam with, what should have been the the first song, Politics as Usual. Over a Ski instrumental that is pleasant enough to keep ones attention, but remains sufficiently in the background so that the spotlight is on Jay’s performance, the man puts his conversational flow to use and tells the listener about his experiences in the streets selling drugs and what not. Whether or not he really lived this life is not up for debate here and is irrelevant. His tone, which one might use on an old friend one hasn’t seen in a long time, updating him about current events, makes it sound credible enough. It also helps that he rhymes his ass off here, providing punchlines for days. Following that treat comes Brooklyn’s Finest, a twilight of rap gods where Jay holds his own against the Notorious B.I.G., whom is considered by many, including yours truly, the best rapper ever. Again, these MC ranking lists are bullshit, but this collabo leads to a very specific comparison that simply demands your respect for Lil’ Jaz. He stands toe to toe with the then current king of New York. Therefor, at the very least, the man makes a case for that he was next in line for succession. And this lyrical sparring match leads results in a flawless duet. Other people who provide some impressive rhyming are Sauce Money and Big Jaz on the DJ Premier-produced Bring It On. In turn, them holding their own against Jay-Z, gives an unfulfilled promise of brilliantly succesful careers of their own to come. Alas, Jay had more faith in Bleek. Or they simply weren’t prepared to shut up and hold Shawn’s pot for him, like Bleek was.
Another highlight is Feelin’ It, which is a mellow ass weed-inspired song-slash-boastfest that has a piano based DJ Ski instrumental that is just perfect to zone-out to when you’ve smoked a bowl and some awe-inspiring raps in the conversational style that earned Shawn a fanbase. Whether he’s boasting, threatning or introspective; he makes it seem as if he’s talking to you specifically. That is his most distinctive feature, both as a rapper and as a lyricist.
What y’all ain’t heard that nigga Jay high?
The Cristals they keep me wet like Baywatch
I keep it tight for all the nights my mom prayed I’d stop
Said she had dreams a sniper hit me with a fatal shot
Those nightmares ma
Those dreams you say you got give me the chills
But these mills make me hot y’all don’t feel me
Enough to stop the illin right?
But at the same time these dimes keep me feelin tight
I’m so confused
OK I’m gettin weeded now I know I’m contradicting myself
Look I don’t need that now
There’s so much highlight here that it is impossible to give them each the attention they deserve. The very best and most vivid of them all might be the DJ Premier produced Friend or Foe, which clocks under a minute and a half. Some of these songs just make one wish that Jiggaman wouldn’t have diluted his style on his follow-up to find platinum sales with Puff Daddy, Timbaland and the Neptunes. Off course nobody would’ve benifited from a stack of nearly identical albums, and club bangers have their place and time. Some of the work Jay has done later on with the likes of Pharrell is top notch, and no one can rightfully claim that Shawn cannot put together a good radio song. But the fact that the fantastic, ominous, Ski-produced Dead Presidents was this album’s first single and failed to make much of an impact on the charts, forcing mr. Carter to change his direction, makes a hiphop head dream of an alternate universe where the mainstream would’ve been down with more edgy stuff and facilitated the creation of more of it.
I’d rather die enormous than live dormant that’s how we on it
Live at the main event, I bet a trip to Maui on it
Presidential suites my resedential for the weekend
Confidentially speakin in codes since I sense you peekin
The NSX rental, don’t be fooled my game is mental
We both out of town dog, what you tryin to get into?
Viva, Las Vegas, see ya, later at the crap tables
meet me by the one that starts a G up
This way no fraud Willie’s present gam-b-ling they re-up
And we can have a pleasant time, sippin margaritas
Ge-ge-geyeahhh, can I live?
Can I live?
This verse, taken from the brilliant Irv Gotti produced Can I Live shows off an ambition that perfectly explains the artistic direction he would take after Reasonable Doubt made him a hood champion, but not the superstar he fancied himself being. And no-one can blame him for following and producing a lot of music that was and a lot better than what his peers brought to the table and still bring to the table today. Even if it did take the edge off a bit.
However, before the big hits, the major label presidency, the booty-bumping with Beyoncé and the constant recycling of the Notorious B.I.G.’s lines in “tribute” there was Reasonable Doubt, an album that after its first and worst track is finished playing, likes to pretend the radio didn’t exist and that presented the listener with something that is an interesting, entertaining piece of fiction backed by some well put-together music.
Politics As Usual, Brooklyn’s Finest, Dead Presidents II, Feelin’ It, Can I Live, Friend or Foe, Bring It On
Buy this album.