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Amazon.co.uk
Few retirements are as short-lived as that of New York rap mogul Jay-Z. Barely two years after bowing out in 2004, he's back with Kingdom Come--and if he's set down the mic for a minute, it doesn't show. Backed by a dream team of producers (Just Blaze, Kanye West, Dr Dre, the Neptunes), with special guests including B
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Amazon.co.uk
Few retirements are as short-lived as that of New York rap mogul Jay-Z. Barely two years after bowing out in 2004, he's back with Kingdom Come--and if he's set down the mic for a minute, it doesn't show. Backed by a dream team of producers (Just Blaze, Kanye West, Dr Dre, the Neptunes), with special guests including Pharrell, Beyonce, and Coldplay's Chris Martin, it's an A-list cast. Naturally, though, it's the Hova who's the star attraction, slightly older and prone to pontificating on his ten years in the game (see "30-Something"), but certainly no wiser: as he raps on "Trouble," he's still got "hands in the cookie jar." The first few tracks are pure consolidation, gleaming and boastful productions that remind you just how great Jay-Z is on the mic. Further in, though, Kingdom Come branches out in style: "Hollywood," the duet with Beyoncé, is a jaded take on celebrity culture, while "Minority Report" relives the aftermath of Hurricane Katrina with the Bush Administration in the metaphorical sights. Finally, the Coldplay-produced "Beach Chair" concludes the album on a spiritual note, Jay-Z announcing "life is but a dream" as Chris Martin trills like an angel atop echoing drums and distorted, music-box guitar. If you thought it could never work, you were clearly underestimating.--Louis Pattison
While nowhere near a career-ending disaster, the wobbly Kingdom Come wasn't the best justification Jay-Z could have made for ending his retirement. You'd think his enthusiasm for jumping back in the game would give the album more energy but despite a power trio of songs by Just Blaze that kick off the CD, much of the album feels listless and unfocused and it doesn't help that A-list producers like Dr. Dre and the Neptunes drop the ball with some truly tepid tracks. There are nice moments: the blistering title song, Jay's soul-baring "Lost Ones," and his snickering disses on "Dig a Hole." But, those moments are counterbalanced by the clunky "Beach Chair" (produced by Coldplay’s Chris Martin), the obnoxious, corporate swagger of "30 Something," and the garish, unlistenable club cut "Anything." Any fan of Jay over the last 10 years knows he's better than this so now the new anticipation will be for his real comeback album. --Oliver Wang
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