Since he came on to the scene in 1996 with his debut Reasonable Doubt, JAY-Z has transcended genres to become one of the top selling artists of all time (100 million album sales and rising) as well as gathering 21 Grammy awards. It’s hard to think of any other artists still at the top of their game after that period of time, but 4:44 is further proof that JAY-Z is one of a kind. His personal reputation may have taken a battering after Beyoncé’s Lemonade last year and its insinuations of marital infidelity, and he responds here with a searing millennial honesty.

The opening track ‘Kill Jay Z’ is intriguing and sets the scene, saying that it is time for his old JAY-Z persona to be killed off as it’s no longer helpful. While there are sideswipes at his former friend Kanye West (“You gave him 20 million without blinkin’, he gave you 20 minutes on stage, fuck was he thinkin’?”), the track is more about recognising his own faults and how he has allowed things to get out of hand at times. There are references to the infamous elevator fight with Solange, as well as other altercations, but it’s clear that recent events have made him re-evaluate his life. It’s an astonishingly open first track, but there is even more to come. From here on, this album almost becomes the debut release from Shawn Carter as he waves goodbye to JAY-Z and raps: “Welcome back, Carter” on early standout ‘Smile’. With an addictive, timeless sample of Stevie Wonder’s ‘Love’s In Need Of Love Today’, themes of turning bad times into good memories are abound on this slice of classic hip-hop. The theme of needing honesty continues with the revelation that “Mama had four kids, but she’s a lesbian, had to pretend so long that she’s a thespian” being followed by his mother reading a poem at the end about the need to move out of the shadows and be true to herself.

The album highlight however, and the one that everyone is talking about, is the title track in which he bares his soul as an apology to his wife. In interviews, JAY-Z has revealed that the lyrics spilled out of him one morning after waking at 4:44am. The track itself remains almost a stream of consciousness, and is at parts fascinating, uncomfortable yet completely compelling listening. As a response to Lemonade, it is stunning and tackles his shortcomings head on in a no-nonsense, heartfelt way that captures the mood of the entire album.

Following that is no easy task, but being able to bring in Beyoncé on ‘Family Feud’ always helps. Singing in a sultry style over the top of his lyrics about the need for the hip-hop community to come together, rather than picking fights with other generations, shows that new maturity from JAY-Z. Whether rapping about the need to invest in black neighbourhoods rather than die fighting in them, railing against Prince’s back catalogue being re-issued against his wishes, or how the hip-hop scene has become stale, this feels like a real ‘state of the nation’ album. The guest spots are handled subtly, with Frank Ocean and Damian Marley adding a different flavour to Carter’s rhymes. Meanwhile, the beats and samples have that classic feel that you expect from JAY-Z, without ever feeling old-fashioned. In particular, each sample choice resonates with its own story that deserves exploring further. As the final two tracks deal with his early days on ‘Marcy Me’, and then look to the future on ‘Legacy’, they wrap up a stunning and vital piece of work. If this really is a goodbye from JAY-Z, then what a way to go. Bye JAY-Z, welcome back Carter.

Jamie MacMillan

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