Even the way Jay’s albums started to be sequenced and put together after that, it was always this roller coaster ride where he talked about a lot of things. I think it was just him being an open book, being vulnerable and at the same time being cool. With the second and third albums, he became more mainstream so people actually got it a lot more. I think that’s what gravitate towards it and it trickled down afterwards but initially they just didn’t get it. It was really for a top-shelf, top-tier crowd. Jay really spoke to bosses at that time and there’s less bosses than there are workers. I think it was over a lot of people’s heads.
He’s rapped, “They ain’t really appreciate it until the second one came out.” Why do you think it took people time to respect Reasonable Doubt the way they do now? You talk about seeing it as an instant classic but throughout his career, Jay has said that not everyone saw it that way. The producers and the lyrics together created something that we all thought at the time was an instant classic. That came across in the music. When we came out, we were able to drop this album and put out quality music. We were living that lifestyle that we talked about. I think that’s why people gravitated towards what we were doing a lot more.
He was introducing something that we were actually living. The lifestyle is what was put into that album, which was the start of Jay’s career. People often see you as a behind-the-scenes figure but where do you see your influence on this album?īesides finance, it was the lifestyle. He would kind of just shake his head like, “Yeah, you made it a hot line. He ain’t really got no puddin’.” We would talk about a lot of different things and it would end up in a song, and we’d look around and laugh at each other in the studio. I’d be like, “That guy ain’t got no puddin’. Well, probably “Dead Presidents” when he’s like, “I want money like Cosby, who wouldn’t?/ It’s this kind of talk that make me think you probably ain’t got no puddin’.” That was something I used to say. Is there a particular line or song that you remember that captures that type of moment for you? When Jay made the album, he was really doing it to impress his friends so it was things that we were going through and how we were living. But early on, it was just about creating something that was going to be different, not only the music, but through marketing down to the sound and the lyrics. We knew the statistics to look that far ahead, know how records would be broken and the impact that it would have worldwide. We knew we were going to build something that would be great. What were those talks like?īack then, it was all about how we could do it ourselves, about being independent. Though spotty in terms of audio quality and dated, occasionally, by Jay's propensity for double-time flows, this material combined with some of Jigga's more choice cameos represents at least an album's worth of notable, yet mostly little-known, pre- Reasonable Doubt material.Take me back to 1996 and maybe even before then, to your first conversations with Jay Z about Reasonable Doubt. While Jay officially only released one single-“In My Lifetime”-prior to Reasonable Doubt, some fascinating demo recordings from this period have emerged via mixtapes and the Internet over the years, offering a peek at his growth from gimmicky rapid-fire rhymer to the sophisticated don of Reasonable Doubt. Gets Busy." Jay would go on to play sideman for Jaz on his fellow Marcy Houses native's solo singles “Hawaiian Sophie” (1989) and “The Originators” (1990), before making cameos on records by Big Daddy Kane, Big L and Original Flavor. The man born Shawn Carter was just 16 in 1986, when High Potent, the Brooklyn crew he'd joined under his mentor Jaz-O, released its lone single "H.P.
Jay z albums reasonable doubt full#
He had already been recording for a full decade. If the Brooklyn upstart already sounded like a sage veteran on his '96 opening statement, that’s because, well, he kind of was one.
Jay Z’s Reasonable Doubt has been described as one of hip-hop's most mature debut albums ever.
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