NEW MUSIC: Jay-Z, "Kingdom Come"

3 stars

(Roc-A-Fella)

Jay-Z’s return to the rap game should come as no surprise: his retirement was one of the most half-assed in retirement history. He continued to record hits with Beyoncé and an ill-conceived EP with Linkin Park at a distinctly un-retired pace. But unlike many other stars that have come back only to efface their own legacies with sub-par performances (Why, Jordan, why?), Jigga still shines on his “comeback” album.

“Kingdom Come” can’t quite live up to “Reasonable Doubt”—Jay-Z’s gritty debut album that many, including the Jiggaman himself, claim to be his best work. It is, however, on par with more recent albums like “The Blueprint” and “The Black Album.” And like the latter, it’s a portrait of a matured, introspective man, though not one who is above his usual sense of self-importance or bravado.

The self-proclaimed “King of New York” has moved beyond the standard gangsta-rap subject matter to talk about more personal and pertinent issues: the Hurricane Katrina crisis, his relationship with Beyoncé, his retirement, his mother and father, his falling-out with former friend and business partner Damon Dash, and even his recently deceased nephew.

While this thematic shift is no doubt a morally admirable choice, it doesn’t suit him as well. The more conscience-friendly material precludes him from showcasing the rawness that got him where he is today.

But don’t get it twisted, this is still a Jay album.

It’s got a dis track (targeting Cam’ron, among others), a number of poppy songs like “Anything” (featuring Usher) and “Hollywood” (featuring Beyoncé), a pacing like that of his last albums, and stellar production by such notables as Just Blaze, the Neptunes, and Dr. Dre.

Blaze produces a number of tracks on the first half of the album, showcasing his signature high-profile sampling (such as Rick James’ “Superfreak” on the title track). And Dr. Dre, who produces “30 Something,” “Minority Report,” and “Trouble,” adds just a hint of his finely-aged West Coast flavor to the album.

What makes “Kingdom Come” unique is that it’s much more relaxed than any of Jay-Z’s previous albums. It lacks the ferocity that he showed in previous standout tracks like “Threats” or “Renegade.” But the slower pace has enabled him to more fully display his masterful lyrical technique, making each intricate rhyme scheme and well-placed allusion perfectly audible.

A few songs on the album definitely have club appeal, such as “Oh My God” and “Trouble,” but in listening to the album as a whole, these cuts are outnumbered by the more laid-back tracks.

The biggest problem with “Kingdom Come” is that it does nothing new. It will have its commercially successful tracks, and it will sell, but don’t expect anything too innovative.

“I said in ‘Blueprint’ that I’ll never change” our hero says in “Trouble,” and it’s true: Jay-Z will still tell you he’s “hip-hop’s savior.” He still raps about being the best in the game, and even uses a number of his old producers. Maybe “Kingdom Come” would be better if Jay at least tried to improve on his formula, even if just a little.

This album is not a return to the intelligent-but-unrefined rap style Jay first displayed on “Reasonable Doubt,” but it’s a solid addition to his discography. Jay-Z is obviously growing as a person; unfortunately, as a rapper, he’s grown stagnant.