It is tough for rappers to reinvent themselves as they get older, writing about original topics and continuing to engage their audience. You could count the vets from the early-mid 90s still releasing albums with the same anticipation and general interest as the new cats on one hand. Jay joins the likes of Snoop, maybe Nas, some of the Wu (probably stretching it already) and rappers like Eminem who began closer to the new millennium. There aren't many, with rap as a whole so far making for a short life of high fame. With this album, for a good half of it at least, Jay does not do this, making it void of passion/presence on the mic, or originality. And while I'm all for this small trend we've seen from the likes of Kanye and Jay of releasing albums out of nowhere, I'm strongly against albums being rushed, which aspects seem to have been for the recently released Yeezus, and sound like they were for this, with The-Dream mentioning that “Jay-Z finished most of this in two weeks.” Best moments on MCHG: 'Jay Z Blue', as the lyrics are meaningful with Jay rapping about fatherhood. It actually feels like Jay put some thought into this song. 'Somewhere in America', largely because of the pianos in the production is a standout. It could've been a lot better though with better lyrics and rapping. It's a similar case with the following 'Crown'. Disregarding Jay using basketball players as similes for the millionth time over his career, 'Nickles and Dimes' is also more introspective and deeper than most of what comes before. I don't mind 'Part II' either. B helps elevate it who is on the song for a lot of it and it is a grower. The opener 'Holy Grail' has its moments as well, but it feels more than one minute too long. JT being on a song that's too long? There's a first time for everything I guess... Worst moments on MCHG: 'La Familiar', where Jay takes subliminal shots at Lil Wayne, years later after Wayne dissed him on 'I'm Good'. When you take this long to respond to a diss it's a failure and it mustn't have dug that deep. Lyrically, it also just feels like it was written in three minutes. Also on the diss, with Wayne being a laughing stock for years, Jay could go so much harder. 'Holy Grail' - Jay has another dig at Hammer losing his cash. Leave him alone Jay. 'Picasso Baby' - I like the beat change up that takes it back to the feel of some earlier Jay beats, but the lyrics are boring as they are on the following 'Tom Ford'. Kanye does this bragging better, because he puts more emotion into his vocals, is more outlandish and just comes across as more of a character - (insert croissant line here). Out of all of the tracks Jay could've asked Nas to impart some of his wisdom on, it's BBC, with Nasir rapping about clothing 'n' shit. Finally, does anyone else find Frank Ocean a bit whiny at times? Maybe it's just me... To compare the pretentiously ill-fitting titled Magna Carter_Holly Grail to Jay's last solo album, there was definitely more I got out of the early ventures of BP3 than this. There are no really bad songs here that BP3 has, which are largely due to some choruses being horrendous on BP3 in the last half of the album, but there also aren't the 'DOA's, 'Empire State of Minds' or 'On to the Next Ones' that are high moments on BP3 in my opinion. I've seen the production being praised, and after hearing the commercial/trailer for the album I was a bit hype for this album, as most sounded good, but to be kind, I'm not hearing much that blows me away. Not a great phone, I mean CD, full of material. Best Tracks: Somewhere in America, Crown, Part II, Jay Z Blue, Nickles and Dimes

The overall rating of this in some places suggests this is better than his debut but I can't agree with that. I think the raw production really suited his story telling horrocore type of lyrics that were on his debut. This is a tad more polished and most of it still works quite well but I don't think this has the standouts and rawness that makes Prone to Bad Dreams such a joy. Best Tracks: One Way Out, Until It Hit Home, My Mind Went Blank

Like others, I cant give this a higher rating because of its unoriginality, however, Fashawn's lyrics are more original and his own than other reviewers would have you think. With the beats, you know what are getting - some of the best of '94 that still sound great these days, and Fashawn is a good rapper so overall it's a good listen if you are a fan of Illmatic, even if it is weird not hearing Nas over the classic beats.

He can't rap like Rakim (not many can) but I seem to be one of the few who like this. Good heavy sampled production, with most fitting into the pop rap category. Apart from 'Love' everything works to some degree. A feel good album. Some catchy stuff. Best Tracks: I Can't Let You, You're My Painted Picture, Good Bye, Get It On

Be it Jay-Z or going all the way back to the Beastie Boys, there are a number of well renowned rappers/duos/groups I don't understand the fuss with, but Cam'ron and his crew have to take the cake by a mile. Many beats sound cheap throughout their discographies, are boring coming from one of the weaker periods of the genre, and the rappers are weak. Cam'ron particularly is just someone I cannot get my head around. There are times listening to him rap when I get incensed. 'Real Niggas' ain't terrible until he comes along with his nonsensical punchlines and annoying flow. If anyone rates this guy highly they must prefer comedy to music. Take 'I Really Mean It' as another example. The Kanye West like beat with the repetitive highly pitched sample goes alright, but Cam is just so boring. He also gets drowned out by the beat sometimes that I've noticed on other releases from him as well as on this album. There are some okay songs due to some beats being good, and DMX adds some much needed energy to the album on 'What's Really Good' towards its conclusion, but damn, if anyone shouldn't release a double disc album almost 110 minutes long, it's these guys. Best Tracks: Who I Am, More than Music, The First, What's Really Good