Unfinished Business Jay Z And R Kelly Album Zip
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Most of the album's beats are reworkings of Best Of Both Worlds tracks, and they sound oddly dated. Like Both Worlds, the entire album was produced by the Trackmasters, a Neptunes-lite duo who peaked around 2001 and who haven't been finding a lot of work since. Their sound-- flanged acoustic guitars, jazz-funk piano plinks, rippling clicks-- is so clean you could eat off it. It's the sound of richer, happier times. Sometimes it's effective; they deploy burbling synthesized flamenco guitars on "Mo' Money" and a bazonkers gospel choir on "Don't Let Me Die" to great effect. But they also deliver "Feelin' You in Stereo" and "Break Up (That's All We Do)", some weak-ass bourgie mid-90s slow jam shit. And in 2004, Jay-Z has no business rapping on a track that could've been a City High remix three years ago.
The album opener, "Do The Math," doesn't kick off in the most cutting or preemptive way. We're just about to start convulsing inside. The drum-programming, bouncy piano, and chipmunk charango are right out of the Blauphone playbook but the vocal melody and the lyrics are decidedly modern. "Girl next door" is a term of endearment, replacement for "babe" or "doll".
And "Aero"-- a take on the 1995 song "Aerospazio" ("Aerosphere") by another Portuguese vocal duo, Adélia Zóbel & Luís Queiroz-- is acrobatic, intense, and dynamic. It's an exercise in making the uncanny routine. The voice sample at the intro-- an off-kilter "Baby Love" -- comes from another track on the album ("Hood Rat "). The subsequent synths -- the phaser, the obtrusive sampled detail -- sounds like the rack reactor before high-res becomes the norm.
Most of the album's beats are reworkings of Best of Both Worlds tracks, and they sound oddly dated. Like Both Worlds, the entire album was produced by the Trackmasters, a Neptunes-lite duo who peaked around 2001 and who haven't been finding a lot of work since. Their sound-- flanged acoustic guitars, jazz-funk piano plinks, rippling clicks-- is so clean you could eat off it. It's the sound of richer, happier times. Sometimes it's effective; they deploy burbling synthesized flamenco guitars on "Mo' Money" and a bazonkers gospel choir on "Don't Let Me Die" to great effect. But they also deliver "Feelin' You in Stereo" and "Break Up (That's All We Do)", some weak-ass bourgie mid-90s slow jam shit. And in 2004, Jay-Z has no business rapping on a track that could've been a City High remix three years ago. d2c66b5586
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