This is the most concentrated dose of NOI influence and teachings we’ve heard from JAY-Z on one project so far. Hov is playing on Jay Elec’s turf sonically and thematically. (For one, he only handles hook duty on the last two songs.) With Jay Electronica handling the bulk of the production, this is very much still his arena. Still, the notion that this is a “new JAY-Z EP” is a fallacy. He also tries out a new flow on that song, and later trots out another double-time effort on “Flux Capacitor.” The results aren’t always as smooth, but it’s hard to care when the bars are as tight as “She sneeze at son, her photic reflex” or “You backstabbers gon turn me back to the ol Jay.” There’s a flex on behalf of his son, yet another salute to Emory, and a declaration of, “I’m a miracle, born with imperial features,” which, paired with The Alchemist’s beautiful instrumental, sounds like the fucking clouds parting and heavens opening up on wax. JAY starts every subsequent verse with the same fire, sauntering onto each track like Vince McMahon. His verse on “Ghost of Soulja Slim” wastes no time setting the tone and energy for the project: “Next time you bring up the gods, you gon respect us/that lil vest ain’t gon do you, I shoot from neck up.” From there, it’s off to the races. On A Written Testimony, JAY-Z keeps that same energy. JAY knew that much when they collaborated for the first time, nine years ago on “Shiny Suit Theory,” rising to the occasion and delivering one of his best verses (guest feature or otherwise) to date. Jay Electronica isn’t just an artist on his label and an asset in this equation, he’s a rapper JAY is an admitted fan of, someone many would call a peer (skillswise at least) off the strength of the “Exhibits” alone. Most importantly, though, he’s having fun. As soon as critiques rolled in, it became clear that the first JAY-Z verse/song/project to follow would contain some slickly worded PR, as he’s always done in these instances, with more verve than any press release could contain. In that time, he’s reached his self-mythologized billionaire milestone, continuously challenged music industry norms while positioning Roc Nation as an avenger for mistreated artists, and yes, entered into one of the most controversial partnerships in recent history by forging an alliance with the NFL, a highly scrutinized deal many critics wrote off as peak sellout behavior. It’s been almost three years since JAY-Z’s last solo album, almost two since his last project, and a year and a half since his last verse. But Hov shows up just as eager, if not moreso, to get some bars off his chest. Testimony is the culmination of a journey eleven years in the making for Jay Electronica (and with it being his debut, theoretically a summation of his life experiences up to this point as well). These aren’t autopilot raps designed to capitalize on the moment and event-ize the album as much as possible. (Even so, they don’t call him the GOAT for nothing.) What matters is how he sounds on it-as energized, locked in, and inspired as ever. Good intentions notwithstanding, his presence is, unsurprisingly, too commanding to ever fully cede a spotlight.ĭoes JAY-Z outrap Jay Electronica on his own album? To even debate so may be derisive and besides the point. And yet, JAY-Z is the first rapper you hear on the album. His presence was not seen, only fleetingly heard. He’s completely unlisted on the eight tracks that he appears, even the previously-released “Shiny Suit Theory.” And on release night, when social distancing relegated a planned three-city listening party to Jay Elec simply livestreaming from the studio, Jigga never appeared before the camera. On A Written Testimony, Electronica’s debut album released last Friday after a decade-plus wait, JAY-Z is more phantom than featured guest. JAY-Z would like to draw as little attention away from Jay Electronica as possible.
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