Hov, 4 life
Debut, classic first album, 4 mics
Should have got a five, but niggas lack 4sight
But I don’t give a fuck, I ain’t do it 4 the hype
I did it 4 the hustlers, 4 the ghettos, 4 their plight
4 the struggle 4 those who bubble white
4 fly 4x4s, ruthless cars, 4 all this ice
4 the pain so y’all can feel what it’s like
4 all the times it rained, 40 days, 40 nights
4 all the promise made, that never came to the light
I get my own 40 acres, give me 4 nights, 4 O’s
And clock 40 4 the jackets and I’m Spike
Or the 4×4 will suffice
A 14 year old to lookout 4 the vice
And y’all can sit back and just wait 4 the flight
Your boy will takeoff like I’ve been stripping all my life
That’s the type of 4s I write
But let niggas know I was real be4 the mic
4 front rows, had the fur at the fight
No PETA on my Peter, left some room 4 the divas
In the suite we’ll meet up if you wild 4 the night
I’m on the rampage, champagne pours on the floor
4 all those who ain’t make it here
And lost their life
I never 4get y’all 4 any price
Not 4 no hoes, not 4 no ice
Not 4 no fame, nor 4 bright lights
So I’ma end this here
This as fly as kite
44 4′s, motherfucker, I’m nice
on here it seems like if you are for jay z you gotta be against nas. if something good is said about jay something bad has to be said about nas and vice versa. can’t they both be good artists? even if you like one more than the other it doesn’t mean that you gotta diss the other one. i don’t understand that mentality.
June 25th, 2006 at 9:14 pm
on here it seems like if you are for jay z you gotta be against nas. if something good is said about jay something bad has to be said about nas and vice versa. canâ€™t they both be good artists? even if you like one more than the other it doesnâ€™t mean that you gotta diss the other one. i donâ€™t understand that mentality.
shanti most of jay fans like nas…….I’m sure nas is a great employe
el loco I know u will be here soon remember I can direct u to my web site and u can see for urself……and no not millions yet but close to financial freedom…take care “loco”p.s sometimes I paint them also if I have to..its all in a days work….men do men things for men salaries………..”don’t argue with fools because people from a distance can’t tell who is who”
Shanti, it’s all in fun. Being a Jay fan I can honestly say that Nas is one of the best to ever do it and one of my personal FOAT’s, but Jay and Nas fans will always go at it and drop little subliminals at each other. it’s like Biggie vs. Pac, Yankees vs. Mets, Phillie’s vs. Dutchies, Lamborghini vs. Ferrari, NY vs LA, The U.S. vs Iraq…..see where I’m going with this?
some of you might already know about this site but there was a lot of music i’ve been wanting to get on here so i thought i would pass it along. make sure to scroll all the way to the bottom of the page.
sour, Fri I was hanging out wit one of my mans, its been a a min since I’ve been out like that just kicking it, anyway the topic of weed came up, and dude was telling me about all these different kinds of ganja. So I asked him about the Sours, asked him was it sprinkled, his reply was HELL YEA! all that shit is fucked with. He proceeded to tell me a story about some kid he knew who brought peach airfreshner you know the kind you hang in your car, and wrapped it up with the weed. The kid told niggas he had the new peach shit, and was getting it off.
I remembered we talked about that before, but dont remember what you said about the sours.
nah, sours doesn’t smell like airfreshner. although i’ve had some that tasted like straight up minute maid lemonaid. now i don’t know how much you smoke reggaeton, but i assure you that i could spot out faulty weed with my nose a block away. btw, i think anyone whose ever sold weed on here (i’m sure everyone has at one point) has thrown orange peels in the bag. i used to have this other shit too back in the day, think it was called tasty puff. get yourself some $125/oz regs, throw some blueberry tasty puff in there, and no young’n will no the difference.
dam fiftty aint playin niggas aint catching him slippin
Jackson’s Chevy Suburban swerves in and out of New York City gridlock with the grace of a cement mixer. Grace is compromised when a nondescript black SUV is tricked out with 5 tons of steel armor, a bombproof undercarriage, bulletproof windows and run-flat tires that keep rolling even after getting shot up by an Uzi. Jackson, age 30 and better known as hard-core rapper Fifty Cent to millions of fans around the world who are far younger than you, bought the $200,000 monster last year, straight off the assembly line on its way to Iraq
Scott Storch tells Rolling Stone he’s been working in the studio with Jay-Z as speculation grows the hip hop mogul is set to get back into the game. “I’m working with Jay-Z on his new album,” Storch said. “[It's] the first time we ever really worked together. We got some fire.” Sources also tell the magazine Jay’s been in the studio with not only Storch, but Kanye West and and Dr. Dre.
Flex got the crowd hype by playing snippets of tons of
classics from the 90′s…then,
Grand opening grand closing…
Jay rolled out in a white bentley stepped out in attire straight from
the cover of reasonable doubt except white suit instead of black..
Jay was backed by an orchestra ?Love put together, shit sounded
amazing..They had a bunch of spilt screens in the back showing images that
went hand in hand wit whatever track Jay was performing…
example-for Politics as Usual in the background was images of everyone
from Che to MLK to Kennedy to Nixon to vintage footage of street riots etc.
Sauce Money, Memphis, and Foxy were all there to perform their parts
then for Cant Knock the Hustle..I was sure MJB was going to come out
but Beyonce came out in a white evening dress (matching Hov’s white suit..of course)and B sang her ass off! then after Jay did the whole album there was a 10 min break and he came back on stage in casual attire and rocked the mic for another hour? or about an hr
He did a verse from…Where I’m From,Ride or Die,U Dont Know, etc etc etc etc if it was a hot joint he did a verse off it! He ended the set with
The crowd was hype, I caught a contact around Feelin’ It, I think thats the
track most cats decided to light up on..
After the show I hit up the afterparty across the street at NBC Studios
(the chic I was sitting next to at the concert had the hook up)
Everyone was up in there..Irv Gotti, Young Jeezy,
Jay(obviously), Tyson, Foxy, etc etc
(I heard Nas was there but I didnt see him)
Now I’m about to pass out cause they had free drinks @
the after party and I had a one too many..I was celebrating
like it was my damn anniversary!
Also every seat at the show had gift bag with a t-shirt, poster,
and an xxl commemorative edition mag..basically its everything thats
in the new xxl issue on jay and the album but its twice the size, the
cover is the reasonable doubt cover, and its got extra pics in it..
nothing special but something is better than nothing
(I wish he would have thought of the ladies and put a small
shirt in there too cause I cant rock no damn xxl shirt!)
Damn I neva been to a Hova Concert …but shit if it happen again the concert that is, I gotta find a way….not her boob some shadows and shit……but I do have a better pic when I…..yeah don’t worry bout that…GOOD LOOKIN RDL…1
I hate to do it just as bad as you hate to see it done.
History is written by the winners. Reasonable Doubt is a truly great debut album, but so is Doggystyle, and Snoop Dogg did exactly nothing to commemorate the tenth anniversary of its release. Illmatic is an absolute masterpiece, and I can’t imagine any situation in which Nas would get a chance to perform it with an orchestra behind him. The difference is that Jay-Z is a rare case: a rapper who made a great debut and then went on to live up to the potential it showed, both artistically and commercially, to the point where his success story has grown to absurd levels and he can hang out with Bill Clinton and Prince Charles and Bill Gates and shit, to the point where he’s modern royalty. In fact, Jay has grown to become such a massive public figure that Reasonable Doubt doesn’t really have all that much to do with what he is today, except that he still considers it his finest artistic achievement and brings it up in every interview. So he gets to have his own special night at Radio City to celebrate its anniversary, but it’s not really because of the album’s greatness; it’s because he does whatever he feels like and he felt like doing it. Still, it is a great album, and its stately elegance works perfectly with what Jay did at tonight’s show. Illmatic might be the better album, but “Halftime” would sound ridiculous if an orchestra played it. “Can I Live” doesn’t.
Jay announced the show about three weeks ago, but I’m pretty sure he’d been planning it for a lot longer. Everything about the show was truly opulent and meticulously planned out. The venue itself had a lot to do with the big-event air; it’s nowhere near the size as his usual stomping grounds, but Radio City Music Hall looks simply breathtaking, to the point where I felt weird and out of place even being there, to the point where I was almost relieved to see a roach in the urinal before the show started. But then, the Roots played two shows there last month, and the one I saw was just OK, virtuosic as always but also messy and thrown-together and disapponting considering all the hype that went into it. And Radio City is famous for its sound, but the mix at the Roots show was muddy and indistict enough for me to be a bit nervous when ?uestlove was announced as the musical director for the show.
I shouldn’t have worried. Jay is better at making entrances than any performer I’ve ever seen, and his introduction at this one may have even trumped the fake Oval Office and the forty-foot jets of flame from the I Declare War show last year. The show started with a not-brief-enough DJ set from Funkmaster Flex, who played a few seconds of about a million songs for maximum adrenaline effect, but that was really just to let people know they should find their seats. When the curtain came up, we were looking at a huge orchestra: nine horns, about thirty strings, a grand piano, ?uestlove, Just Blaze, a hot female conductor, a fucking harp. I tried to count the musicians onstage at one point, and it was around fifty. Jay came to the stage in a 96 Lexus. The whole orchestra wore matching blak tuxedos, but Jay wore a white one, and that is what we call attention to detail.
Jay had said that he’d be doing Reasonable Doubt in its entirety, but he hadn’t said that he’d do them in order. He ended up coming up with a better idea: doing the songs in reverse, starting with “Regrets” and ending with “Can’t Knock the Hustle.” And it worked perfectly, keeping the album’s sense of arc but building up to an honest-to-God climax. Before the show, it was fun to speculate on how he’d put everything together: Would Al Pacino show up to do the Carlito’s Way skits? Who would do Biggie’s part on “Brooklyn’s Finest,” Guerilla Black? But one of the few real questions was whether Jay-Z’s mentors-turned-foes Jaz-O and Sauce Money would show up to do their verses on “Bring It On.” Sauce Money showed up, not really a surprise considering he’d been at the I Declare War show. Jaz-O didn’t, but it didn’t much matter. Memphis Bleek strained the night’s sartorial uniformity a bit by showing up wearing a goddam baseball cap with his black suit, but he made up for it by doing “The Come Up” almost as musical theatre, he and Jay facing each other at a forty-five degree angle and subtly acting out the lyrics. Foxy Brown, back from hearing-restoration surgery, ran out dressed like a gangster’s moll to do her verse from “Ain’t No Nigga,” and it was pretty great to see her again, even if she didn’t sound that great. “Obviously, the surgery was a success,” Jay said afterwards, but it wasn’t completely obvious, though it’s likely that she was just amped to be out in front of a crowd for the first time in a minute. Even if she’s not yet back on her A-game, you have to admire her courage in coming out like that. The big surprise, though, was Beyonce, who sang “Can’t Knock the Hustle” instead of Mary J. Blige and just murdered it, sounding even better than Mary. The Reasonable Doubt set ended with that song, and it was an ending worth building up to.
But even so, the guests weren’t really all that important to the success of the show. Musically, Reasonable Doubt is a lush and restrained piece of work, and the orchestra sounded amazing playing this stuff, building the swells of the songs without cluttering up the beats too much. Occassionally, it would edge into Vegas territory (the pizzicato string plucks on “Cashmere Thoughts,” the too-wobbly bass on “Ain’t No Nigga”), but more often, they nailed their parts. The horn-stabs on “Can I Live” were some straight-up James Bond shit, and the extended big-band jazz-vamping at the end of “Feelin’ It” made perfect sense. When the beat of “D’Evils” switched to “Murder Was the Case” on the last verse, it somehow became even more epic. More importantly, the orchestra (Jay kept calling them the “Hustler Symphony Orchestra”) wasn’t there as stunt casting. It wasn’t like the violin players would just hit a couple of notes every song and let the DJ do the rest of the work; every instrument was fully integrated into the show. Even the harp.
And Jay himself was magnificent. He barely talked between songs, just moving from one track to another fluidly. The night before, he’d done a warm-up show at the Nokia Theatre to iron out any kinks. I’d intentionally avoided reading any accounts of the show, but I’d been told it was alternately great and, um, not-great. But he never once fucked up or forgot his lyrics tonight. He’s a born showman, of course, Clintonian in his effortless charisma and fully capable of holding down a stage without ever depending on a hypeman. “Brooklyn’s Finest” made for an awkward situation, since there’s no real way to do a smooth and flawless live version of a song when that song is a back-and-forth tag team with a dead rapper. But Jay did it with a minumum of fuss, doing both his own parts and Biggie’s while footage of Biggie played on the screen behind him and ending everything with an old Biggie verse. The best part of the show, though, came after Jay did the first verse of “22 Two’s.” Instead of doing song’s second verse, he had the orchestra stop playing, and he debuted a new one: “44 Four’s,” a total jaw-dropping feat, the screen behind him counting up every “four.” If Jay is still writing verses like this, we’ve got even more reason to hope this fake-ass retirement doesn’t go on too long.
So the Reasonable Doubt part of the show was truly dazzling, and it seemed a bit anticlimactic when he came back to the stage in street clothes a few minutes after “Can’t Knock the Hustle” ended. His second set was about a half-hour, almost all of it after Radio City’s 11:00 curfew. He had Memphis Bleek in tow and Just Blaze DJing, and he did the same set he’ll probably do in Poland or Ghana or wherever else he’s going on this world tour he just announced. After the Reasonable Doubt stuff, it was funny hearing Jay do some of his most crass and popular tracks: “Money Ain’t a Thing,” “Jigga My Nigga,” “I Just Wanna Love U.” He even did a few seconds of “Excuse Me Miss,” and I don’t know anyone who likes that song. But Jay-Z on autopilot is better than virtually every other rapper giving their best. And this second set included maybe the fucking amazing one-two punch “P.S.A.” seguing directly into “U Don’t Know” while slow-mo footage of Kurt Cobain trashing the stage at the 1992 VMAs played on the screens. That was a total goosebump moment, but Jay seems to come up with stuff like that in his sleep. When Jay finally decides to stop figuring out how to market Tru Life and goes back to being a full-time rapper, the world will be a better place.
There were cameras all over the venue, and apparently they’re going to release a DVD of the show. You should maybe buy it.
“What’s sad is I love you ’cause you’re my brother
You traded your soul for riches” nas
AFTER THINKIN ABOUT THIS I THINK THIS STATEMENT COULD BE TRUE. HE CHANGED HIS NAME TO J HOVA THE gOD.
“This is Holly war
I wet cha all with the Holly water”
“Lift up your soul or give the Holly ghost please
I leave ya in somebodys Catedrial”
“And if you feel in my heart that i long for revenge
Please blame it on the sun of the mournin”
“Travellin Mach 5, barrelin, my power can stop God”
“If you don’t give me heaven I’ll raise hell
‘Til it’s heaven” Jay z
5 Thou shalt not bow down thyself to them, nor serve them: for I the LORD thy God am a jealous God, visiting the iniquity of the fathers upon the children unto the third and fourth generation of them that hate me;
*spots bary bonds post*
*stares at bary, while turning his torso to the right,in Plug’s direction*
*Plug pulls out travel size baby powder out of his Carhart hoodie*
*sprinkles power in Foekist’s hands*
*continues staring at bonds*
ANYONE HATIN ON THIS VERSE SHOULD BE NEVER ALLOWED TO TALK ABOUT HOV AGAIN. THIS VERSE IS SICK OFF THE WALL AND WHOEVER THE FUCK YOU THINK YOUR FAVORITE RAPPER IS, WEATHER NAS,LIL WAYNE,50 NONE OF THEM CAN COME WITH SOMETHING THIS NICE STILL, THIS BOY IS STUCK ON TOP OF THE GAME