Jay Z Watch The Throne
August 11, 2011 by Post Team
Jay Z Watch The Throne, In ancient times, supergroups tend to be a man (or two if lucky) that had a kind ear, plus some other guys who were in bands that kind of record, as well as perhaps the drummer for Grand Funk Railroad a good measure.
This is possibly the reason the whole concept of “supergroup” is not held in high esteem: nobody wants to see the drummer for Grand Funk Railroad to do anything but be the drummer for Grand Funk Railroad.
Kanye West and Jay-Z together, however, is equivalent to modern culture, hiphopified of John Lennon and Mick Jagger hitting an album in 1970. It’s not something you get to see very often, the two biggest stars in a galaxy in particular the lineup as a unit, and is somewhat prosaic reason to not see that happening more, as LeBron James takes his talents to South Beach the ball to Dwyane Wade, and getting megastars like Hova Yeezy together under the same rubric produces an enigma as great as its promise tempting. Who will throw the dodgeball?
In “Look at the throne,” is about the team of Jay-Z, but the most fascinating part of the album, in fact, may be seeing the ego bobbleheaded Kanye West’s self-deflating enough to allow the two of them to fit in the same room together. Not differ, exactly: “What is a king without a god?” he asks, rhetorically, possibly in the first game of demagoguery, “No church in the wild,” Shawn Carter before breaks and steals the song with some wonderfully secret rhymes over the tears on the floor and the mausoleum is located in the lips of the priests. Kanye still stuck a little “808s and Heartbreak” mode, although the auto-tuning is highly attenuated here, there’s something really lovely and genuine his natural singing voice, like the tape to the refrigerator and admired their way into the yogurt. The track is definitely a highlight – “Take off”, still sounds sincere and very thin, in direct contrast, redeemed by a vocal guest of Mrs. Jay-Z.
If you were expecting tales of the problems of excess and the first world superstar, wait, they will come. “I am suffering from real character!” Kanye exclaims in the hyphy “Niggas in Paris”, before Jay-Z spoke on all the “btches I have,” and geniuses of the world’s media are quick to point out an inventory of point bullet, which is confoundingly, exactly the effect our directors are after (although it is fun to watch the custodians of the old guard to deal thoroughly cultural and often unexpectedly funny with this new paradigm: “The two rappers are in excellent shape, with Jay-Z Cray repeat that crap – we are left to fill the “ZY-, ‘The Guardian UK kindly informed its readers last week.)
Most of the songs “Look at the Throne”, at least briefly – though not exclusively – on the status and wealth and the total accumulation of marks associated with these two men, but it seems hard to believe that anyone listening to this album still surprised or impressed by these revelations, at this time. It’s hard to imagine, but listening to two very rich men have in verse about the scope of its vast heritage treasures for not as convincing as our heroes, probably thought it would. Other chapters of this fascinating document, defective unexplored, however.
Other cuts exploit hero’s soul (Curtis Mayfield, Otis Redding) and try to redefine the context of “Throne” of all points of “women aside, buy the coin” ad. “I invented bounty” confusingly Hova has more faint Redding “Try a Little Tenderness” hooks – that allow you to perform the song mostly undisturbed for about 30 seconds before the money and sweat bullets on a sample loop Otis in full growl. “Cool photo shoot, the appearance of wealth.” Who can argue? Man makes his own brandy.
The album closing “Joy,” with a delicious slow-roasted slice of Mayfield, “The Making of You,” is sweeter fruit completely. Part of that is forcing a square peg into a round hole, “the pure expression of happiness,” Curtis sings, while Jay-Z grunts, and waxes poetic Kanye: “I still hear the ghosts of children who never had. ” It’s a great line, and not have to mean anything, but the next verse opens another crack at the man. “Your life is cursed? Well mine is an obscenity.” Once again, Kanye is veering dangerously close to self-awareness, if it ever comes; he burst into flames like Icarus? It’s almost like a secret that keeps itself.
The real secrets tucked into slots, of course, are how Kanye, Jay-Z not only interact, but with the rest of the world – treat each other with respect, yes, but also with a clear sense of fear. Like lions care, each one seems ready to fall asleep while the other is in the room. “Let me show you what I see when my eyes closed,” Kanye said on “Illest Motherfcker Alive,” which beats the threat crunky: “This is real life,” Jay-Z meets a more complete line later. “This is what the end of Scarface should feel like.” If you do not think they are talking to each other, you’re not paying attention.
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