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Jay-Z: 50 Greatest Songs

With a rhyme career going since the late Eighties, Jay-Z’s songs have been reflective, pop, confessional, hard-edged and indelible. Here are his best

Is Jay-Z the greatest rapper of all time? “I’ve got this Elvis thing going on right here,” Jay-Z told Rolling Stone in 2007 shortly before tying the King’s record of 10 albums debuting at Number One (and well before notching four more in the following decade). Indeed, Jay-Z’s feats are many: 21 Grammys, toasted by Barack Obama as the first rapper in the Songwriters Hall of Fame, and represented in countless rappers’ Top Fives (Kendrick Lamar, T.I., J. Cole among them; and Lil Wayne has a Jay-Z verse tattooed on his leg). He looms large in skills, impact, business acumen: the cool yet distant image of a former street hustler, a flow that’s both technically advanced and pop savvy and an unimaginable wealth that Forbes and other publications struggle to calculate. Yet even among the musical largess that comprises Jay, some of his classic songs rise above others. Here’s our list of his 50 greatest.

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“Big Pimpin'” feat. UGK (2000)

When the Mariah Carey-stamped single “Things That U Do” failed to pick up on the charts in its first two months as a single off Jay’s Vol. 3, he and Dame Dash quickly moved to the Timbaland-produced exotica of “Big Pimpin'” – which successfully sold the world’s second-oldest profession as a jet-setting, champagne-popping lifestyle. And an exuberant one at that, from the beat’s flamboyant Best of Bellydance From Morocco, Egypt, Lebanon, Turkey origins (Timbaland was later sued for his sample of Baligh Hamdi’s “Khusara Khusara”) to Hype Williams’ lavish video, shot at Carnival in Trindad (and, when Pimp C skipped that shoot, a similar-looking location stateside). Inspired by the Pretty Tony character from 1973 film The Mack, Jay’s verse is him at his unaffected, bulletproof coldest. For UGK’s Bun B and Pimp C, it was their first moment to show out in such a high profile spot. Bun’s bars (“step up your vocab”) proved as memorable as Jay’s, and Pimp C’s Big Gipp-inspired flow offered a raw, uncut coda.

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“Dead Presidents II” (1996)

Released in February 1996, the original “Dead Presidents” found Jay-Z twisting lyrics about fake thugs “scared to throw your toast,” and spouting claims about “representing infinity with presidencies,” all in a deftly loquacious style that bore the hallmarks of peak Mafioso rap. But when his debut Reasonable Doubt dropped later that June, he offered two fresh verses that plumbed deeper subject matter. He alludes to the shooting of DeHaven Irby, a childhood friend who taught him the drug game (“On the uptown high block he got his side sprayed up”) and recalls how he dodged a few deadly shots of his own (“I had near brushes, not to mention, three shots close range”). He weaves notes on his baller superiority (“Roc-A-Fella, don’t get it corrected, this shit is perfected”) with biographical asides, making for a poignant and superior sequel. Producer Ski Beatz’ blend of Lonnie Liston Smith’s “A Garden of Peace” with Nas’ “The World Is Yours” laid the groundwork for future drama. “I just threw that sample in there to see if it worked because I liked Nas’ voice,” Ski told Complex in 2010. But when Nas turned down Jay’s offer to re-do the chorus – AZ appeared in the “Dead Presidents” video instead – it led to one of the greatest rivalries in hip-hop history.

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“Where I’m From” (1997)

Producer Ron “Amen-Ra” Lawrence was record-hunting in 1996 when he found soul singer Yvonne Fair’s “Let Your Hair Down” and tried, as he tells Rolling Stone, “giving it a sinister soundtrack feel.” The track, which Diddy originally passed on, was still in rough form – no sound effects, no extra percussion. But when Jay-Z heard what would become “Where I’m From,” the rapper, inspired, immediately began recording his personal verses two bars at a time. “It gave me a vision to make the track sound more dramatic based on Jay’s flow,” Lawrence says.

The result is one of Jay’s most candid and intimate tracks; part memoir, part cultural and socioeconomic critique, part distillation of his surroundings both past and present. “He painted a grim picture about Marcy Projects,” Lawrence says. “It gave the listener a mental vision of what it was like for him growing up there in Brooklyn.”

From the blunt, unforgiving song’s opening line – “I’m from where the hammers rung /News cameras never come” – Jay describes a place where “life expectancy is so low, we making out wills at 18.” It’s the inverse of “Imaginary Player,” where decadent luxury takes a backseat to day-by-day survival. “Where I’m From” also boasts some of Jay’s most packed couplets: “Where how you get rid of guys who step out of line, your rep solidifies/ So tell me when I rap, you think I give a fuck who criticize?” 

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