Jay-Z | 11.12.07 | Philly
By Team JamBase Jan 7, 2008 • 2:39 pm PST

Words by: B. Getz
Jay-Z :: 11.12.07 :: Fillmore at the TLA :: Philadelphia, PA
“Take what Forbes figured, then figure more.”
-Jay-Z from “Roc Boys” off American Gangster
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Jay-Z is perhaps the single most important popular artist of this generation. For over a decade, this man has set the bar artistically in his genre while influencing culture, music and society in large and numerous ways. The Jordan comparisons are not a stretch. Like Michael, his game is vicious, and while not without fault, there is nary a rapper that can match his catalog, influence and sheer dominance for such an extensive period. It will be interesting to see how history looks back at Shawn Carter, but in the here and now, no one can do it better. The man compares himself to the likes of Berry Gordy, The Grateful Dead and Cassius Clay. Esteemed company to be sure, and this new masterpiece of an album, with a matching live performance, only served to solidify his legend.
“You know this is a special night,” Jay-Z said. “There are like about a million people out there who wish they was in here with you!” A cliché, yet nonetheless truth as the man they call Hov took the stage. A large, black-tie outfitted twelve-piece band, reminiscent of James Brown’s glorious JBs, promptly threw down with a vicious one-two punch from American Gangster (released November 6, 2007 on Roc-A-Fella). Kicking-off with “Pray,” the gothic, up-tempo jam that vividly opens the new record and “No Hook,” a lengthy, aggressive rhyme that delves into the hustler mentality with double and triple entendres that reflect on Jay-Z’s own diverse life and career, the night was off to a splendid start. Despite his band’s classy attire, Hov kept it street, rocking a ’80s style black leather bomber jacket and a black t-shirt with an inverted American flag. His crisp, sharp denim probably cost more than my car.
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Jay-Z was at the top of his game, but the band deserves a lot of shine here. This ensemble – drums and percussion, a bass player and guitarist, two keyboard players, a three piece horn section, three backup vocalists and DJ Green-Lantern – gave the material a palpable sense of transcendence. A lot of cats these days come with just a DAT machine, or a DJ who just drops instrumentals, or even records with vocals for artists to “spit” over (*cough* FIDDY *cough*). Jay brought a vigorously prepared and spirited band. ?uestlove (The Roots) is usually Jay-Z’s musical director, with his band Illadelphonics and Just Blaze on the wheels backing Jay. ?uest posted on Okayplayer.com that missed voicemails and late text messages precluded him from getting it together for this mini-tour. So, Puffy worked his magic and slapped together The Roc Boys for this run of shows. The band is beyond tight, and they made even the very average like “Kingdom Come” sound interesting.
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The energy level in the building ratcheted up a few notches as the Rocafella clique hit the stage. This lounge band eased their way through the opulent “Excuse Me Miss.” Hov made an abrupt detour to the remix, otherwise known as “La La La,” as he was joined by Memphis Bleek, Beanie Sigel and Freeway. They immediately launched into a firing rendition of “You, Me, Him, & Her,” passing the mic old-school fashion as the track moved into the West Coast G-funk of “Change the Game.” The boom-bap drumbeat and chicken scratch guitar of State Property’s “Roc the Mic” laid a foundation for Freeway and Beans to get their distinct flows on. Next, “What We Do” was wild, a fierce cautionary tale where Hov, Beanie, and Freeway went for broke over a bananas beat.
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After whipping the crowd into a proverbial frenzy, the familiar bounce of the era-defining “Big Pimpin'” arrived, with its round, thumping bottom end. The Roc Boys handled this very musical production well as Jay jumped aboard the Funkadelic track and spat his memorable lyrics. The crowd, in unison, gave back every syllable with feeling. After about 16 bars, Hov just crossed his arms, mic in hand, and smirked, allowing the jacked-up audience to finish his verse and the chorus. A thunderous roar erupted after the song concluded, and Hov savored the moment. Then, he said, “Y’all don’t even need me no more,” and proceeded to exit stage right.
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Of course, this too was another canned part of the act, with Jay reappearing for an encore set before the now dripping Philadelphia audience. The band dipped into the sexy, pimpadelic “Party Life,” a tale of lusty braggadocio set to simmering, luscious R&B. Jay didn’t disappoint, with the live rendition retaining most, if not all, of its exquisiteness. The banging “What More Can I Say?,” a standout from The Black Album, was unleashed by vicious horns. “Blue Magic,” a throwback jam and the first single off American Gangster, was delivered with mesmerizing precision. Equal parts Lil’ Wayne and Zack De La Rocha, the distinctive old-school vibe on this track made it seem somewhat out of place in the context of the concept album, however, in concert it seemed perfect.
“Encore” was delivered in positively royal fashion. There aren’t enough superlatives for the live version of this one, and the same can be said for the anthemic “ROC Boys,” the celebratory new single. This song could actually close the curtains on his career; it’s that good. It was a picture perfect note to end the show on. This evening contained a production, energy, and ethos that will not be easily recreated. This concert was one for the ages that demonstrated the power and ecstasy possible in the live music experience. This is what happens when you pursue excellence in all arenas of your art.
Jay-Z’s “Roc Boys” Video
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