Jay-Z was so inspired by “American Gangster,” the new film featuring Denzel Washington as Frank Lucas — the greatest black hustler in American history — that he jumped into the studio to record a few songs with it as his muse.

Don’t be fooled — American Gangster is not a soundtrack. Aside from a few throwaway Denzel Washington voice samples, it’s just another Jay-Z record about selling drugs, living the high life and (wait for it) keeping it O.G.

Jay-Z’s 2006 comeback album, Kingdom Come, was generally seen as a lackluster hit-and-miss record that was ultimately an uninspired and unnecessary addition to the Jay-Z catalogue, especially given the high standard the rapper usually sets for his own music.

American Gangster isn’t much better. The album will most likely fly under the radar, especially when compared to the critical acclaim the film has been receiving.

Make no mistake about it: Jay-Z is still one of the most versatile and skilled rhyme-spitters in rap music. To this day, there aren’t many rappers who can match his flair and delivery. With lines like “Keep my movements smooth while maneuvering / through all the manure in the sewers that I grew up in,” Jay-Z shows us that he hasn’t lost his talent, and his signature feelin’ flawless flow is all over American Gangster.

And to his credit, he keeps the album consistent. Nearly every one of the 14 songs has a laid-back, ’80s synth-pop production vibe and lyrics that tell stories about hustling, dealing, falling off and other such stereotypical living-in-the-hood activities.

The most impressive songs on the album are the first single “Blue Magic” and “Roc Boys (And the Winner Is),” where Jay-Z does what he does best — celebrates his own success. “Thanks to the duffle bag the brown paper bag / the Nike shoe box for holding all this cash / Boys in blue who put greed before the badge / the first pusher who ever made the stash,” he raps.

But aside from those few highlights, nothing else really seems to stick, and the album drags for most of its runtime. Things that easily could have worked and perhaps even should have — such as Lil Wayne’s chorus on “Hello Brooklyn 2.0” or Nas’ guest spot in “Success” — don’t really add anything to the record.

Jay-Z has already cemented his place in the hip-hop hall of fame, and that won’t change regardless of whether or not he ever records another song. He already made his best gangster records years ago (1996’s Reasonable Doubt, and 2001’s The Blueprint) and casual Jay-Z fans are much better off sticking with them.

— Contact Mike Brandon at mbrand2@emory.edu