Live music takes on an awkward shape when implanted on disc. Mistakes made are on the record, literally. Practice, patience and precision are essential. On Jay-Z Unplugged, all are prevalent but a holla must go to the people whose instruments are actually unplugged, The Roots.

Well, Jay-Z's mic was wireless, but something must have been plugged in. If MTV's patented Unplugged stamp wasn't branded on the album's cover, unplugged is the last word I'd use to describe the album. Despite cheating the rules, Jay-Z Unplugged is as dynamic and audience-fueled as that of LL Cool J.

Not only did The Roots recreate Jay-Z's cuts, they sliced a few extra layers into them. Since rap is mainly percussion-based, The Roots utilize three percussion stations behind Jay-Z lead by Scratch. All three follow the lead of ?uestlove, who strikes the skins and cymbals.

Each song stripped of Jay-Z's seductive chauvinism bears a strong resemblance to the funkier Dave Matthews tracks. Breaking through the bass, Jay-Z's flow flaunts his riches making it difficult not to bob your head as he lips, "H to tha izz-O, V to tha izz-A / Fo' shizzle my nizzle used to dribble down in VA." Between battles with Nas on "Takeover," The Roots throw in a not-long-enough rendering of the Doors' "Five to One." And if your shoulders and hips aren't rolling during "I Just Wanna Love U (Give it 2 Me)," throw Kenny G back into your system and continue imitating a board. For me, I'll just low ride, top down, windows cracked, left arm raised over the wheel.

Digging the tracks is so easy. I couldn't help but bust out a move or two (luckily no one was looking) inspired by the Jigga's non-stop tidal wave of playa wisdom on "Girls, Girls, Girls." Musically, the song takes on a few moods with the assistance of a pair of singing violins. Also worth noting is the flute fluttering in "Big Pimpin'" -- it sounds like someone is whistling. And let's be obliged that the very Mary J. Blige stopped by for a few cuts.

Most of the show concentrated on tracks taken from The Blueprint, Jay-Z's latest studio album. Two of his biggest songs, "Can I Get A . . ." and "Hard Knock Life," are cut short to less than two minutes each, confusing the crowd who was excitedly chanting along when the mic pointed their way. Near the end of a few verses, Jay's breath runs faint. But where he trails off, the crowd raps on.

But more importantly and slightly controversial, my question is how much of the performance is actually unplugged? As a concert, Jay and The Roots put on an outstanding performance. But had the bass guitar been unplugged, many of its hooks would be unplayable on acoustic, sacrificing the quality of the show.

On studio albums, over-produced tracks can sometimes stick together. On this album, the collage of instruments backing up the Jigga distinguish track for track, note by note. Any fan of previous Unplugged performances should get this album. Anyone in search of an excuse to diversify their CD collection should get this album. Anyone looking to find inspiration on how to construct menace atop melody (Nas in particular) should get this album.

Holistically, Jay-Z Unplugged is non-stop heat largely due to The Roots stealing of the show from behind the star. But the Jigga gets his due too because he kept his Hawaiian shirts in his closet for a night.