The production on the album was handled by multiple producers including Just Blaze, DJ Khalil, Dr. Dre, The Neptunes, Swizz Beatz and Kanye West among others.

The album's second single, "Lost One" (produced by Dr. Dre) addresses Jay's split with Roc-A-Fella co-founder Damon Dash, the death of his nephew, and supposedly his relationship with actress Rosario Dawson.

Relatively unknown newcomers B-Money, Syience, and DJ Khalil also contributed to the album's production, as well as Coldplay lead singer Chris Martin.

Club that contrary to the hype leading up to its release, Kingdom Come was "just another solid album" from a rapper who now "succeeds on craft and hard-won experience rather than hunger", finding it devoid of the urgent sense his previous records displayed.

[3] Robert Christgau gave it an honorable mention in his MSN Music consumer guide, naming "30 Something" and "Minority Report" as highlights while writing that Jay-Z was enjoying "the pleasures of going legit".

[14] AllMusic editor Andy Kellman was more critical, dismissing the record as "a display of complacency and retreads — a gratuitous, easily resistible victory lap — that very slightly upgrades the relative worth of The Blueprint².

They singled out "The Prelude" ("One of the superior intros in Hov's catalog"), "Lost Ones" ("one of the more heartfelt and transparent tunes of his career"), "Do U Wanna Ride" ("an open letter to former street associate-turned-inmate Emory Jones, Jay Z shows glimpses of the greatness that set him apart"), "I Made It" ("Another brief moment of brilliance on Kingdom Come, which is dedicated to the accomplishment of his mama proud") and the last two songs, "Minority Report" (one of the more unsung compositions in Jay Z's career and a stellar example of his underrated social commentary") and "Beach Chair" (an intense sonic affair that finds Jay Z reflecting on his past, present, and future, and is among the best work found on his first post-retirement album) as highlights.

The pattern of A-List producers continues with Dr. Dre at the boards, and Ne-yo closes off the track with a haunting, powerful refrain - “seems like we don’t even care”.

"[18][19] The Spin staff also singled out the song as one of the high-lists on the album: "It’s not the best track to listen to on a purely aesthetic basis, with Jay rapping in a stilted flow over a plodding piano beat.