After having read enough Lupe interviews, LASERS reviews, and after several discussions with hip hop enthusiasts, for what it’s worth, I think it’s about time I offer my opinion on Lupe Fiasco’s third album, LASERS. Consumed by the fame and oblivious to the capitalistic motives of the music industry, many rappers abandon the truth of hip hop social justice and compelling storytelling to sell records to an immature audience who view artists as a means and not as ends. Rappers are owned by their label, influenced to sell out to stakeholders. The corporations could care less about social responsibility, community engagement, and in its basic form: knowledge; money is what they are after and by any means necessary. This consequentialist approach is damaging for those of us who appreciate rap for its principles. However, no matter the strength of the influence, one rapper has yet to sellout to the racist corporate hegemony of the mainstream music industry—Lupe Fiasco, the prophet of hip hop. In his latest album, Lupe laments that Atlantic Records (may the Heavens be displeased with them) manipulated him into doing premade songs, leftovers from other artists, being told specifically not to be “too deep” or “too lyrical.” He himself was very fed up by the entire process and artistic constraint that oppressed his musical sensibilities. Given this knowledge, many analytically inept reviewers have complained that Lupe has lost his charm and brilliance. Like a vegan telling you what steakhouse is the best, many of these music critics come off as charlatans through and through; I had to question how they knew what they were talking about. These critics are simply regurgitating Lupe’s own sentiments of his album, and the artistic constraints of Atlantic records. Instead of recognizing the merit of this album, they are exploiting Lupe’s artistic honesty and to the point of nausea, they continue to tar this album as “bad.” Because many of these reviewers are amateur critics, it is no surprise that, like the masses at large, they continuously get duped and unknowingly yield to the status quo. Artists like Salvador Dali, Andy Warhol, and Jean-Michel Basquiat knew how easy it was to trick the masses into paying millions of dollars for pieces of ‘art’ that possessed no artistic merit. L Ron Hubbard also took advantage of this when he created his own religion (i.e., Scientology) because he knew how profitable it was to exploit peoples’ stupidity. Even Jay Z admits to this paradox, “If skills sold, truth be told, I'd probably be, lyrically, Talib Kweli. Truthfully, I want to rhyme like Common Sense, but I made five million; I ain't been rhyming like Common since.” And in all fairness, and in an attempt to avoid ad hominem attacks on these critics, I will say that their reviews, by themselves, were poorly thought out and a mere recapitulation of Lupe’s feelings and that status quo. Do these reviewers even know what Lupe is about? He is about NOT selling out, continuously doing his best within his limits, and rapping with a purpose. LASERS did not fall short of that one bit. Every song on this album was dope, and the knowledge his lyrics transcribed in my mind was worth the wait. Here is a brief run down: Letting Go: Struggles within himself and with his record label. Constant battles of self-doubt, depression and suicide, probably the result of Atlantic’s artistic oppression. But when I put down my gun, I turn around and pick up one. Words I Never Said: This song was what we needed with all the Islamophobia and hate sweeping this country. If this is Lupe rapping superficially, not “too deep” or “too lyrical,” then imagine what he is capable of otherwise. I really think the war on terror is a bunch of bullshit Just a poor excuse for you to use up all your bullets ... Limbaugh is a racist, Glenn Beck is a racist Gaza strip was getting bombed, Obama didn’t say shit That’s why I aint vote for him, next one either I’m a part of the problem, my problem is I’m peaceful And I believe in the people. ... Jihad is not a holy war, where’s that in the worship? Murdering is not Islam! And you are not observant And you are not a Muslim Israel don’t take my side cause look how far you’ve pushed them ... Just listening to Pac aint gone make it stop A rebel in your thoughts, aint gon make it halt If you don’t become an actor you’ll never be a factor Till I Get There: Another track that comments on the themes and elements of the wretched music industry. This track highlights the hidden message of the entire LASERS album, a middle finger to Atlantic Records through his lyrics. Unfortunately, they are profiting of Lupe’s angst and hatred towards his record label. If only CBS could have profited in the same way from Charlie Sheen’s antics. Album on hold, whole word on hold ... I tell 'em tell 'em don't homocide me I just a little old hope with his back against the ropes Fighting for his fans and, fighting for his folks ... Be a jerk to these jerks, yeah that'll make em hurt Huh? Instead of young boy in the mirror A young version of me, so I started to tear up He said "you need to cheer up, your mind need to clear up You're already here, just be yourself from here up" Then he disappeared and I felt something familiar Something I was taught, something I had lost If you are afraid, the fear that you gon' change some All you gotta do is just remember where you came from I Don’t Wanna Care Right Now: This is one of those tracks that it’s very obvious the chorus came with the beat, but it does highlight what Lupe would have done if he was on a Neptune’s track like “Universal Mind Control” or “Blanco.” The chorus line is also very telling of his sentiments towards the album making process. Lupe takes every premade chorus line and turns it on its head like musical double entendres done right. Said I could never break away from your hold Watch me, turn though Said that I blew it like Turquoise Just mad hear it all in your word choice Know it hurts but I really don’t care though Let me rub it in, get it all up in that ho Out of My Head: Trey Songz is nothing but an Usher-wannabe who only sings about his sexual moral repugnance. I never found him to be a worthy artist of my ear space, until this track with Lupe. Not to sound like an apologist, I will be fair; this is not one of my favorite tracks. The lyrics sound too superficial, but I have a feeling this was one of those Atlantic Records influenced tracks. But, the plus side of this track is that it might generate commercial success and get the music n00bs to listen to more Lupe. Yeah, I need you to sing that single again Play that video I seen you up in Show Goes On: This was a track Atlantic Records had forced on Lupe, and told him to insert a verse, without being too lyrical. And what did Lupe do? His first verse was a subtle attack on Atlantic Records, like a verbal middle finger for making this the single. Much appreciated. Have you ever had the feeling that you was being had? Don't that shit there make you mad? They treat you like a slave Put chains all on your soul and put whips up on your back They be lyin' through they teeth, hope you slip up off your path I don't switch up, I just laugh, put my kicks up on they desk Unaffected by they threats, then get busy on they ass See, that how that Chi-town made me, that's how my daddy raised me That glittering may not be gold, don't let nobody play me If you are my homeboy, you'll never have to pay me Go on and put your hands up, when times is hard, you stand up L-U-P the man, cuz, the brand that the fans trust So even if they ban us, they'll never slow my plans up Beautiful Lasers: Lupe had originally intended for this track to be the single before being shafted by the corporate music heads. This song was written while Lupe faced depression and thoughts of suicide. This song reminds me of the good old days of The Cool, dark and deep. This song is Kid Cudi’s entire career summated in one song. We all gotta go one day, I just wanna cut to the chase, I wanna stop these nightmares, I just wanna touch your face Coming Up: Tupac’s soul through Lupe’s voice. There is not much I can say about this song other than it reminded me of classic, intelligent Tupac. Lupe is above the influence and pressure to do gangsta rap, not caring about the aesthetic preferences of white folk. In my day, mane, I did a little somethin some- They like "how come you don't rap that?" Cause that's a backtrack and I ain't tryna back back I'm only moving forward homie that's that Direction, a lot of shoulders lack that State Run Radio: I feel as if this song was written with the left over words from “All Black Everything.” Atlantic again was probably like “hey take this chorus about revolution and anarchy and do something not lyrical but with a message.” And even if that’s not true, I still believe the message Lupe puts forth is of worth and merit. He may be preaching to the choir, but sometimes a reminder is needed. So beware whats on the air waves And be more aware of whats not gettin air played Independent spirit you can barely hear what they’re sayin Youth aint gettin on like shampoo on an airplane Propagandas everywhere constantly on replay All the hits all the time back to back on relay Break the Chain: The song is one of my favorites off the album, I don’t care if people hate it for sounding like a trance hip hop remix of a Brittney Spears song. The only thing I didn’t like about this song was the clown rapping on the second verse who sounded like a Dizzee Rascal and Tinie Tempah’s unsuccessful love child. Lupe’s delivery, flow, lyrics, style, everything was impressive. How the hell you gonna tell us something We ain’t have a father How to try to grow up and be one See umm feel it in my bones That I’m sittin on a throne Like a killer with a chrome When I spit another poem Shed a whole lot of light on a little bit of home, blaow All Black Everything: When the beat matches the metaphors of a song, you get this song. The lyrics make this track, the concept of challenging social construction, emphasis on critical analysis of all things perceived. A new epistemology presented. Malcolm Little dies as an old man Martin Luther King read the eulogy for him Followed by Bill O'Reilly who read from the Quran President Bush sends condolences from Iran Where Fox News reports live That Ahmadinejad wins Mandela peace prize ... That inspired the five white guys called the Jacksons Eminem fitted in but then again he inspired a black rapper tryin to mimic him And thats what really rose up out of Michigan, the sign of white rapper by the name of 50 cent ... Uh, and I know it's just a fantasy I cordially invite you to ask why can't it be Now we can do nothing bout the past But we can do something about the future that we have We can make it fast or we can make it last Every woman queen and every man a king and When those color lines come we can't see between We just close our eyes till its all black everything Never Forget You: For critics to hate on this track simply because Lupe was handed it from John Legend’s basement is as foolish as nominating Lil Wayne for any sort of award. John Legends voice is magical, and what Lupe did to this track was holy. Honoring his father is respectable, and virtuous. One constant message, apart from the Atlantic Record bashing, is Lupe’s upbringing, constantly reminding us of how was raised. Despite all the dark spots in his life, his parents’ legacies shine through in what he stands for. I don’t even have to meet his parents to know they were brilliant, loving, and strong individuals—how parents should be. Everything cherished, remembered in my heart So you will never perish, you will never part I tell ‘em all about you, drummin’ in the park We put you in the ground, but I see you in the stars Go on, take a bow, a round of applause The best that ever, always ready we are Love always shines, that’s how I’ll find you In case you forgot, I hope this reminds you Im Beamin: This is the track that Lupe put together while feuding with Atlantic, paid for the Music video himself, and essentially put this out for his fans. This song was one of my top jams, and truly highlights Lupe’s dedication to the craft, his humility, and appreciation for his fans. Actions speak louder than words, so thank you Lupe for putting this gem together. And baby girl what does it matter where your purse from Your hair done, your nails did, your ass fat but you're dumb Mix Melyssa Ford, with Maya Angelou Become a Top Model, and Sojourner too I try to follow this, what Muhammad doShining Down: I am assuming this track was created following the success of The Cool’s “Superstar.” Whether that’s true or not, this track still holds its own ground and was a well received sign of Lupe’s return to the game. Full of spunk, energy, wit, intelligence, knowledge. This song, very much like “Im Beamin” is what Lupe is capable of , but I bet the only reason Atlantic threw these tracks on the album was to make more money off Lupe. We need a petition to get him off Atlantic and on GOOD Music or Roc Nation. And maybe another petition to get that CRS album out. But my daddy named me warrior, this is his memorial ... No, I ain't the nigga trying to get a liquor line When I be scrippin' lines, want this petition sign It says I'm sick of dyin', sick of this prison time I really love my people, I'm sick of pimpin' mine Now, if we Auto-Tune that shit We can hear the songs from that opera-groomed fat bitch When no one knew about Lupe’s feelings or the process of him putting together LASERS, everyone was praising Lupe for every track he put out. When he released “Never Forget You” and “Show Goes On,” everyone was jockin’ Lupe. Then when he said those were premade tracks forced on him by Atlantic everyone retroactively withdrew their praise. When Lupe wished for more artistic freedom, claiming to be upset with the production of his album, everyone turned around and regurgitated his sentiments without appreciating the album for what it was. An interesting juxtaposition would be between LASERS and Eminem’s Relapse. Eminem had full creative control over his album, and returning from his hiatus he put out a terrible album, and apologized for it later when he finally actualized his potential and put out a quality album like Recovery. Lupe, on the other hand, was confined by his record label to make unintelligent, pop rap music, telling him to be like other artists. Within those limitations he didn’t sell out and still produced a great album for 2011. Because scales are meaningless without a reference, compared to every album out this year, and those that will be out, this is and will be one of best albums of 2011.
Rating: A
Looking for good Chaat in the United States? Apart from the chaat my mom makes, I think I have found a place that makes some excellent chaat. Located in Philadelphia, PA, Desi Chaat House is the place. Before then, I used to think the chaat place in Jackson Heights, NY was great sans the $6.00 price for 6 pani puris, or the one in Cary, NC called Cool Breeze. But when I ate their chaat, I was surprised (their carrot desert is also very good). I am not the type of person that will rep for a restaurant unless, it actually is really good. I would give it a 9.2 out of 10. I was impressed during my initial visit, and I hope to make many more visits. If you think there are better chaat houses in the U.S., please include your comments below!  Samosa Chaat  Carrot Halva (left) and Dal Halva (right)
At Chipotle you are allowed to add as much stuff on your burrito without extra charge, with an exception of guacamole and meat. That means, unlimited amounts of rice, beans, veggies, salsa, sour cream, cheese, lettuce, etc. Why not take advantage of that? Here is a step by step guide to getting your money's worth at Chipotle.
1. Order a burrito (preferably veggie because then you get expensive guacamole as part of the dish)
2. Ask for double tortilla
3. Here is the tricky part, the servers at Chipotle only put enough stuff on your burrito so that they can roll it successfully. Ask for more. Even when you ask for more, they will only give a teaspoons worth. Keep asking for more until you are completely satisfied with your amount. You should have enough stuff to make two burritos
4. Tell them NOT to roll your burrito
5. Ask them to serve it on a platter. They have platters underneath their counter, but usually when you ask for it, they will act like they have no idea what you are talking about. Let them know its under the counter.
6. You should only pay the price for one burrito.
7. Secret: Be sure to ask for their famous dressing. This stuff is amazing. Its like 2000 calories but it tastes like infinite calories! I think its made from chili sauce and honey. Its what makes the burrito ten times more tasty.
8. If done correctly, it should look like the mountain of food below. Should you run into any problems just tell them you work at a Chipotle, and that you do this all the time. They will refrain from hassling you.
9. What I like doing is mixing all the ingredients together throughly, dressing included. I usually use a fork and knife to achieve this mixing process. Why mix the contents? I hate when I order a burrito and I get a bite of just sour cream or a bite of just rice, or a bite of just sour cream again. I like my burritos to have a uniform filing and taste.
10. From underneath, carefully remove the tortilla that you should have order in step two. Use this tortilla to eat the contents like an Indian. See below
11. Eat as much as you can and when you are done, wrap the remaining contents with the second tortilla and walk away with an extra burrito to munch on 4 hours later.
*For those of you who don't know, Chipotle, like In-and-Out burger, has a secret menu. Discover it here.
Finally got around to watching Black Swan this weekend. It was a good movie, very intense, and shot in that Aronofsky style typical of his other movies like Requiem for Dream. Natalie Portman basically made this entire movie, for someone her age to act that well, I was holistically impressed. The movie wasn't as good as everyone has played it up to be, but it is worth watching if you love those types of dark drama type movies where only one actor is amazing. Unfortunately, I saw the SNL spoof with Jim Carrey before I saw the film and I was laughing at awkward points in the film as a result. But I will say this, the spoof was probably the best part of Black Swan.
Rotten Tomato gets it wrong again! This movie is a funny movie, I mean what do you expect of Seth Rogen? He plays an idiot who does idiot stuff. Those idiot things are funny. Its no pineapple express and I wish James Franco was in this movie a lot more. Overall, a funny movie you should check out...on DVD. (They did, however, show a preview for this new movie entitled Battle: Los Angeles, it looked so amazing!)
I went to go see the movie Tron a few days ago in IMAX 3D, and I recommend y'all go watch this film the same way i did! (Don't listen to RottenTomatoes, even though I usually trust their judgement) A few things you should keep in mind before watching it: 1. this movie was produced by Disney, so obviously they had to make everything 'kid friendly' and relatable to a young audience. If this movie was made for adults, it would have an R rating and probably be the best movie of 2010, especially if you had Christopher Nolan and Aaron Sorkin on the project. Disney ALWAYS has to mess things up (with an exception to the Lion King, Toy Story, and Aladdin...and maybe even Wall-E...on second thought, the Disney parks in Orlando, FL are pretty dope. I will table this for later.). 2. Cliche dialog to the maximum. There isn't a single line you couldn't predict. The character interactions reminded me of the movie A Goofy Movie. (I am not gonna lie, I cried in A Goofy Movie...but then again I was like 6 years old) 3. For the most part, the casting was poorly done, and the characters are so outlandish (e.g., Michael Sheen's character). The good part is, Daft Punk makes a cameo. But deep dialog and developed characters is not the goal of this movie. For some reason, all the women in the movie were oddly attractive (e.g., Olivia Wilde). 4. There is way too many themes going on in this film, and fairly overtly. To name a few: Good v. Evil, Jesus, perfection, greed, identity, technology, futurism, etc. My favorite was transhumanism. Why Watch It?: I thought this film was better than Avatar. You felt like you were actually IN the game; straight up light and music show. Daft Punk created the soundtrack for the movie; their music was the movie. The visuals were amazing, I would love to watch this movie again on Blu-ray with a Bose sound system. Think of Tron as a two hour long Daft Punk music video. With that mindset, you will appreciate it that much more. Remember to watch it in IMAX 3D, and be sure to be seated directly in the dead center of the theater. Daft Punk
UPDATE 1: Our friends over at Aphera Music have been blogging about this! http://bit.ly/gI9DNC
UPDATE 2: Our friend over at Sim Traks has been blogging about this! http://bit.ly/hMg5ft
I decided to write a review of Kanye’s album after being thoroughly disappointed with all the reviews I have read across the inter-webs (with an exception to a lengthy quote by Q-Tip).
Kanye West is a hip hop game changer, his recent album is avant-garde done right; he is the only rapper that has the capability of doing something like this. He challenges normative assumptions of what it means to be a rapper, while testing the boundaries of hip-hop. This album is full of personal emotion, vulnerability, and self-reflection; something that is often absent from rap. While listening to this album you feel like you are witnessing something paradoxically new, yet oddly familiar; musical history in the making. It seems reasonable to conclude that he (along with Kid Cudi) inadvertently created his own sub-genre of hip-hop, teetering on alternative, indie, and pop. Welcome to the era of transcendental hip-hop.
Kanye West’s recent album, My Beautiful Dark Twisted Fantasy, took me a while to review. I had to listen to this album closely and repeatedly in order to come up with a coherent review of his work. Instead of offering a holistic opinion of the entire album, I think it would be best to provide my comments for each track individually while placing it into the larger context of the album and the artist. The genius behind this album is that each and every song can be marketed as a single. Unlike Kid Cudi’s albums where you have to listen to it in its entirety to appreciate it, Kanye masterfully makes each song an epic masterpiece in and of itself.
There are so many elements to this album (e.g., allusion), that it would be impossible to write a review any shorter without selling the album short. His lyrics are filled with references to slavery, the Civil Rights Movement, and racism (e.g., “Gorgeous”). You find yourself stumbling upon his recent obsession with fashion as he rattles off designers such as Oscar de la Renta, Phoebe Philo, and Dior Homme. He references other artists like Nas, Leona Lewis, and Kelly Rowland. From taking a stab at South Park (“Gorgeous”) and Saturday Night Live (“Power”), to making fun of his actions at the MTV Video Music Awards (“See Me Now”) and referencing Obama’s off camera comments (“Power”), his whole album is a historical recreation of his life.
Without any further ado: Dark Fantasy: This track is complex in its musical composition. If you listen to it close enough you can pick up the small subtle elements, (e.g., like a small piano loop, more pronounced on the left) which gives this song tremendous character. A perfect confluence of soul and hood. This song, like many of the others on this album, does not follow the traditional format of verses and chorus lines. There is not much else to say about this track; you have to experience it. This song is a perfect introduction and perfect in composition. Hey, teacher, teacher Tell me how do you respond to students? And refresh the page and restart the memory? Re-spark the soul and rebuild the energy? Gorgeous: Kanye attempts to bring out the best in each artist featured on his album, and this song serves as a perfect example of just that. Kid Cudi, as noted in my last review, is a great chorus artist. That is, Kid Cudi is at his best when singing chorus lines, which is particularly noted on this track. Raekwon, on the other hand is remembered as part of the Wu Tang Clan and his relevance is revived with Kanye’s touch. This song is made that much better with the guitar riff looped in the background as well as Kanye’s stab at his unflattering portrayal on South Park, rapping “Choke a South Park writer with a fish stick.” Is hip hop, just a euphemism for a new religion? The soul music for the slaves that the youth is missing This is more than just my road to redemption Malcolm West had the whole nation standing at attention Power: This is not the best song off the album, yet Kanye chose it as the single. It was so good that it made it into the Grammys this year. This song is like a fine painting and the reason I make this suggestion is because Kanye makes the same connection in the music video for the song. From the samples, the verses, chorus lines, to the rhythm and blues number at the end interwoven with commentary, and the maniacal laughter; there is a lot going on in this track, yet it is so masterfully contained. Lost in translation with a whole f-ckin’ nation They say I was the ‘Obama-nation’ of Obama’s nation Well, that’s a pretty bad way to start the conversation All of the Lights: The interlude to this song was a nice touch; very melodic, simple, devoid of any obnoxious elements. It sets the mood for the greatness that is about to come. Something to note here, the length of Kanye’s songs is a lot longer than traditionally seen with rap tracks (which are usually three and half minutes). “All of the Lights” is an intricate song with a fast drum line over orchestral elements that are perfectly blended and interwoven into different beat patterns. Kanye’s rapping is passionate, full of intonations (A great example of this is when he mentions Michael Jackson’s death). This song is another example of Kanye’s musical ability and talent of bringing out the best in his artists; this is talent to its fullest potential. It is very difficult to weave in all the various vocal contributions and musical shifts into a masterpiece, but Kanye pulls it off well. This song alone is so sophisticated, so smart. Something wrong, I hold my head MJ gone...our n-gga dead! Monster: This track is so hard and so cold; the beat sets the tone for the entire song. It is evident that the largely untalented Rick Ross had to be given some direction with his lyrics because he is typically known for nonsensical material. However, he provides a good introduction to the song, saying: “Kanye West samples, here’s one for example…” Since College Dropout, Kanye’s rap style and content have become more comedic and less conscious. His signature delivery is best exemplified in two parts. One, he elongates words leading into the next bar: “Have you ever had sex with a phaaarrrraaaooohhhhh? Put the p--sy in a sarcophagus.” Two, he abruptly ends saying the last bar slightly off beat in a more commanding tone: “my presence is a present. Kiss my ass!” One will also note that Jay Z’s lyrics are coherent and thematic. Nicki Minaj, a generally lousy artist (representative of Cash Money all together) redeems herself on this track, tapping into her Caribbean roots: “Find it, Tony Matterhorn ‘Dutty Wine it’.” The song finishes nicely with a verse from Bon Iver; I think this is Kanye’s way of bridging genres and challenging musical norms. What other rapper is capable of this? Do the rap and the track, triple-double no assist. So Appalled: I was disappointed slightly when this song appeared on the album because I expected Kanye to use only new music for his albums. This stunt reminded me of the time when Kanye recycled his mixtape song “Homecoming” ft. John Legend by using it on the album Graduation, but this time featuring Chris Martin. The GOOD Friday promotional tracks were supposed to be something separate from the album, or so it was assumed incorrectly. Nonetheless, this is another exceptional track that revisits music from the Old School era with a hood beat. It was hard to evaluate this song because on one hand you have greats like Jay Z, Kanye, and the RZA adding their flavor to the track, and on the other hand you have weaker elements such as verses by Pusha T and Cyhi da Prynce. These latter two artists could not survive without Kanye backing them and featuring them on his masterpiece of an album. Cyhi da Prynce's verse seems like an amalgamation of every clever bar that he has ever thought of, while Pusha T is just trying too hard. Their hackneyed performances could be seen as a weakness of the track, unless Kanye is featuring these artists as a way of authenticating the hood-ness of the song. Debatable. RZA's contribution is perfect, it is icing on the cake. Swiss Beats generally spoils songs with his commentary over tracks, but in this song it is more controlled and his contribution is appropriate. That know the day that you play me Will be the same day MTV play videos That was a little joke, Voila! Praises due to the most high, Allah Praises due to the most fly, Prada Baby I'm magic, ta-da Devil in a New Dress: This was another track which Kanye had released as a promotional song and later decided to use on his album. Unlike “So Appalled,” this song was so exceptional that it definitely was album worthy. However, sticking to the original statement, Kanye should have left this track as a promotion and put out something new for the album. Recycling music is something one doesn’t expect from mainstream artists as good as Kanye. Kanye is very much like the comedian and good friend, Aziz Ansari. Both rarely come up with new material, they are very comfortable with the set number of verses/jokes they have written. Nonetheless, “Devil in a New Dress” reminds me of The College Dropout and Late Registration, with a grown up touch. The mellowed smoothness is on par with his Late Registration song, "Drive slow," and his message is reminiscent of The College Dropout favorite, "Jesus Walks." His wittiness is heightened and highlighted throughout the track with clever lines like, “We love Jesus, but we learn a lot from Satan,” “Dior Homme, not Dior Homie!,” and “I ordered the jerk, she said ‘you are what you eat’.” In this track, Kanye lets the music do the talking, letting the beat ride as we enjoy the magic of the music. Unfortunately, Rick Ross chimes in towards the end of the song, which I personally believe is a weak spot. Rick Ross's excessive grunting and barking makes me think he was having an asthma attack or an ulcer during the recording; either that or he lost his breath while spitting his verse. He is more or less yelling in rhyme, spoiling the vibe of the track as he goes on. The only noteworthy bar from Rick Ross was, "making Tupac money, twice over." Other than that, it was a poor performance by Rick Ross, as expected. I am still trying to figure out why Kanye would include him on the song. Don’t leave while you’re hot that’s how Mase screwed up Throwing sh-t around, the whole place screwed up Maybe I should call Mase so that he could pray for us Runaway: Very candid, very honest. Wonderful sample, old school 808/MPC sounding beat, with a melodic piano number. This is another avant-garde piece. His lyrical content is vulgar, yes, but it is self-reflective and honest. If any other rapper were to say the same things, it would be taken distastefully, as noted by Pusha T’s awful verse. (Pusha T is a generic rapper, and one problem with this album is that it’s missing some of the fantastic rappers that Kanye has collaborated with, i.e., Mos Def, Lupe, Talib, Common, Nas, and Q-Tip.) In my opinion, Pusha T’s verse and Kanye's extensive robotic Auto-Tune splurge towards the end of the song spoils this almost perfect track. Although, despite the Auto-Tune sounding slightly cacophonous at times, it somehow fits the vibe of the proceeding track, leading right into “Hell of a Life” perfectly. And I just blame everything on you At least you know that's what I'm good atHell of a Life: This song should appear in a “The Best of Kanye” album. From the wild piano riff in the chorus line to the hard beat, this song sounds like what his Graduation tune "Drunk and Hot Girls" should have been. The way the beat stratifies, splits, and shifts presents the listener with different highs and lows. This song is odd lyrically (I am not going to lie, it’s not his finest), but he does drop a bar that is definitely noteworthy when he wonders why other more demeaning sex acts are equated to sexual relations with a "black guy." This song, holistically, is done well sans the awkward panting/breathing towards the end. This is a great example of how well Kanye is able to reveal his different moods while conjuring up feelings within the listener. Tell me what I gotta do to be that guy Said her price go down, she ever f-ck a black guy Blame Game: John Legend’s contribution, along with the Aphex Twins’ “Avril 14th” sample is absolutely perfect. The voice effects on Kanye’s verse highlight the torment he feels, his struggle with himself. In "Can't Tell Me Nothing," (Graduation) Kanye says "I'm on TV taking like it’s just you and me," but in this track something different takes place. Kanye is rapping as if he is looking into a mirror, talking to himself. The recently popular Degrassi actor turned rapper, Drake, tries to serenade his listeners from time to time by switching from rap to singing. In "Blame Game," Kanye shows us how it is supposed to be done. Kanye is not a great singer, but him singing is less of a gimmick and more him being himself, not caring who likes it. It is authentic. Kanye has always enjoyed singing, but doesn’t have the talent to do it. In this song it is appreciated. He sings his emotions the best he can, and we feel it. It’s a soulful energy that adds to John Legend's presence. Kanye adds a little of his own spoken word piece, reflecting on his ideas of love. Finally, Kanye is known for interspersing comedic skits within his albums. Adding Chris Rock at the end of this somber tune is a hilarious touch, seen as Kanye’s attempt to redirect the mood of the listener. This is another one of those well done, multifaceted tracks that are so complex, yet very simple; a hip-hop musical paradox that only Kanye could design and implement. On a bathroom wall I wrote: "I'd rather argue with you than to be with someone else" I took a piss and dismissed it like f-ck it and went and found somebody else F-ck arguing or harvesting the feelings, I'd rather be by my f-cking self Till about 2:00 AM and I call back and I hang up and start to blame myself Somebody help Lost in the World: Amazing. This is theme music. This is one of those rare fantastical musical masterpieces (like “My Girls” by Animal Collective.) Gil Scott-Heron's poem, collaboration with Bon Iver, and the applause at the end place the song in the hip-hop historical record. Bringing in the soulful elements first introduced in The College Dropout (e.g., "I’ll Fly Away"), the masterful production and thematic sounds of Late Registration, the lyrical style and content of Graduation, the African-inspired drum pattern and Auto-Tune experimentation of 808s and Heartbreak (e.g., “Love Lockdown”), and finally, the maturity, depth, harmony, and genius of My Beautiful Dark Twisted Fantasy makes this a benchmark of the musical brilliance only Kanye is capable of. If we die in each other’s arms, Still get laid in that afterlife, See Me Now: This song is best kept as a bonus track. This is a song you have to earn. His lively delivery coupled with Beyonce and Charlie Wilson's harmonization and singing make this a hidden gem and a beautiful spot in his overall "dark, twisted" album. He is right when he notes, “This that Yeezy we all love...I'm back, baby." This track is what "The Glory" (from Graduation) should have been. His continue hating of Toyota is also much appreciated and hilarious: "the whips on the Sprewells, is so un-Camry," a reference on par with: "What you think I rap for? To push a f-ckin' Rav-4?" (from “Run This Town”). His commentary over the track is a nice, hilarious touch especially the stab he makes at Taylor Swift: "And I’mma let you finish but I got Beyonce on the track." Kanye is clearly proud of this song, and so are we; this is, as he calls it, “Black excellence.” If you fall on the concrete, that’s your ass fault Kanye is the pioneering leader in rap music. In many respects, his use of samples is a way of reviving music that has fallen out of the memories of many. It introduces the listener to a hodgepodge of genres and sounds that an avid rap music listener would never come across. Each track contains multitudes; it is Walt Whitman’s Song of Myself in an alternative form.Kanye lives his music. He does not play a character in his rap songs or a persona like other popular rappers (e.g., Drake, Rick Ross, Gucci Mane, etc), he keeps it real. It was difficult judging this album without factoring in the musician himself because unlike many artists whose music does not represent who they are, Kanye is his music, and his music is him. You may hate Kanye ten times over for whatever reason, but you have to award some merit to this man who is able to acknowledge his vices, and this album is just that. A friend of mine over at Aphera Music (Larissa Woskob), recently reminded me of Aristotle’s definition of tragedy. A tragic character is one who is good but his downfall is due to a flaw. You do not want to see tragedy happen to a villain because that is not tragic. And you do not want to see it happen to someone who is too perfect because it is unfair. This album is a contemporary musical avant-garde reengineering of a tragedy. Major Criticism: The only thing this album lacks is lyrical talent; the artists (including Kanye) are clever, raw, and honest at best, but not uniquely profound. At times the lyrics are vulgar and cliché, full of relationship troubles, self-praise, money euphemisms/references, and violence. Some superfluous elements detract from the quality of the music. In Sum: This album should not be hallmarked for its lyrical content; rather it should be lauded for its musical production and for challenging the traditional conventions of rap and hip-hop, and for being avant-garde done right. As Jay Z would say, "Kanyezzy, You did it again! You a Genius!" (“Lucifer” by Jay Z & prod. Kanye West) Rating: A+ Written by: Abbas Rattani
Man on the Moon II: The Legend of Mr Rager! A melodic hip hop quest of sorts, infused with a light electronica feel.
This album is by far the best thing Kid Cudi has put out to date, in fact, I am willing to say it is the third best album of 2010 (after Distant Relatives and My Beautiful Dark Twisted Fantasy). Like his first album (Man on the Moon I), you have to listen to the entire album all the way through in order to feel the power and coherence of the music. Unlike his first album, however, almost every song holds its own individually (and there is no annoying commentary by Common). What I mean is, certain songs from his first album, like "Solo Dolo," sound idiotic without it being placed into the larger context of the album, but every song on his new album sounds great in and of itself.
While most of Kid Cudi's music is generally about marijuana (analogy, Kid Cudi: marijuana :: Clipse: cocaine), in this album you can tell Cudi has been experimenting with some new drugs. Granted this may be a poor life decision, but it yields excellent music. (Message to Kid Cudi: We understand your obsession with weed, but stop letting it define your music! You have so much creativity to offer us, you need to move on to other concepts.) The wondrous musical production by Emile and Dot da Genius creates a melodic, mellow feel that causes you to drown in his music, encapsulating your mind in the near perfect harmonization of vocals and instrumental. You have to listen to this album on a good sound system in its entirety (including the bonus iTunes "Maybe" track) in a dimly lit room on a comfy couch. And just let your self coast to the music...
My major criticism of this album is that there aren't many lyrical gems. I really believe he wrote his music operating on a false esoteric pretense. Like Aesop Rock in many respects, his lyrics are incomprehensible and highly inaccessible. It is obvious that the only person who knows what his lyrics mean is Cudi himself. I personally do not think esotericism has a place in corporate controlled, mainstream rap music. Whats the point? Nonetheless, Kid Cudi is not a profound lyricist, nor particularly insightful. It is apparent that he has discovered what he is good at, i.e., chorus lines. Most of the songs off the new album could very well be considered lengthened chorus lines, interwoven with very little rapping; straddling the line between pop and electronica hip hop.
The album does have one major thing going for it, this album does not fit the stereotype of traditional hip hop, i.e., hard beats and rhymes. Its hard to box the album into a genre, which I think makes it that much more dope. Overall, I think this is a really refreshing album, and definitely worth checking out.
Rating: A-
-Abbas Rattani
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