Kanye West | ||
| Allmusic Biography : In the span of three short years, Kanye West went from hip-hop beatmaker to worldwide hitmaker, as his stellar production work for Jay-Z led to a major-label recording contract and, ultimately, a wildly successful solo career. West paired his beats with tongue-twisting raps and a self-assured, flamboyant personality. His dapper fashion sense set him apart from many of his rap peers, and his confidence often came across as boastful or even egotistical, albeit amusingly so. This flamboyance, of course, made for good press, something that West enjoyed in spades during his sudden rise to celebrity status. He was a media darling, appearing and performing at countless awards shows (and winning at them, too), delivering theatrical videos to MTV, and mouthing off about whatever happened to cross his mind. He frequently spoke out against the rampant homophobia evident in much rap music, posed for the cover of Rolling Stone as Jesus Christ, and even claimed during a televised Hurricane Katrina fundraiser that "George Bush doesnt care about black people." West courted controversy, no question about it, but his steady presence in the celebrity limelight couldnt eclipse his musical talent. His production abilities seemed boundless during his initial surge of activity, as he not only racked up impressive hits for himself (including "Jesus Walks" and "Gold Digger"), but also collaborated on smash hits with the likes of Jay-Z and Ludacris. As his career progressed throughout the early 21st century, West shattered certain stereotypes about rappers, becoming a superstar on his own terms without adapting his appearance, his rhetoric, or his music to fit any one musical mold. Coming out of left field (i.e., Chicago, a city rarely praised for its hip-hop exports), West was an unlikely sensation and more than once defied adversity. Like so many others who were initially inspired by Run-D.M.C., he began as just another aspiring rapper with a boundless passion for hip-hop, albeit a rapper with a Midas touch when it came to beatmaking. Indeed, it was his beatmaking prowess that got his foot in the industry door. Though he did quite a bit of noteworthy production work during the late 90s (Jermaine Dupri, Foxy Brown, Mase, Goodie Mob), it was Wests work for Roc-a-Fella at the dawn of the new millennium that took his career to the next level. Alongside fellow fresh talent Just Blaze, West became one of the Rocs go-to producers, consistently delivering hot tracks to album after album. His star turn came on Jay-Zs classic Blueprint (2001) with album standouts "Takeover" and "Izzo (H.O.V.A.)." Both songs showcased Wests signature beatmaking style of the time, which was largely sample-based; in these cases, the former track appropriated snippets of the Doors "Five to One," while the latter sampled the Jackson 5s "I Want You Back." More high-profile productions followed, and before long word spread that West was going to release an album of his own, on which he planned to rap as well as produce. Unfortunately, that album was a long time coming, pushed back and then pushed back again. It didnt help that West was in a car accident in October 2002 that almost cost him his life. He capitalized on the traumatic experience by using it as the inspiration for "Through the Wire" (and its corresponding video), which would later become the lead single for his debut album, 2004s The College Dropout. As the album was continually delayed, West continued to create big hits for the likes of Talib Kweli ("Get By"), Ludacris ("Stand Up"), Jay-Z ("03 Bonnie & Clyde"), and Alicia Keys ("You Dont Know My Name"). Then, just as "Through the Wire" was breaking big-time at the tail-end of 2003, another West song caught fire, a collaboration with Twista and comedian/actor Jamie Foxx called "Slow Jamz," which gave the rapper/producer two simultaneously ubiquitous singles and a much-anticipated debut album. As with so many of Wests songs, the singles were driven by somewhat recognizable sample-based hooks: Chaka Khans "Through the Fire" in the case of "Through the Wire," and Luther Vandross "A House Is Not a Home" in the case of "Slow Jamz." In the wake of his breakout success, West earned a whopping ten nominations at the 47th annual Grammy Awards, held in early 2005. The College Dropout won the Best Rap Album award, "Jesus Walks" won Best Rap Song, and a songwriting credit on "You Dont Know My Name" for Best R&B; Song award was shared with Alicia Keys and Harold Lilly. Later that year, West released his second solo album, Late Registration, which spawned a series of hit singles ("Diamonds in Sierra Leone," "Gold Digger," "Heard Em Say," "Touch the Sky"). The album topped the charts, as did the "Gold Digger" single, and Late Registration eventually won a Grammy for Rap Album of the Year. Wests production work continued more or less unabated during this time; particularly noteworthy were hits for Twista ("Overnight Celebrity"), Janet Jackson ("I Want You"), Brandy ("Talk About Our Love"), the Game ("Dreams"), Common ("Go!"), and Keyshia Cole ("I Changed My Mind"). West also founded his own label, GOOD Music (i.e., "Getting Out Our Dreams"), in conjunction with Sony BMG. The labels inaugural release was John Legends Get Lifted (2004), followed one year later by Commons Be. In addition to all of his studio work, West also toured internationally in support of Late Registration and released Late Orchestration: Live at Abbey Road Studios (2006) in commemoration. After retreating from the spotlight for some time, West returned to the forefront of the music world in 2007 with a series of album releases. Consequences Dont Quit Your Day Job and Commons Finding Forever, both released by GOOD, were chiefly produced by West; the latter proved to be particularly popular, topping the album chart upon its release in July. And then there was Wests third solo album, Graduation, which was promoted well in advance of its September 11 release (a memorable date that pitted Kanye against 50 Cent, who in one interview swore he would quit music if his own album, Curtis, wasnt the top-seller). A pair of singles -- "Cant Tell Me Nothing" and "Stronger," the latter an interpolation of Daft Punks 2001 single "Harder, Better, Faster, Stronger" -- led the promotional push. It became his third consecutive chart-topping album, and its success culminated in eight Grammy nominations. West was the victor in four of the categories, and he performed two songs during the ceremony, including Late Registrations "Hey Mama," chosen in honor of his recently deceased mother. That loss, compounded by a breakup with his fiancée, informed 2008s 808s & Heartbreak, a major change of pace that saw West singing most of his emotionally pained lyrics with the assistance of Auto-Tune. The album went platinum. My Beautiful Dark Twisted Fantasy, most of which was recorded in Hawaii and involved guest vocal spots from the likes of Nicki Minaj, Kid Cudi, Rick Ross, and the RZA, was released in November 2010. It was preceded by the bombastic, King Crimson-sampling single "Power." A sprawling and audacious album, MBDTF debuted at number one on the Billboard 200 and also went platinum. While the album was still hot, West recorded the aggressive and boast-heavy Watch the Throne with Jay-Z and numerous producers and songwriters. Billed as a set by the Throne, it was released in August 2011 and entered the Billboard Top 200 chart at number one. In September 2012, he released the GOOD Music collaboration album Cruel Summer, which featured artists such as Big Sean, Pusha T, and Lifted. Four singles ("Mercy," "Cold," "New Flow," and "Clique") were released as promotion for the record. Toward the end of 2012 there were rumblings from acclaimed producers that a new album would emerge soon. These murmurs were soon confirmed when West himself announced that he was working on his sixth album with the likes of Daft Punk, King L., Justin Vernon, Rick Rubin, Chief Keef, and many more contributing. As one of the most eagerly anticipated albums of 2013, Yeezus was released to rapturous reviews from critics. West touched upon controversial and sensitive topics and delivered an astonishing and bold record, described as his most confrontational and bravest album to date. Despite leaking four days before its release, Yeezus sold almost 327,000 copies during its first week and the albums first single, "Black Skinhead," was certified gold by mid-October. The year 2013 also proved to be a personal milestone for West, as he became a father for the first time, with partner Kim Kardashian giving birth to a baby girl in June of that year. In 2014, he announced a new album and released "Only One" featuring Paul McCartney, which, like his 2015 single "FourFiveSeconds" with McCartney and Rihanna, remained a non-LP release. In 2015, he announced another, different album, titled So Help Me God, which later turned to SWISH, then Waves, and finally The Life of Pablo. The album was released on Valentines Day 2016 and shot to the top of the Billboard 200. The guest list for the platinum-selling effort included Chance the Rapper, Kid Cudi, Young Thug, Chris Brown, Sia, the Weeknd, French Montana, Frank Ocean, Post Malone, Jay-Z, and many more. During the promotion of Pablo, West canceled the final dates of his Saint Pablo tour and was hospitalized for psychiatric observation. He retreated from the spotlight for nearly a year and re-emerged in 2017 to begin recording material for his next album -- as well as production for artists on his GOOD Music label -- at a studio in Jackson Hole, Wyoming. While there, he also continued to court controversy with his political views and public statements made via social media. Amidst the headline flurry, he released a pair of singles in April 2018: "Lift Yourself" and "Ye vs. the People" with T.I. The following month, West delivered the first of the "Wyoming Sessions" studio productions with Pusha Ts Daytona. A week later, West released his eighth official set, Ye, which featured appearances by Kid Cudi, Ty Dolla $ign, and Nicki Minaj, as well as production by Mike Dean, Che Pope, Francis and the Lights, and Benny Blanco. The third installment of the series arrived the next week, marking the debut of the collaborative project Kids See Ghosts, a duo formed by West and Cudi. Kids See Ghosts featured Pusha T, Mos Def, and Ty Dolla $ign, as well as samples of Louis Prima and Kurt Cobain. | ||
 | Album: 1 of 22 Title: Best of Kanye West Released: Tracks: 14 Duration: 45:01 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Girls, Girls Freestyle (03:34) 2 Tha Bounce (04:20) 3 A Million Freestyle (01:19) 4 Home (04:04) 5 Whack Niggaz (01:45) 6 The Good, Bad, Ugly (02:18) 7 We are the Champions (05:56) 8 Playa, Playa freestyle (02:47) 9 Guess Whos Back (03:58) 10 My Way (03:24) 11 2 Words (02:56) 12 Love u Better Freestyle (01:47) 13 The Truth Freestyle (02:28) 14 Through the Wire (04:18) |
 | Album: 2 of 22 Title: The College Dropout Released: 2003-07 Tracks: 15 Duration: 1:11:12 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 We Don’t Care (04:00) 2 Graduation Day (01:22) 3 All Falls Down (03:44) 4 Spaceship (05:24) 5 Jesus Walks (03:14) 6 Never Let Me Down (05:24) 7 Get Em High (04:49) 8 The New Workout Plan (05:23) 9 Through the Wire (03:41) 10 Slow Jamz (05:16) 11 Breathe In Breathe Out (04:07) 12 School Spirit (03:02) 13 Two Words (04:26) 14 Family Business (04:39) 15 Last Call (12:41) |
| The College Dropout : Allmusic album Review : Producer Kanye Wests highlight reels were stacking up exponentially when his solo debut for Roc-a-Fella was released, after numerous delays and a handful of suspense-building underground mixes. The week The College Dropout came out, three singles featuring his handiwork were in the Top 20, including his own "Through the Wire." A daring way to introduce himself to the masses as an MC, the enterprising West recorded the song during his recovery from a car wreck that nearly took his life -- while his jaw was wired shut. Heartbreaking and hysterical ("Theres been an accident like Geico/They thought I was burnt up like Pepsi did Michael"), and wrapped around the helium chirp of the pitched-up chorus from Chaka Khans "Through the Fire," the song and accompanying video couldnt have forged his dual status as underdog and champion any better. All of this momentum keeps rolling through The College Dropout, an album thats nearly as phenomenal as the boastful West has led everyone to believe. From a production standpoint, nothing here tops recent conquests like Alicia Keys "You Dont Know My Name" or Talib Kwelis "Get By," but hes consistently potent and tempers his familiar characteristics -- high-pitched soul samples, gospel elements -- by tweaking them and not using them as a crutch. Even though those with their ears to the street knew West could excel as an MC, he has used this album as an opportunity to prove his less-known skills to a wider audience. One of the most poignant moments is on "All Falls Down," where the self-effacing West examines self-consciousness in the context of his community: "Rollies and Pashas done drive me crazy/I cant even pronounce nothing, yo pass the Versacey/Then I spent 400 bucks on this just to be like N*gga you aint up on this." If the notion that the album runs much deeper than the singles isnt enough, theres something of a surprising bonus: rather puzzlingly, a slightly adjusted mix of "Slow Jamz" -- a side-splitting ode to legends of baby-making soul that originally appeared on Twistas Kamikaze, just before that MC received his own Roc-a-Fella chain -- also appears. Prior to this album, we were more than aware that Wests stature as a producer was undeniable; now we know that hes also a remarkably versatile lyricist and a valuable MC. | ||
 | Album: 3 of 22 Title: Late Registration Released: 2005-03 Tracks: 23 Duration: 1:16:05 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Wake Up Mr. West (00:41) 2 Heard ’em Say (03:24) 3 Touch the Sky (03:57) 4 Gold Digger (03:28) 5 Skit #1 (00:33) 6 Drive Slow (04:33) 7 My Way Home (01:44) 8 Crack Music (04:31) 9 Roses (04:06) 10 Bring Me Down (03:19) 11 Addiction (04:27) 12 Skit #2 (00:31) 13 Diamonds From Sierra Leone (remix) (03:53) 14 We Major (07:29) 15 Skit #3 (00:24) 16 Hey Mama (05:05) 17 Celebration (03:18) 18 Skit #4 (01:19) 19 Gone (06:03) 20 Diamonds From Sierra Leone (03:58) 21 Back to Basics (01:39) 22 We Can Make It Better (03:52) 23 Late (03:50) |
| Late Registration : Allmusic album Review : And then, in a flash, Kanye was everywhere, transformed from respected producer to big-name producer/MC, throwing a fit at the American Music Awards, performing "Jesus Walks" at the Grammys, wearing his diamond-studded Jesus piece, appearing on the cover of Time, running his mouth 24/7. One thing that remains unchanged is Kanyes hunger, even though his head has swollen to the point where it could be separated from his body, shot into space, and considered a planet. Raised middle class, Kanye didnt have to hustle his way out of poverty, the number one key to credibility for many hip-hop fans, whether it comes to rapper turned rapping label presidents or suburban teens. And now that he has proved himself in another way, through his stratospheric success -- which also won him a gaggle of haters as passionate as his followers -- he doesnt want to be seen as a novelty whose ambitions have been fulfilled. On Late Registration, he finds himself backed into a corner, albeit as king of the mountain. Its a paradox, which is exactly what he thrives on. His follow-up to The College Dropout isnt likely to change the minds of the resistant. As an MC, Kanye remains limited, with all-too-familiar flows that werent exceptional to begin with (you could place a number of these rhymes over College Dropout beats). He uses the same lyrical strategies as well. Take lead single "Diamonds from Sierra Leone," in which he switches from boastful to rueful; more importantly, the conflict felt in owning blood diamonds will be lost on those who couldnt afford one with years of combined income. Even so, he can be tremendous as a pure writer, whether digging up uncovered topics (as on "Diamonds") or spinning a clever line ("Before anybody wanted K. Wests beats, me and my girl split the buffet at KFC"). The production approach, however, is rather different from the debut. Crude beats and drastically tempo-shifted samples are replaced with a more traditionally musical touch from Jon Brion (Fiona Apple, Aimee Mann), who co-produces with West on most of the tracks. (Ironically, the Just Blaze-helmed "Touch the Sky" tops everything laid down by the pair, despite its heavy reliance on Curtis Mayfields "Move on Up.") West and Brion are a good, if unlikely, match. Brions string arrangements and brass flecks add a new dimension to Wests beats without overshadowing them, and the results are neither too adventurous nor too conservative. While KRS-One was the first to proclaim, "I am hip-hop," Kanye West might as well be the first MC to boldly state, "I am pop." | ||
 | Album: 4 of 22 Title: Touch the Sky Released: 2006-01 Tracks: 34 Duration: 1:19:08 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Into (01:04) 2 Intro - Coronation (00:41) 3 Freestyle (02:33) 4 Yeah Nigga (02:42) 5 Look Who (02:54) 6 Take Everything (03:26) 7 Welcome to Bad Boy (03:50) 8 So Offensive (01:02) 9 R.O.C. Too Strong (02:42) 10 Rap Phenomenon, Part II (02:44) 11 Get Touched (02:24) 12 Blow Your Mind (00:52) 13 Twin Towers (02:32) 14 Ready to Dump (02:53) 15 Round Here (02:46) 16 Set It Off (00:49) 17 Live On SmashTime Radio/Shade 45 with Clinton Sparks (05:06) 18 He Said, She Said (03:10) 19 H-Town (03:02) 20 Watch Me Now (02:18) 21 Sophomore Slump (00:10) 22 Followers (03:19) 23 Freestyle (Live On SmashTime Radio/Shade 45 With Clinton Sparks) (02:42) 24 GFN (01:52) 25 Love To Hate (02:41) 26 Freestyle (Live On SmashTime Radio/Shade 45) (02:14) 27 Freestyle (02:01) 28 Freestyle (Live On SmashTime Radio/Shade 45 With Clinton Sparks) (00:58) 29 Untouchable (02:17) 30 Rain When Its Hot (02:30) 31 Outro (01:02) 32 SmashTime Radio / Get Familiar (03:26) 33 Get Familiar Freestyle (01:15) 34 No Doe, No Show (02:54) |
 | Album: 5 of 22 Title: Late Orchestration Released: 2006-05-01 Tracks: 13 Duration: 47:26 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Diamonds from Sierra Leone (04:07) 2 Touch the Sky (04:06) 3 Crack Music (02:47) 4 Drive Slow (04:33) 5 Through the Wire (03:32) 6 Workout Plan (02:52) 7 Heard em Say (04:09) 8 All Falls Down (03:13) 9 Bring Me Down (03:20) 10 Gone (04:15) 11 Late (03:54) 12 Jesus Walks (03:13) 13 Gold Digger (AOL Sessions) (03:17) |
| Late Orchestration : Allmusic album Review : Leave it to Kanye West to make live hip-hop exciting again. On his first live album, released officially only in Europe, West ditches the hypemen and instead enlists the help of an all-female orchestra. Sprinkle in a few guest appearances from the likes of an up-and-coming kid named Lupe Fiasco, who was starting to make a little noise in the industry, and John Legend, whose career already was well past being a session pianist and background singer, and you have a well-balanced live show. Curiously, the orchestra and the DJ, aside from Legends brief appearance, are the only band on-stage. The rest of the instrumentation was pre-recorded. One of the best performances is from someone who never utters a word. A-Trak, who serves as Wests tour DJ, puts together fanciful scratches, one of which perfectly introduces GLC to come on-stage to perform his verse on "Drive Slow" by scratching his "What it do?" line effortlessly. His fingers work even faster when closing out the upbeat "Workout Plan." The material here covers his first two albums, The College Dropout and Late Registration (of which he obviously based the name of this album), with the mixture being just over 50-percent of the latter. On "Jesus Walks," the live orchestra performs at its peak, as there is an extra sense of urgency to the performance. They also add a classy if understated touch to "All Falls Down," one of Wests best storytelling tracks. The notes are few, but the effect is big. His choice of "Bring Me Down," for which he repurposed lyrics from an unreleased tune called "Wack Niggaz" which featured Talib Kweli, is a curious one, although it could have been selected to utilize the orchestra. While fans of Wests radio material may have clamored for the massive hit "Gold Digger," it wouldnt have fit well with the personnel at hand. Still, a better selection might have been "Roses," a deeply personal account of family bonding during a time when his grandmother was hospitalized and a nurse had the gall to ask for his autograph. As a bonus, we do get a live version of "Gold Digger" from AOL Sessions, but after 40-plus minutes of being backed by an orchestra, the non-orchestrated "Gold Digger" sounds flat. Filmed at Abbey Road Studios in September 2005 in front of an audience of 300 people, West had performed at larger-capacity venues but, arguably, not a bigger one. Even with a small crowd, West draws a lot of energy from attendees who seemingly know every word, but he gives every bit as much back. For all the flak hes received for his ego, his hunger to give quality performances and music has never been questioned. With Late Orchestration, he proves himself a certified rock star. [Region 0 DVD was also released in Europe containing the same performance with the four promo videos of singles from Late Registration, as well as an exclusive interview.] | ||
 | Album: 6 of 22 Title: Cant Tell Me Nothing: The Official Mixtape Released: 2007-05-25 Tracks: 25 Duration: 1:04:25 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Friday Morning, May 25th, 2007 (intro) (02:17) 2 Stronger (snippet) (01:23) 3 Us Placers (03:53) 4 I Aint Even on Yet (02:36) 5 Cant Tell Me Nothing (04:07) 6 Southside (snippet) (02:22) 7 The Game (02:29) 8 Porno (interlude) (01:14) 9 Stay Up (snippet) (01:50) 10 In the Mood (02:32) 11 C.O.L.O.U.R.S. (04:35) 12 Pro Nails (02:36) 13 Young Folks (01:46) 14 Interviews (interlude) (03:31) 15 The People (03:24) 16 Getcha Some (02:57) 17 Dont Forget Em (02:55) 18 White (On the Floor) (02:59) 19 Because of You (remix) (01:35) 20 Buy You a Drank (remix) (02:01) 21 Throw Some Ds (interlude) (00:35) 22 Throw Some Ds (remix) (02:36) 23 Dreaming of Your Love (02:51) 24 Magnetic Power (01:46) 25 Hater Family (03:35) |
 | Album: 7 of 22 Title: Graduation Released: 2007-09-05 Tracks: 15 Duration: 1:06:05 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Good Morning (03:15) 2 Champion (02:48) 3 Stronger (05:12) 4 I Wonder (04:03) 5 Good Life (03:27) 6 Can’t Tell Me Nothing (04:32) 7 Barry Bonds (03:24) 8 Drunk & Hot Girls (05:13) 9 Flashing Lights (03:58) 10 Everything I Am (03:48) 11 The Glory (03:33) 12 Homecoming (03:24) 13 Big Brother (09:48) 14 Good Night (03:06) 15 Bittersweet Poetry (06:34) |
| Graduation : Allmusic album Review : Graduations pre-leak talk wasnt as substantive as it was with Kanye Wests first two albums. As with just about any other artists third album, it had to be expected. The College Dropout was one of the most anticipated debuts of the early 2000s, while Late Registration had people wondering why Kanye would feel the need to work so extensively with multi-instrumentalist rock producer Jon Brion (the J Dilla of the chamberlin) and whether or not Kanyes hubristic tendencies would get the better of it. With Graduation, there was Takashi Murakamis artwork, a silly first-week sales competition with the decreasingly relevant 50 Cent, and chatter about synthesizers running wild. That was about it, but it all seemed loud and prevalent, due in part to a lack of high-profile rap albums released in 2007. Graduation is neither as bold nor as scattered as The College Dropout, and its neither as extroverted nor as sonically rich as Late Registration. Kanye still makes up for his shortcomings as an MC and lyricist by remaining charmingly clumsy, frequently dealing nonsense through suspect rhyme schemes: "I never be picture-perfect Beyoncé/Be light as Al B. or black as Chauncey/Remember him from Blackstreet, he was black as the street was/I never be laid-back as this beat was." The songs that are thematically distanced, introspective, and/or wary -- there are many of them -- are, in turn, made more palatable than insufferable. That his humor remains a constant is a crucial aspect of the album, especially considering that most other MCs would sound embittered and hostile if they were handling similar subjects, like haters new and old, being a braggart with a persistent underdog complex, getting wrapped up in spending and flaunting, and the many hassles of being a hedonist. Those who have admired Kanye as a sharp producer while detesting him as an inept MC might find the gleaming synth sprites, as heard most prominently throughout "Flashing Lights" and "Stronger," to be one of the most glaring deal-breakers in hip-hop history. Though the synthesizer use marks a clear, conscious diversion from Kanyes past productions, highlights like "I Wonder," "The Glory," and "Everything I Am" are deeply rooted in the Kanye of old, using nostalgia-inducing samples, elegant pianos and strings, and gospel choirs. So, no, hes not dreaming of fronting A Flock of Seagulls or joining Daft Punk. Hes being his shrewd, occasionally foolish, and adventurous self. | ||
 | Album: 8 of 22 Title: The Graduate (Extra Credit) Released: 2008 Tracks: 25 Duration: 00:00 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 I Still Got It (?) 2 Bring It Back (?) 3 Better Than Ive Ever Been (?) 4 Us Placers (?) 5 Interlude (?) 6 Stand Up (?) 7 Stay Up (?) 8 Nothin Gotta Stop (?) 9 Get Up (?) 10 U That Type (?) 11 Ima Star (?) 12 He Got Everything (?) 13 Lets Fly Away (?) 14 It Goes Like This (?) 15 A Good Woman (?) 16 The Pain (?) 17 This Ma Shit (?) 18 Pro Nails (?) 19 Always Been the Same (?) 20 Interlude (?) 21 You Know (?) 22 I Want You (?) 23 One Day (?) 24 Make History (?) 25 Change the Game (?) |
 | Album: 9 of 22 Title: 808s & Heartbreak Released: 2008-11-21 Tracks: 12 Duration: 52:06 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Say You Will (06:18) 2 Welcome to Heartbreak (04:23) 3 Heartless (03:31) 4 Amazing (03:58) 5 Love Lockdown (04:31) 6 Paranoid (04:38) 7 RoboCop (04:34) 8 Street Lights (03:10) 9 Bad News (03:59) 10 See You in My Nightmares (04:18) 11 Coldest Winter (02:44) 12 Pinocchio Story (freestyle live from Singapore) (06:02) |
| 808s & Heartbreak : Allmusic album Review : Remember when Kanye West threatened to make an album where he would bear his heartbroken soul, align with T-Pain, sing on every song with the then inescapable Auto-Tune effect and, less problematically, lean on the common element -- the Roland TR-808 drum machine -- of classics like "Make It Last Forever," "Posse on Broadway," "808," and "Bossy"? It would have been a wreck, a case of an artist working through paralyzing heartache while loose in a toy store. Except West wasnt joking. Not only did he go through with it, but Roc-A-Fella released the result in time for the 2008 Christmas shopping season. It was indeed a wreck, if a kind of fascinating one, which helped make the material -- voiced by someone who could not really sing, whose substantial shortcomings were not made less obvious by a polarizing studio device -- seem a little less difficult on the ears. In various spots across 808s & Heartbreak, the constant flutter of Wests processed voice, along with a seldom interrupted sluggish march of aching sounds, is enlivened by the disarming manner in which despair and dejection are conveyed. When, in "Welcome to Heartbreak," he dispassionately recounts sitting alone on a flight, ahead of a laughing family, he makes first class sound like Siberia; hed swap lives with the father in an instant. The majority of the lyrics, however, are directed at an ex who evidently did some damage; in "RoboCop" alone, she gets compared to the antagonist in Misery and is called a "spoiled little L.A. girl." Earlier in the album, the number she did on him is called "the coldest story ever told," yet he admits he still fantasizes about her. All the blocky drums, dragging strings, droning synths, and joyless pianos lead to a bleak set of productions -- even the synthetic calliope in "Heartless" is unnerved, and the relative pep of "Paranoid" provides no respite, its bitter lyrics subverting a boisterous beat. Several tracks have almost as much in common with irrefutably bleak post-punk albums, such as New Orders Movement and the Cures Pornography, as contemporary rap and R&B. ("Coldest Winter," where West longs for his departed mother, samples the most desolate song from the first Tears for Fears album.) For anyone sifting through a broken relationship and self-letdown, this could all be therapeutic. Otherwise, no matter its commendable fearlessness, the album is a listless, bleary trudge along Wests permafrost. | ||
 | Album: 10 of 22 Title: G.O.O.D. Morning, G.O.O.D. Night Released: 2009-06-08 Tracks: 15 Duration: 00:00 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Too Knight (The Underworld) (?) 2 Chicago (?) 3 Hit It Again (?) 4 Know God (?) 5 Magic Man (?) 6 YUGO (?) 7 My My (?) 8 Waited (?) 9 The Return (Here She Comes Again) (?) 10 Da Slumz (?) 11 Mean To Say (?) 12 Addicted (?) 13 Warpath (?) 14 So Pop U Layer (?) 15 Stop (?) |
 | Album: 11 of 22 Title: VH1 Storytellers Released: 2010-01-05 Tracks: 9 Duration: 1:04:34 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Intro / See You in My Nightmares (03:13) 2 RoboCop (06:17) 3 Flashing Lights (06:41) 4 Amazing (08:24) 5 Touch the Sky (09:53) 6 Say You Will (07:42) 7 Good Life Intro / Good Life (06:30) 8 Heartless / Pinocchio Story (11:01) 9 Stronger Intro / Stronger (04:53) |
 | Album: 12 of 22 Title: G.O.O.D. Ass Mixtape Released: 2010-08-16 Tracks: 30 Duration: 1:33:00 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Bullshittin (intro) (02:33) 2 Its G.O.O.D. Music (03:59) 3 Popular Demand (remix) (02:27) 4 Im G.O.O.D. (03:26) 5 G.O.O.D. Man (01:22) 6 Whatever You Want (02:55) 7 So G.O.O.D. (01:21) 8 Everything About You (snippet) (01:55) 9 Dream (snippet) (00:53) 10 G.O.O.D. Bye Love (01:05) 11 Got Me Gone (04:17) 12 Never Get Enough (skit) (00:37) 13 Erase Me (03:13) 14 Watch You Move (live) (04:08) 15 Love Never Dies (03:31) 16 You Never Know (03:57) 17 All the Kings Horses (skit) (02:07) 18 Live Fast Die Young (remix) (06:14) 19 Life of a Don (Perajok mix) (02:57) 20 See Me Now (skit) (01:19) 21 See Me Now (06:03) 22 Wildn Cuz Im Young (04:14) 23 In It for Keeps (01:42) 24 Chicago (02:57) 25 South$ide Blood Cuzn (05:28) 26 Fireside Chat (04:07) 27 Wake Up Everybody (04:16) 28 Mr. Rager (04:54) 29 Outro (00:09) 30 Power (live) (04:54) |
 | Album: 13 of 22 Title: My Beautiful Dark Twisted Fantasy Released: 2010-11-22 Tracks: 13 Duration: 1:08:36 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Dark Fantasy (04:40) 2 Gorgeous (05:57) 3 Power (04:52) 4 All of the Lights (interlude) (01:02) 5 All of the Lights (04:59) 6 Monster (06:18) 7 So Appalled (06:38) 8 Devil in a New Dress (05:52) 9 Runaway (09:08) 10 Hell of a Life (05:27) 11 Blame Game (07:49) 12 Lost in the World (04:16) 13 Who Will Survive in America (01:38) |
| My Beautiful Dark Twisted Fantasy : Allmusic album Review : As fatiguing as it is invigorating, as cold-blooded as it is heart-rending, as haphazardly splattered as it is meticulously sculpted, My Beautiful Dark Twisted Fantasy is an extraordinarily complex 70-minute set of songs. Listening to it, much like saying or typing its title, is a laborious process. In some ways, it’s the culmination of Kanye Wests first four albums, but it does not merely draw characteristics from each one of them. The 13 tracks, eight of which are between five and nine minutes in length, sometimes fuse them together simultaneously. Consequently, the sonic and emotional layers are often difficult to pry apart and enumerate. Nothing exemplifies its contrasting elements and maniacal extravagance as much as “All of the Lights.” Rattling, raw, synthetic toms are embellished with brass, woodwinds, and strings. It’s a celebration of fame (“Fast cars, shooting stars”) and a lament of its consequences (“Restraining order/Can’t see my daughter”). Its making involved 42 people, including not one but two French horn players and over a dozen high-profile vocalists, only some of which are perceptible. At once, the song features one of the year’s most rugged beats while supplying enough opulent detail to make Late Registration collaborator Jon Brions head spin. “Blame Game” chills more than anything off 808s & Heartbreak. Sullen solo-piano Aphex Twin plays beneath morose cello; with a chorus from John Legend, a dejected, embittered West -- whose voice toggles between naturally clear-sounding and ominously pitched-down as it pans back and forth -- tempers wistfully-written, maliciously-delivered lines like “Been a long time since I spoke to you in a bathroom, ripping you up, fuckin’ and chokin’ you” with untreated and distinctively pained confessions like “I can’t love you this much.” The contrast in “Devil in a New Dress,” featuring Rick Ross, is of a different sort; a throwback soul production provided by the Smokey Robinson-sampling Bink, it’s as gorgeous as any of West’s own early work, yet it’s marred by an aimless instrumental stretch, roughly 90 seconds in length, that involves some incongruent electric guitar flame-out. Even less explicable is the last third of the nine-minute “Runaway,” when West blows into a device and comes out sounding something like a muffled, bristly version of Robert Fripps guitar. The only thing that remains unchanged is West’s lyrical accuracy; for every rhyme that stuns, there’s one deserving of mockery from any given contestant off the The White Rapper Show. As the ego and ambition swells, so does the appeal, the repulsiveness, and -- most importantly -- the ingenuity. Whether loved or loathed, fully enjoyed or merely admired, this album should be regarded as a deeply fascinating accomplishment. | ||
 | Album: 14 of 22 Title: Eyes Closed Released: 2011 Tracks: 13 Duration: 1:00:57 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Intro (00:17) 2 Never See Me Again (08:26) 3 All Good Just a Week Ago (04:37) 4 My Girl (04:02) 5 Heavy (06:06) 6 Christmas (09:08) 7 Mama’s Boyfriend (live) (03:47) 8 Eyes Closed (03:50) 9 My Type (03:25) 10 Stalker Song (03:58) 11 Good Ass Job (03:41) 12 Living in a Movie (03:38) 13 Pinocchio Story Part 2 (live) (05:55) |
 | Album: 15 of 22 Title: Watch the Throne Released: 2011-08-08 Tracks: 12 Duration: 46:12 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 No Church in the Wild (04:32) 2 Lift Off (04:26) 3 Niggas in Paris (03:39) 4 Otis (02:58) 5 Gotta Have It (02:20) 6 New Day (04:32) 7 That’s My Bitch (03:22) 8 Welcome to the Jungle (02:54) 9 Who Gon Stop Me (04:16) 10 Murder to Excellence (05:00) 11 Made in America (04:52) 12 Why I Love You (03:21) |
| Watch the Throne : Allmusic album Review : An audacious spectacle of vacuous pomposity as well as one of tremendous lyrical depth, Watch the Throne is a densely packed amalgamation of what Jay-Z has termed “ignorant shit” and “thought-provoking shit,” with creative productions that are both top of the line and supremely baffling. Its best moments are among the most vital rap music released in 2011. Its worst moments sound like resuscitated discards from Kanye Wests My Beautiful Dark Twisted Fantasy. The lowest point is “Lift Off,” a bombastic mess; West’s stillborn, sung vocal clashes against a triumphant hook from Beyoncé, while the behind-the-scenes cast, including West, Jeff Bhasker, Mike Dean, Q-Tip, Pharrell, Don Jazzy, and the duo LMFAO, overcook a regal and rugged, yet ultimately muddled, production -- one that also features the voices of Seal and Mr. Hudson. All of the highlight tracks come with caveats. On “New Day,” West and Jay-Z address their unborn sons in equally somber and pointed ways, yet there’s a distracting vocal flutter throughout -- to be specific, Nina Simones version of “Feeling Good” chucked through Auto-Tune. (So much for "D.O.A.") The anthemic “That’s My Bitch” rides on rampaging drums, using two of the most common breaks to fresh effect, and effectively incorporates the wildly dissimilar voices of La Rouxs Elly Jackson and Bon Iver/Justin Vernon (the latter of which is made to sound like that of the Gap Bands Charlie Wilson), but the b-word from the mouth of a 41 year-old is as awkward as a throwback on someone of the same age. Kanye’s autobiographical, rise-to-fame verses in the solemn “Made in America” are among his most riveting to date, yet the effect is nearly squashed when he stoops to reference a cartoon that mocked him in 2009. The album contains piles of quotables and some of the fieriest pro-black content in decades. The latter, particularly concentrated during the album’s back half -- where the word “black” is used almost as often as it is in Euripides Smalls’ “I’m Black, Y’all” -- should not be lost amid the album’s ruthless flaunting of material wealth and carte blanche industry resources. | ||
 | Album: 16 of 22 Title: Cruel Summer Released: 2012-01-01 Tracks: 12 Duration: 54:35 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia Allmusic AlbumCover | 1 To the World (03:51) 2 Clique (04:53) 3 Mercy.1 (05:26) 4 New God Flow.1 (05:57) 5 The Morning (04:35) 6 Cold.1 (03:36) 7 Higher (04:34) 8 Sin City (04:28) 9 The One (05:44) 10 Creepers (03:14) 11 Bliss (03:30) 12 Don’t Like.1 (04:43) |
| Cruel Summer : Allmusic album Review : Kicking off with R. Kelly doing vocal gymnastics over the most polished and professional of Pop Wansel beats, Cruel Summer is a mistitled fireworks show from Kanye West and his G.O.O.D. Music label/roster/empire, one that comes off as mixtape-minded follow-up to his flossy Jay-Z team-up Watch the Throne. Big difference here is that the arrogance canon isnt aimed at anything particular, as West and company put their middle finger up "To the World," because those shoes are just so damn stylish you dont need a reason to tolerate anyone, anywhere, anytime. When Kanye mentions strolling into the Def Jam office and asking for another fifty million because he woke up on the wrong side of the bed, it isnt a connectable moment in the least, and as "Mercy.1" steals the listeners girlfriend for a hand job in the Lamborghini, its hard not classify this as baller party for the "We Are the 1%" set, but anyone who can look past the vapid and still dream wetly about Kardashians or Giuseppe Zanotti shoes can latch onto this hypebeast and ride. "Mercy.1"s ridiculously good hook, plus its thrill-ride construction from producer Lifted, is reason enough to forgive all the bling and its glare, and as new folks like Big Sean, 2 Chainz, and Chief Keef mix with vets like Ghostface Killah, Common, Raekwon, and returning champ Jay-Z, the album has something for every thug all while West supplies the wicked laughs ("Mitt Romney dont pay no taxes," "MDMA party starts melting like Dali," and so on). Detractors have all the ammo they need as Chief Keefs homegrown hit "Dont Like.1" closes the album like a tacked-on bonus track, getting picked up off the streets and taught how to talk like a boss by West, Jadakiss, and friends. Still, its a killer single both before and after the G.O.O.D. Music treatment, and one that caps off an album thats like the best bottle service you ever had. Anyone who thought Watch the Throne just wasnt Rick Ross-y enough will agree. | ||
 | Album: 17 of 22 Title: Yeezus Released: 2013-06-18 Tracks: 10 Duration: 40:05 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 On Sight (02:36) 2 Black Skinhead (03:08) 3 I Am a God (03:51) 4 New Slaves (04:16) 5 Hold My Liquor (05:26) 6 I’m in It (03:54) 7 Blood on the Leaves (06:00) 8 Guilt Trip (04:03) 9 Send It Up (02:58) 10 Bound 2 (03:49) |
| Yeezus : Allmusic album Review : Everyone professionally involved with the creation of Kanye Wests sixth solo effort was sworn to secrecy, and with no preorders allowed, plus the news that producer Rick Rubin was still tinkering with tracks seven days prior to the drop, this instant, no-singles, anti-hype album got pre-release hyped on an Olympic scale. Think of the roll-up as a revolutionary blow against the empire or the supernova ego of West in full effect, and while its probably a little of both, Yeezus the album is a lot of both, with good taste and bad taste both turned up to 11. This aggro-industrial earthquake with booming bass and minimal synths balances groundbreaking hip-hop lyrics ("New Slaves" is a bizarre, layered concept clash where high fashion, slavery, and "Id rather be a dick than a swallower" all collide) with punkish, irresponsible blast-femy (during the draggy, trap track "Im in It," Wests melodious and melancholy voice shouts its dreams to the multitude, pleading "Your titties, let em out, free at last/Thank God almighty, they free at last" as if civil rights and booty calls were equally noble quests), and it all works in an astonishing, compelling manner. Its as if West spent the last year listening exclusively to Death Grips and Chief Keef and all the political, social, and musical contradictions became his muse, inspiring moments like the Keef and Bon Iver meet-up that fuels the mile-high hangover number "Hold My Liquor." "Blood on the Leaves" is recklessly bold as it uses Nina Simones performance of "Strange Fruit" under its snide tale of ex-girlfriends, groupies, and date rape drugs; then theres the obviously volatile "I Am a God" ("Hurry up with my damn massage!/Hurry up with my damn ménage!"), which still outdoes its provocative title with a swelled-head manifesto plus an unexpected, Magic-Mike-meets-Aphex-Twin boom production courtesy of Daft Punk. The closing beauty called "Bound 2" finds veteran singer Charlie Wilson reuniting with that Gap Band bassline but in chilly, new wave surroundings, but the most spellbinding juxtaposition on the album comes on first as claustrophobic electro-clasher "On Sight" offers "Black dick all up in your spouse again/And I know she like chocolate men/Got mo n*ggas off than Cochran" -- stunning because Kanye is family now with the OJ Simpson trials "Dream Team," seeing as how hes dating Kim of the Kardashian family and the couple welcomed a child three days before the albums release. Coming from the man who jumped on-stage and grabbed Taylor Swifts VMA award, or called the American President a racist during a nationally televised charity event, this angry, cathartic, and concise album (punkishly running 40 minutes), and its unconventional road to release seems like a personal quest for the next provocative, headline-making, and unforgettable fix. Thats an unfathomable thing for most and irritating for many, but its Kanyes unbelievable reality, so complaining about Yeezus being unrelatable is like complaining the sky is untouchable. At least he has decided to indulge his giant hunger with the help of art, and if anything, this is the moment he becomes a swashbuckling Salvador Dali figure, chopping down all thats conventional with highly imaginative work and crass, attention-grabbing attitude. Unlike Dalis separate delivery of the two, Yeezus is an extravagant stunt with the high-art packed in, offering an eccentric, audacious, and gripping experience thats vital and truly unlike anything else. | ||
 | Album: 18 of 22 Title: Blackout Released: 2015-10-02 Tracks: 14 Duration: 54:20 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Blessings (remix) (05:03) 2 FourFiveSeconds (03:11) 3 Tell Me Im the Only One (Carlos Serrano mix) (04:20) 4 Only One (04:49) 5 Who the Fck Is Paul McCartney (03:32) 6 Black Bruce Wayne (00:33) 7 London Can’t Stop (04:58) 8 I Won (Louis Futon remix) (04:20) 9 Drunk in Love (remix) (06:47) 10 Bang (00:21) 11 Sanctified (04:41) 12 Candy (04:18) 13 New Slaves (remix) (03:44) 14 Goat (remix) (03:36) |
 | Album: 19 of 22 Title: The Menu Released: 2016 Tracks: 12 Duration: 50:21 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Basic (04:48) 2 More 2 Life (06:59) 3 Chasers (02:41) 4 Area Codes (03:07) 5 Cell Phone (04:56) 6 Caviar (03:41) 7 Hunger (03:54) 8 Emotions (03:40) 9 Raise Your Glass (06:22) 10 Top Of The Game (05:18) 11 My Offspring (03:26) 12 Nori (01:29) |
 | Album: 20 of 22 Title: The Life of Pablo Released: 2016-02-14 Tracks: 20 Duration: 1:06:01 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Ultralight Beam (05:21) 2 Father Stretch My Hands Pt. 1 (02:16) 3 Pt. 2 (02:10) 4 Famous (03:16) 5 Feedback (02:27) 6 Low Lights (02:12) 7 Highlights (03:20) 8 Freestyle 4 (02:03) 9 I Love Kanye (00:45) 10 Waves (03:02) 11 FML (03:56) 12 Real Friends (04:12) 13 Wolves (05:02) 14 Frank’s Track (00:38) 15 Siiiiiiiiilver Surffffeeeeer Intermission (00:57) 16 30 Hours (05:23) 17 No More Parties in LA (06:14) 18 Facts (Charlie Heat version) (03:21) 19 Fade (03:14) 20 Saint Pablo (06:12) |
 | Album: 21 of 22 Title: The Life of Paul (TLOP Extended/Remixed by Dorian Ye) Released: 2016-11-17 Tracks: 23 Duration: 1:44:00 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Ultralight Beam (07:35) 2 Father Stretch My Hands, Pt. 1 (04:19) 3 Pt. 2 (03:12) 4 Pt. 3 (01:53) 5 Famous (04:53) 6 All Day (06:05) 7 Feedback (02:39) 8 Low Lights (02:06) 9 Highlights (05:14) 10 Freestyle 4 (02:32) 11 I Love Kanye (01:39) 12 Waves (03:59) 13 FML (06:05) 14 Real Friends (05:08) 15 Wolves (06:04) 16 Franks Track (00:38) 17 Only One (04:42) 18 Siiiiiiiiilver Surffffeeeeer Intermission (01:46) 19 30 Hours (05:35) 20 No More Parties in LA (08:33) 21 Facts (Dorian Ye Version) (03:59) 22 Fade (07:46) 23 Saint Pablo (07:38) |
 | Album: 22 of 22 Title: ye Released: 2018-06-01 Tracks: 7 Duration: 23:45 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 I Thought About Killing You (04:33) 2 Yikes (03:11) 3 All Mine (02:27) 4 Wouldn’t Leave (03:26) 5 No Mistakes (02:04) 6 Ghost Town (04:30) 7 Violent Crimes (03:34) |
| ye : Allmusic album Review : When Kanye West declares "Its been a shaky ass year" on 2018s Ye, its an understatement. During a tumultuous period following 2016s The Life of Pablo, he garnered as much attention for headline controversy as for his music: he was hospitalized for stress and exhaustion following the cancellation of his Saint Pablo tour, later revealing a struggle with opioid addiction, and a disastrous pre-album promotion cycle was packed with provocative political proclamations. Wests world seemed to be spiraling out of control. As the lines between public life and studio recordings blurred, the two became increasingly inextricable, culminating with his complicated eighth effort, Ye. While Pablo delved into the darker corners of fame and family, Ye is messier and more uncomfortable, especially when heard in the context of his high-profile outbursts preceding its release. West places mental health at the center, complicating his usual bravado. On the opening "I Thought About Killing You," West delivers a stream-of-consciousness confessional about morality, murder, and suicide from an imaginary therapists office sofa. Designed to shock, it feels like an interlude, not a full-fledged song. Ye improves from there, as West switches gears on "Yikes," dropping the albums first delectable beat and matching it with an equally addictive flow. It recalls Wests early spirit, an enticement for audiences to keep listening. When he boasts, "Thats my bipolar shit/Thats my superpower," he embraces his issues and defies challengers with self-affirmation. For all the awkward times when West forces listeners to confront his internal struggles, Ye has moments of clarity. "Ghost Town" shines, serving as an appetizer to the superior Kid Cudi collaboration Kids See Ghosts that arrived the week after Ye. Along with Cudi and breakthrough newcomer 070 Shake, West offers a glimmer of hope, facing failure and reigniting optimism and personal acceptance by proclaiming, "And nothing hurts anymore/I feel kinda free." "Wouldnt Leave" is a touching ode to his wifes loyalty, while "No Mistakes" maintains tenderness, recalling early-2000s Kanye with its uplifting, old-school production. The reflective "Violent Crimes," directed toward his daughters, is an effort to atone for his past misogyny, but closes Ye with a whimper, confusing its message with a voicemail cameo from Nicki Minaj. Ye can feel uneven, sometimes boring, and more indulgent than usual, but its a fascinating peek into Wests psyche. Like Pablo, Ye may be firmly tied to its surrounding public drama, yet its a rough-hewn, vital piece to the puzzle for those still willing to humor West and his many demons. Pushing the mental health discussion into such a public space, he challenges listeners limits while leaving himself vulnerable for judgment. Taken as a snapshot of his state of mind at the time -- and in relation to the adjacent GOOD Music releases recorded simultaneously during the Wyoming sessions -- Ye offers a bittersweet reflection of its creator, who is confused, searching, and at a crossroads. | ||