I am not given to writing music reviews, especially of pop music. There are two reasons for this. First is that I’m generally about three to five months behind in terms of “new” music. Second is that I don’t know that I want all my cool hipster friends knowing that I listen to pop music now and then. Sometimes even listen to it non-ironically! (gasp)
In semi-related news, I found out that Rhapsody allows you to get your playlist via RSS, complete with album art and links to listen to the tracks on the free (web-based) version of the service. Pretty neat! I thought it would be fun to publish that, so one quick and dirty Wordpress plugin later and here it is. I’m sure it will be used against me at some point in the future when T-Pain puts out a new record and I play it continuously for three weeks straight.
Anyway, back to the matter at hand. Currently, the most recent Kanye West record, 808s & Heartbreaks has been in heavy rotation on Radio Jaybill. Now granted, I liked Golddigger as much as the next thirty-something uncool white guy, but this record couldn’t be less like Late Registration. I’ve decided that this record is basically to pop music what Pirates of the Caribbean is to movies. That is that it’s such a stupid idea that it shouldn’t have worked, so one has very low expectations. Then it actually turns out to be good and you’re that much more surprised. Seriously, this should have been a formula for disaster: rapper turned R&B singer makes record with little more than sparse drum machines and Auto-Tune about why he is sad. On the surface, it’s far less plausible than a pirate movie based on a theme park ride.
Somehow, though, it works. I think the most striking thing about it is how utterly sincere it sounds. Granted, Mr. West has had a pretty rough year and has plenty to be upset about. I mean, nothing worse than your average country songwriter must endure in a typical year, but still. That’s probably got something to do with why this record succeeds, actually. If someone had made a country record out of this subject matter, it would have been totally boring. The choice of medium really helps the final product.
I thought it would be difficult to feel bad for someone who makes more money in twenty minutes than I’ll make this year, and yet, I kind of did. His apparent honesty is utterly disarming. He makes no apologies for being rich, famous and powerful. If he had, it probably would have cheapened it somehow. If art is about finding a unique perspective, I put forth West has done nothing if not that. This is a record about someone who seemingly has everything and is suddenly forced to reckon with the utter vacuousness of his existence. This is combined with his realization that he’s worked so hard on his career that he’s left no room for his personal life. It’s a heady mix of inner torment that would make Trent Reznor proud.
Aside from a slew of guest appearances (including Lil Wayne and the ever forgettable Young Jeezy) it lacks most of the trite trappings of typical hip hop record. (including, for the most part, actual hip hop) While overall a pretty great record, it’s not without a few duds. The final track, Pinocchio Story, for example, shows what happens when he turns off Auto-Tune. It’s not pretty.
Overall, though, it’s a very solid record and I highly recommend it.
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