However, it’s generally a good listen from front to back and songs like “ Heartless“, “ Amazing“, and “Say You Will” are some of the best songs he’s ever made.įor years, I held this album up as Kanye’s finest. As a collection of songs, it falls a bit short of his previous efforts.
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While I actually avoided this album for years due to my disinterest in hearing an album full of Kanye singing with AutoTune, it’s actually not bad, and kind of laid the groundwork for what modern rap is today. The sudden and unexpected death of his mother took 808s & Heartbreak in a different direction from his previous works. Besides the two mentioned in the previous paragraph, also check out “No More Parties in L.A.” and “Fade”. While it failed to generate any sort of mainstream hits, there are a number of good tracks worth a listen. Like, why is “Part 2” just a remix of “Panda” by Desiigner? It also has some of of Kanye’s worst lyrics. For each quality song, such as “Famous” or “Ultralight Beam”, it features an equal number of duds or odd inclusions. However, this album as a whole is overly scattershot and uneven of a listen. Reeling in the madness that made Yeezus such a mess, The Life of Pablo does leave a somewhat better impression. “ Bound 2” gives us what might be one last glimpse of classic Kanye, and “ Black Skinhead” is alright, but I will continue to blissfully ignore this portion of his career. Some of the worst offenders on this album include the overbearing “I Am A God”, the mishmash that is “I’m In It”, and the elementary synth line behind “Send It Up”. It’s almost like he’s parading throughout the album about his brilliance while repeatedly banging on a trash can and blindly playing a keyboard with his feet. Abandoning his soul samples for an abrasive electro sound for most of the album, I find it really hard to listen to.
Kanye’s most avant garde album is also his worst and most overrated. Let’s look at all of his solo albums and rank them from worst to best.
That said, he’s blessed the world with a lot of great music. At this point though, his ego and exploits outside of his craft outweigh his musical efforts. Sampling and ventriloquizing the pop music past to tell the story of its future – very much a tale of our culture's wish for unfettered digital ubiquity – MBDTF is the album of its era, an aesthetic self-acquittal and spiritual autobiography of our era's most dynamic artist.From “Through the Wire” to “Famous”, Kanye West has been at the forefront of hip-hop and pop culture. Swallowing the chaos wrought by his public persona and digesting it as a grandiose allegory of self-redemption, Kanye sublimates his narcissism to paint masterstroke after masterstroke on MBDTF, a 69-minute hymn to egotistical excess.
In a cloud-based and on-demand culture – a place of increasing virtualization, loneliness, and hyper-connectivity – West straddles this critical moment as what David Samuels of The Atlantic calls "the first true genius of the iPhone era, the Mozart of contemporary American music." In the land of taking a selfie, honing a personal brand, and publicly melting down online, Kanye West is the undisputed king. Having risen from obscurity as a precocious producer through the ranks of Jay Z's Roc-A-Fella records, by the time he released My Beautiful Dark Twisted Fantasy (MBDTF) in late 2010, West had evolved into a master collagist, an alchemist capable of transfiguring semi-obscure soul samples and indelible beats into a brash and vulnerable new art form.Ī look at the arc of his career, from the heady chipmunk soul exuberance of The College Dropout (2004) to the operatic narcissism of MBDTF, tells us about the march of pop music into the digital age and, by extension, the contradictions that define our cultural epoch. In the first decade of the twenty-first century, Kanye West created the most compelling body of pop music by an American artist during the period.
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