Chasing the American Dream, Up on the Big Screen

Whether you're a hater or an appreciator, America can't stop talking about Kanye these days. The man attracts more controversy than Zac Efron does 12-yr old girls (and sexuality disputes). With his latest album release standing as no exception. Out this Sunday, November 23, 808's & Heartbreaks seems to have broken the glass ceiling on critique. Love it? Hate it? Can't make up your mind about it? Maybe my track by track breakdown will help.

1. Say You Will

If robots could sing love songs, ballads more like it. In the over 6-minute record introduction, Kanye uses the most minimal of lyrics (maybe 20 different words) on the CD's most expansive track. "When I grab your neck / I touch your soul / Take off your cool / Then lose control / Hey, hey, hey / Don't say you will / You will, you will / Hey, hey, hey / Don't say you will / If you will / I pray you will..." The second, instrumental half of the track is actually preferable; akin to sitting in on some new-wave electronica choir practice.

Bottom Line: C

2. Welcome to Heartbreak (Featuring Kid Cudi)

Despite the ominous opening, this is the closest thing to actual melody I could find in eleven attempts at West singing. Maybe I should attribute the success (?) to the soundtrack-like chord repetition, or the fact that West allows an actual singer with vocal range into the mix. With all that the rapper has been through this year, I don't know why he chose to attribute "Welcome to Heartbreak" to a series of visions about the hardship of having too much wealth. It's a little less relatable than heartbreak should be. Whereas losing someone close to you, or the pain of a failed relationship - both of which Kanye has experienced very publicly - would have made more compelling subject matter than telling us how painful it is to leave your Godsister's wedding before they cut the cake. He probably had to catch a plane to Tokyo. Rough, right?

Bottom Line: C +

3. Heartless

If you haven't heard this one than you're probably not living in a cave, just ignoring everything after "Love Lockdown." It's been difficult for most of us fans to move past the Good Life into this unknown creative territory. Certainly not Top 40, "Heartless" still delivers in many ways. That crazy inescapable hook grabbed me from one second in. "In the night / I hear 'em talk / Coldest story ever told / Somewhere far along this road / He lost his soul / To a woman so heartless..." I guess this is the Heartbreak portion of the album, although a fair share of the 808 seems to be utilized. Crazy keyboard synth creates the effect of flute pipes, in partnership with thudding bass, it's enough visual for this listener to feel implemented into some tribal circle singing cautionary tales about the danger of the female species. Yeah, I loves it.

Bottom Line: B +

4. Amazing (Featuring Young Jeezy)

My favorite track off the album. The lyrics are simple, and nothing less than what you'd expect from K West. Despite some self-posturing, this is Kanye's response to 808 critique; as if he anticipated the outcry against the use of the auto tune and penned this in preemptive retaliation. "It's amazing / I'm the reason / Everybody fired up this evening / I'm exhausted / Barely breathing / Holding on to what I believe in / No matter what, you'll never take that from me / Me reign is as far as the eye can see." Though the song could do without the obnoxious cameo by Young Jeezy, I love the anthem-like quality of this track. I feel like war painting my face, throwing a paparazzi against the wall for looking at me funny, and getting gratuitously arrested. The last part being what Kanye does best.

Bottom Line: A -

5. Love Lockdown

I don't watch the VMAs unless there's promise of a crazy episode and/or Ms. Spears. And since last year had both (I was hoping Kanye would verbally assault Brit Brit for stealing his thunder yet again) I tuned into see the premiere of "Love Lockdown" in the finale. I have to admit I was impressed by the performance, thinking to myself what a risk this was for Kanye artistically. I also believed naively that it would be one genre-breaking track nestled in the middle of several familiar College-Dropoutish hits. How silly of me... Still, based on his live performance, a visually compelling music video, and the T-minus 321 remix (and 501 others) this song pushed T-Pain out of the way for the special auto tune section of my heart.

Bottom Line: B

6. Paranoid (Featuring Mr. Hudson)

Upon first listen, I thought I might have taken a Forget-Me-Now and ended up in some 1980s dancehall. Leaked onto the internet as "Anyway," this is one of the most danceable tracks on the record, which isn't saying much. With a schizophrenic beat, unapologetic synthesizers, and haphazard harmonizing I would need to be on something to really get down to this one. Still, "Paranoid" manages some sort of let's just dance appeal.

Bottom Line: C

7. RoboCop

As a woman, I felt some obligation to hate this out of the gate based solely on lyrical content. After a couple of listens though, the thumping bass and ridiculous sentiment grew on me. I won't pretend to fully understand wtf he's saying; like what exactly is a robocop? How does one move it like a robocop? Is it just some crazy obnoxious girlfriend who asks too many questions, is all up in your business, and thinks robotic 2-stepping is dancing? I'd invent my own crazy concise term for that mouthful too. Despite heavy use of the auto tune, and one methodical beat (a formulaic approach to the entire album), this one is slowly growing on me. As long as I turn the speakers way up and put my female conscience on mute.

Bottom Line: B -

8. Street Lights

I would find this track more redeeming, if once again, it was instrumental. Kanye's monotonous recitation is more than enough to make me want to rip my hair out. I know this song is supposed to be some great metaphor for knowing your destination in life and blah blah blah but I just can't tolerate enough of the boring delivery to stay awake for the message.

Bottom Line: C 

9. Bad News

A definite bright spot after it's predecessor. And here's why: A talented someone could make the most badass dance remix of this track. Although relatively quiet, and subtly masochistic, this song has one of the most promising beats. Maybe it's my inner DJ calling, but a girl can still dream of finding good news in an RAC or A-Trak reworking.

Bottom Line: C +

10. See You in My Nightmares (Featuring Lil Wayne)

I know everyone kisses the ground he walks on, but Lil Weeze doesn't add anything to this already anemic track. Leaked as "Tell Everybody (That You Know)," boring synth, no percussion, and overly-repetitive (and ridiculous) lyrics make this a complete fail. "Tell everybody that you / that I don't love you no more / and that's one thing that you know..." Childish and unoriginal. Auto tune or not, this is not the insight I expect from West.

Bottom Line: D

11. Coldest Winter

This is West's most admiral attempt at a ballad, perhaps saved for the finale on purpose. "On lonely nights I start to fade / Her love's a thousand miles away / Memories made in the coldest winter / Goodbye my friend / Will I ever love again?" Instead of alienating his female audience, West embraces the sorrow of a lost love (his mother), putting himself in a much more vulnerable position than the angry, female-hating stance heard on earlier tracks. Though still lacking that special ingredient to make the song completely memorable, the listener is left with a resolute, even serene acceptance as the album comes to a close.

Bottom Line: B

12. Bonus Track: Pinocchio Story (Live from Singapore)

Since this is a live track, I'm itching for the accompanying video. Never having personally caught a Kanye show (budget-breaking), I have heard that he doesn't disappoint. From the rhymes alone, I'm intrigued. The album as a whole lacks substance on this front, so it's nice to hear West freestyle from the heart. Delving into the philosophical realm with questions about the ever-fading line between reality and celebrity, West talks about his Pinocchio-like desire for flesh and blood. "Do you think I sacrifice real life / For all the fame? / And flashing lights? / There is no Gucci I can buy / There is no Louis Vuitton to put on / There is no [ ] that they could sell / To get my heart out of this hell / And my mind out of this jail / There is no clothes that I could buy / That could turn back in time / There is no vacation spot I could fly / That could bring back a piece of real life / What does it feel like ... / To live a real life ?" Now why did it take a bonus track to get my Kanye back?

Bottom Line: A -

LTK Says:
As much as I want to give Kanye's artistic risk a double thumbs up, the content supporting the adventure was an utter disappointment, save for a few standout tracks. Although we at GDM support creative endeavors, we believe just doing something different for difference sake is not enough. Change should be made in the name of evolution, forward momentum, or growth. Someone as big as West has reached a career pinnacle where artistic freedom knows no bounds. He has free reign to do whatever he wants, but it doesn't mean that he should. Although I commend his effort, the prowess of West's earlier work has set such high expectations, I'm left wanting more.
Bottom Bottom Line: B / B -

Peace, Love, and Moving like a RoboCop,
LTK