![]() ![]() ![]() “Devil In A New Dress” and “Blame Game” are potent reminders of how how funny and insightful he can be at his best. It has a lot to do with Kanye’s big leap as an emcee. It’s an album that’s impossible to listen to as background music. No I.D.’s revving synths on “Gorgeous” give way to elegiac keys and searing guitar, setting the stage for a distorted Raekwon verse about name-brands and crime. RZA’s filthy, running piano line straight out of Return to the 36 Chambers plays off a heavenly, autotuned Greek chorus. They built them for Ye, but he bended them to his imagination. People Kanye considered mentors co-produced this record: rap architects from the East (RZA, Bink!) Midwest (No I.D.) and the South (Mike Dean). ![]() Dre’s 2001, hip-hop as a widescreen THX blockbuster. The album is simultaneously layered and shallow. Just listen to the way “Runaway” rips the chord progression from “Torn” and pairs it with a Pete Rock beat. Orchestration entered on Late Registration. A lot of the ideas on this new album appeared to some degree in his earlier work: the layered synths on Graduation, his beats for Jay, Drake, and Rawse, the auto-tuned harmonies on “Jesus Walks,” and “Spaceship’s” pre- 808s foreshadowing. Aaron Matthews is in that Tonka, the color of Willy Wonka. ![]()
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