West eventually dips into lyrics that sometimes only seem to exist to provoke (“I still think I’ll have sex with Taylor Swift, I made that bitch famous”), and avails himself of the opportunity to tease “no p-y getting bloggers” and ding Ray J (“He hit it first / the only problem is / I’m rich”). Swizz Beatz and Metro Boomin delivered impeccable tracks that fans of both producers will immediately recognize. Ty Dolla $ign does fantastic work on the already released “Real Friends.” The Weeknd and Young Thug jump in without shedding any of their originality. Ocean’s album-ending appearance on a new version of “Wolves” is the most listeners have heard of him in more than a year.
Music-turns in an in-the-pocket performance that sounds more than a bit like Future. “Father Stretch My Hands,” a two-part song, features Kid Cudi and Desiinger, and the latter-who West announced he had recently signed to G.O.O.D.
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It also helps that he knows how to turn a sample from Rare Earth’s 1970 cover of The Temptation’s “(I Know) I’m Losing You” into a funky, Chicago house vibe, as he does on “Fade.” This is West’s eighth studio album, and there has still not been a Kanye West album with disappointing production.Įvery featured guest on the album rises to the occasion. It’s what made Watch the Throne, My Beautiful Dark Twisted Fantasy, and Yeezus compelling, and it’s what keeps West-who is now, in his own words, “a 38-year-old eight year old”-on the edge.
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West, a rapper who produced for the likes of Jay Z and Cam’ron before taking to the booth himself, has long known how to conduct an orchestra. Of all the strange things Kanye West has tweeted around the occasion of his new album The Life of Pablo, the strangest might be this: Pablo is full of joy and love because I was able to. Except this was Madison Square Garden, and there were thousands of people listening. It reminded me of when I heard Frank Ocean-who appears on The Life of Pablo and was spotted at the Garden-play channel ORANGE for a dozen music journalists. West walked into the arena on Thursday and plugged in his laptop as though he was playing some music for friends in the studio. The volume serves at least two purposes: it makes hip-hop production sound powerful, and it makes it impossible for attendees to make their own bootleg recordings. For Yeezus, his last album, West’s listening party, held in the loading dock of Milk Studios, was so loud that attending bloggers mistook Nina Simone’s version of the sampled song “Strange Fruit” for Billie Holiday’s original rendition.
And though the stakes for West-who had promised not only the “album of the year,” but the “album of the life”-were high, the landmark arena was mostly just vibrating with the bass of the almost unbearably loud album playback. New York City’s Madison Square Garden shook under the stress of having to host Kanye West’s Yeezy Season 3 fashion presentation-cum- The Life of Pablo listening party on Thursday.
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