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youngboy-oldmind · 4 years

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ALBUM REVIEW: Late Registration

 “So they asked me…Why you call it Late Registration Ye?/Cause we taking these motherf***ers back to school!”

Hip-hop trail blazer and Chicago legend Mr. Kanye West follows up his status-establishing album The College Dropout with a sophomore project that proves he’s far from a one hit wonder, relishing in his own league of musical production, lyricism, and soul touching artistry.

Overall Thoughts

I mentioned in an earlier post that Late Registration is my favorite album by Kanye, so it shouldn’t be a surprise that I can endlessly rave about it. In 70 minutes, Late Registration(LR) utilizes the perfect number of skits, Grade-A featured verses from Jay-Z, Nas, Lupe, Common, Paul Wall, Cam’Ron, and Consequence, and a stellar instrumentation that combines old-school soul samples and flawless string orchestration. It also doesn’t hurt that film score composer and record producer Jon Brion helped produce some of the best tracks (Gold Digger, Roses, We Major).

Kanye elevated his pen game on this 2005 classic record. Before he made albums, he was already a solid writer and could definitely put together a verse. On LR, he exceeded to a new level, talking about himself, success, survival, while matching the prophetic vibe of “Jesus Walks” on tracks like “Diamonds From Sierra Leone”, “Roses”, and “Crack Music”. On top of these commentary tracks, he produced the tear-jerking track “Hey Mama”, my favorite dedication-to-mother songs in hip hop period.

I should also acknowledge the skits in LR. Through 4 clips, a story unfolds in a fraternity: Broke Phi Broke. In the four skits, they chant their various financial difficulties and struggles with a sense of pride. And in the final skit, we see Kanye get kicked out of the fraternity for being caught having new shoes in his closet. This is not only hilarious, but a clever commentary on his progress/success, and separation from the common plight and status of black men. Also, the topic of the skits excellently transition to the next song. Skit #1 talks about not having gas money, and the next song is “Drive Slow”; Skit #2 just repeats “broke, broke, broke, broke”, and the next two songs are “Diamonds from Sierra Leone” and “We Major”, both thematically about money and success. Skit #3 ends with a joke about not affording Christmas trees and the mother pretending to be one, and the next song is “Hey Mama”. And Skit #4 ends with Kanye being removed from the frat, and the next track is “Gone”. Expert skit placing on his part.

LR is a near perfect album; The “Empire Strikes Back” of hip hop sequels. This project has a song for any mood and definitely makes my top 10 favorite albums.

Album Breakdown

LR can be broken down into five section, each with their own distinct topics and tones, and separated by the four skits. These sections are:

Section 1: The Hits (Wake Up Mr. West) - Heard ‘Em Say, Touch The Sky, Gold Digger Section 2: Introspection (Skit #1) - Drive Slow, My Way Home, Crack Music, Roses, Bring Me Down, Addiction Section 3: Claim to Success (Skit #2) - Diamonds From Sierra Leone (Remix), We Major Section 4: Family Business (Skit #3) - Hey Mama, Celebration Section 5: Late Departure (Skit #4) - Gone, Diamonds From Sierra Leone (Bonus), Late

Section 1- The Hits

This section kicks off the album with bang after bang after bang. West and Adam Levine team up on the opening track “Heard Em Say” to lay down two themes of the album: Everything happens for a reason and nothing in life is guaranteed. He says several times “Nothing’s ever promised tomorrow today” accompanied by Levine’s harmonies that echo simultaneous sadness and hope. West also talks about some of the plagues African Americans, including low wages, AIDS, police harassment, admiration of drug dealers, and the pursuit of money and success. While talking about these inherently depressing topics, there’s a twang of hope and faith; there’s an energy of overcoming those obstacles and maintaining the belief that things will turn out alright.

In a 180 degree flip, the next track “Touch The Sky” completely contrasts the mellow mood of “Heard ‘Em Say”. With exhilarating trumpets sampled from Curtis Mayfield, West and Lupe bring an energy of celebrating success; reminiscing on the where they were before they got to the height they are now. A year before his debut classic Food and Liquor, Lupe spits one of the best verses on the album; matching Kanye’s energy while outshining him with his lyricism.

“Gold Digger”, possibly his most famous song, needs no introduction. This iconic track sampling Ray Charles’ I Got a Woman” is known by deep cut hip hop fans and mainstream fans alike. Jamie Foxx’s vocals on the chorus yelling “I Gotta Leave!” and Kanye’s verses about this girl who only wants him for his money makes an entertaining story but also indicates his new found status. He went from songs about not having money, to songs about dealing with a woman who only want him for his money. Talk about a bragging.

Section 2- Introspection

After two bop tracks we get “Drive Slow”, a track more mellow and laid back than the intro. Through a multitude of car metaphors, Kanye and Paul Wall talk about taking things slow, not to rush things, whether its spending money or sleeping with girls. Generally a middle of the road song for me. Nothing mind blowing but definitely easy to listen to.

In “My Way Home” we get a short, 16-line verse from Chicago all-time great Common, who talks about the struggles of the hood being home. This contrasts the hopeful tone on “Heard Em Say”, introducing a tone of relief he’s out that situation and he’s not going back. Fun fact: this is actually Common’s song that he decided not to add to his album Go!, which is why it just sounds like Common’s song instead of a Kanye song featuring Common. The slowed down samples vocals create a groove that almost makes you forget this is a sad song.

“Crack Music”, one of my favorites, paints an analogy to crack addiction and hip hop, hence the title. The Game brings a unique aggressiveness to the hook, which pairs well with the choir on chorus. However, the final leg of the song introduces an unsettledness: shakiness in the vocals, music freezes, and Malik Yusef delivers a poem that still gives me goosebumps to this day. The voice of legendary Charlie Wilson harmonizes perfectly with the chorus as well.

Next up we hear “Roses”, another instrumental masterpiece with Patti Labelle’s vocals and a Bill Wither’s sample on the chorus. West talks about the hospitalization of his Grandmother and the tightness/unity of his family. I love the quietness that plays during the verses and then the kick of the drums in the chorus. That excellently helps emphasize the intimacy of the situation.

Unfortunately, this leads into “Bring Me Down”, which is my least favorite track. Brandy’s vocals and Jon Brion’s instrumental are perfect, but it seems wasted on West’s verse. It’s disappointing to hear the epic strings and orchestration accompanied by Kanye saying weak lines like “There’ll always be haters, that’s the way it is/Hater n*****s marry hater b**ches and have hater kids” and “Yo girl don’t like me, how long has she been gay/Spanish girls say ‘Yo, no hablo ingles’”. The track honestly would’ve been better as an interlude with just Bandy’s singing, similar to “My Way Home” with just Common. But, the addition of West’s lyrics actually makes the song weaker.

Luckily, the project picks up with “Addiction”. However, I’ll admit I’m not a fan of lyrically. This isn’t a track where West is trying to demonstrate any lyrical expertise, so I’m not expecting a load of double entendres and layered meanings and mind-blowing messages. However, even for a surface level track, hearing him fake-stutter became a little annoying. But I like the topic of the song; him being addicted to all three “money, girls, and weed”. Although the topic and lyricism isn’t unique, it was at least entertaining.

Section 3- Claim to Success

Following the second skit, we get “Diamonds From Sierra Leone (Remix)” with hall of fame rapper Jay-Z. This track is interesting because Kanye and Jay don’t discuss the same topic. Kanye talks about his conflict with buying diamonds, knowing they’re Blood Diamonds and his purchase of them could result in the killing of Africans, of whom he’s a descendant. On the flip side, Jay talks about his label and his success. Although Kanye’s verse has more substance, I think Jay’s verse was better. There’s one particular set of lines I’ve always loved

“This ain’t no tall order, this is nothing to me/ Difficult takes a day, impossible takes a week/I could do this in my sleep/ I sold kilos of coke, I’m guessing I can sell CDs/ I’m not a businessman, I’m a business, man /Let me handle my business, damn”

Then we get the top tier track “We Major”, which is the album’s best collaboration up to this point. Jon Brion shines again with the instrumental, creating this epic atmosphere of accomplishments. Really Doe and Tony Williams illuminate the chorus with the vocals, while Kanye comes through with poeticism he hadn’t reached since “Heard ‘Em Say”. I want to add a quote of my favorite part of his verse, but it would be half the verse. And to top that, Nas comes through with an even STRONGER verse, a contender for the best verse on the album, competing with Lupe on “Touch the Sky” and Common on “My Way Home”. And to top THAT off, the last few minutes are basically Jon Brion, Warryn Campbell, and Tony Williams showing off their expertise while Kanye shouts them out, along with The Roc and his label, G.O.O.D. Music. His vocals during this part are echoed so it feels like the listener is at a concert. You could have headphones on in a quiet room and feel like you’re soaring. Easily a top 10 song in West’s career.

Section 4- Family Business

After the height of Diamonds From Sierra Leone and We Major, the record dies down and returns to mellowness, continuing with the heart-string-pulling “Hey Mama”. Here, we get West’s lyricism reminiscent of the College Dropout style. This definitely was a poem or song he’d written prior to this project. As I said earlier, one of my favorite mother-dedicating songs in all of hip hop.

The next song, “Celebration”, is one of my favorites on the album. The lyrics aren’t impressive; West goofily slant rhymes “wild” and “endowed” at one point. He just discusses drinking, girls, and the accidental birth of his kid through a busted condom. However, I believe it’s the placement of the song on the record that makes me love it so much. After hearing the epic-ness of songs like “Touch The Sky”, “Diamonds From Sierra Leone”, and “We Major”, this song feels like an after party. An intimate gathering that allows West and the listener to reflect a little, over another brilliant composition by Jon Brion. And while the verses are nothing to look twice at, the chorus is serene. West’s harmonization with himself improves his voice. And at barely past 3 minutes, the song is short enough where the sub-par lyrics aren’t too distracting.

Section 5- Late Departure

When I first began writing back in middle school, I used to rap to the instrumental for “Gone”. This song is foundational to my hip hop appreciation and extremely underrated. To start, the Otis Redding sample is perfect. Jon Brion again combines his expertise with West to create a beat that evolves as it progresses, increasing in complexity and instrumentation. The verses improve with song as well, Kanye delivering the first and last, while Cam’ron and Consequence deliver excellent verses in the middle. Between Consequence’s verse and Kanye’s final verse, we hear the beat breakdown and evolve even more, building up to a final verse that leaves the listener speechless. West reflects about a multitude topics: being so innovative that his labels won’t approve his ideas, wanting to leave public light, his come up from being broke just wanting to upgrade from his “cheap ass sofa”, leaving his hometown that had nothing to offer him, inspiring new artists, never selling out, and ultimately showing he’s no longer on-call for anybody to use him. He’s established enough to choose his company and produce as he pleases. This is a perfect culmination of the themes throughout the album, and is the perfect closer.

Now, I say that with hesitation because technically there are two more songs on the record: The original “Diamonds From Sierra Leone” without Jay-Z, and “Late”. “Diamonds From Sierra Leone” is an excellent track. Instead of talking about Blood Diamonds or guilt, West talks about his writing process, feeling snubbed from awards, and ultimately himself. Definitely some of his strongest pen game on the album.

“Late” contrasts the previous song with a very calm feeling, possessing a lullaby quality. Here, he drives home the point that he’s going to be late with things he does, tying together the album title and the context of the album’s release, which was released months late. However, the lateness definitely worth the wait. It’s a toss-up between Gone and Late for which I prefer as the better closer. Gone is an epic reflection on the album’s theme and messages, and displays some of the best lyricism on the album. However, Late is a surreal, warm ending that feels like more of a winding-down end. If I HAD to choose, I’d say “Gone”. Because while both are great, I can’t imagine the project without “Gone”, whereas I could see it without “Late”.

Top 3 Songs:

1) Gone 2) We Major 3) Hey Mama

Overall Grade: A

#music review #album review #kanye west #hip hop review #hip-hop

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