West's Genius Dominates New LP

CLEVELAND - For all of his headline grabbing insolence, his occasionally detestable behavior and an ever-increasingly polarizing reputation, Kanye West remains both a music maven and a cultural phenomenon.

Latest evidence: his new album.

That's right. West's 5th solo LP, My Beautiful Dark Twisted Fantasy made its much anticipated debut this week and gained almost universal praise from fans and critics alike. Not only has his writing skills evolved to the point of his lyrics often being choke full of thought provoking relevance, but his production skills continue to ascend. The net result is a brilliantly polished opus long on innovation as well as substance.

The most fascinating thing about the album is West's intuitive ability to blend an enormous ego with a healthy offering of self-examination. He is both psycho-therapist and patient on this record and the balance makes for a greater realization of the man's genius.

After a tempestuous year that saw his already complicated public profile absorb damaging hits, it speaks to his resilience and immense gifts that he's re-emerged better than ever. The album's stand out track, "Runaway" greatly epitomizes his tapestry of musical excellence juxtaposed with his predilection for "being a jerk."

Forget Jay-Z, the hip-hop legend most responsible for Kanye's initial public popularity a decade ago. Forget Taylor Swift, the doe-eyed country music star who was famously disrespected by West at an awards show last year. And forget Kanye himself when he's in "douchebag mode." Instead, remember Kanye West the budding legend and hip-hop innovator. That person more than any of the others is the true sight to behold and the one we should all direct our attention to.

Seriously.

'We Are The World' Remix: Well-Intended Garbage

CLEVELAND - Thanks to the presence of Michael Jackson and a catchy track, I was a huge fan of the hit single "We Are The World" when it debuted in early 1985. With the brand new "re-imagining" of the altruistic tune being released last Friday, I took on a natural curiosity.

It's nice, but pales next to the original.

Inspired by the devastating earthquake in Haiti last month, approximately 85 of the planet's most popular musicians assembled in a Los Angeles recording studio a couple weeks ago to recreate the legendary original. Of course, the new version is highly updated and features a hip-hop flavor, something that the original lacked due to the nascent status of the genre at the time.

While the effort and the idea are well intended, the project calls attention to itself in a negative way. The original anthem felt historic from the get-go and now, 25 years later, has grown in scope. It was a cultural touchstone of legendary talent and boasted a litany of A-list icons. Michael Jackson, Stevie Wonder, Bob Dylan and Ray Charles were seminal forces in the music industry with each having had or was having a groundbreaking career. Lionel Richie, Bruce Springsteen, Smokey Robinson and Harry Belafonte were nearly as accomplished and revered and producer/composer Quincy Jones was the genius behind it all.

Of course, Jackson and Richie wrote the song and were almost without question the biggest stars in the music industry at the time. The 40-plus musicians were dubbed "USA for Africa" and the charity single was meant to raise money and bring awareness to the widespread famine in Ethiopia. It become a wildly profitable and popular song and gained a reputation of being a magical moment in time with the convergence of such talent unified for a great cause.

The "new" song, "We are the World-25 for Haiti" boasts the same arrangement as the original and is once again overseen by Quincy Jones. Richie and Haitian native and musician Wyclef Jean also serve as producers. A new music video debuted in tandem with the song, and features a similar aesthetic to the original. Dozens of recording artists are grouped together while singing the anthem and images of Haiti play on screens behind them.

Looking at the new group of stars, it is hard not to laugh at the obscure nature of some of them. Sure, there are still a few legends such as Tony Bennett,Gladys Knight and Barbara Streisand, but nobodies like Justin Bieber and Josh Groban is a taint to the song's legacy. Even the super popular Jonas Brothers seem like a ridiculous choice. I can live with certain choices like Pink and Akon, but Miley Cyrus and Bizzy Bone? The huge number of rap artists are gratuitous and misplaced. In spite of it all, the song plays surprisingly well because it's so close to the original, but the rap parts stick out like a sore thumb, except Kanye West's part which I felt was excellent and fit well.

T-Pain's participation made the entire thing feel like a bad practical joke.

I applaud choices like Jennifer Hudson and Adam Levine, and I appreciate the splicing together of footage of Michael Jackson's singing parts from '85 and assembling them with sister Janet's new vocals. Believe me, if MJ were alive, he'd be the first person to lend his artistry and money to this cause.

I can't help but scratch my head at a few glaring absences from the song. While I'm okay with flavor-of-the-moment Taylor Swift not being there, I would like to have seen some of the true stars of today involved. Beyonce, Alicia Keys, Jay-Z and even legends like Mariah Carey and Whitney Houston.

They would have been far better choices than unproven newcomers like Drake and Kid Cudi.

At the end of the day, I hope the new song raises a lot of money for the Haitian victims. But in the meantime, the folks in charge of our entertainment should actually do better research.

Plenty of real superstars would have been included if they had.

2000's In Review: My Favorite Albums

CLEVELAND - My taste in music has always been very diverse. From rap and hip-hop to country and pop, I love it all. So, with the end of the decade near, I am submitting a list of my favorite albums of the 2000's. But ironically, that list isn't very diverse at all.

It's almost all rap.

Don't let this list fool you. I am not one-sided like it will lead you to believe. It's just that I only buy rap albums, but I actually love individual songs of all genres. One day soon, I will start buying the entire albums of the eclectic blend of artists that I enjoy.

Here goes the list.

1. The Blueprint/Jay-Z, 2001: This album was such a huge deal to me, that when it was released on September 11, 2001, I practically ignored the horrific terrorist attacks on America. Instead, I focused heavily on getting this record, which to me is the best work of Jay-Z's career. Eschewing a typical rap album style, this opus showcased a remarkable soul and old-school flavor infused with twinges of modern pop and R&B. In the middle of it all was Jay-Z's incredible lyricism, all of which produced several stupendous tracks. His famous collab with Eminem on "Renegade" is present here, and helps to elevate this record to the upper echelon of the most classic hip-hop albums in history.
2. The Eminem Show/Eminem, 2002: Most critics place The Marshall Mathers LP as Eminem's best album, but this record to me was better. Released three weeks before summer 2002, The Eminem Show was Marshall's 3rd solo album and wowed me endlessly. His epic lyrical dexterity, coupled with his outrageous humor and wit made this a masterful effort. When it hit the shelves, I was amazed at how many young black men in urban neighborhoods had the CD booming through their car speakers. The surprise was in Eminem's pervasive appeal in spite of his race and often unconventional subject matter. Somehow, he crafted a superlative record that showcased a burgeoning legend at his maniacal best.
3. The Best of Both Worlds/Jay-Z & R.Kelly, 2002: Such a shame that this album never had a chance to flourish the way it should have. With the historic collaboration of the best rap artist on the planet and the best R&B artist on the planet, this album was beyond excellent. However, due to the child sex scandal of R. Kelly that surfaced at the same time as this album's release, The Best of Both Worlds was barely promoted. All music videos were canceled and Jay-Z began to distance himself from being associated with this masterpiece. Every single track was outstanding and the production was flawless. Jay-Z would later call the album "a wasted opportunity." I wholeheartedly agree.
4. The Marshall Mathers LP/Eminem, 2000: After his breathtaking debut the previous year, rap music's angriest and most vitriolic man returned better than ever. Eminem's brilliant sophomore effort was met with extensive critical acclaim, but also repudiation from America's conservatives. In any event, his rhymes were more intricate, precise and menacing. Dr. Dre's production was perfectly crafted and his beats fit Marshall's lyrics like a glove. Songs like "Stan" and "The Way I Am" gave Mathers a formidable reputation as a master lyricist. But the way he conveyed intense personal turmoil and channeled it into polished art was what really made the man an acclaimed genius.
5. Graduation/Kanye West, 2007: Each one of Kanye's first three albums could be considered his best. That's how good this guy is and he displays that brilliance in spades on Graduation. Nearly every song on here is single-worthy and practically was. For me personally, I get chills every time I hear "Can't Tell Me Nothin'" both because of its brazen honesty and sonic appeal. By now, West was flying high as an A-list record producer and hip-hop artist hyphenate and with good reason. Despite his seeming arrogance, the man is one of the most important figures in not just music today, but rap music history as well.
6. The Documentary/The Game, 2005: The first time I heard this rookie effort from The Game, I was instantly awestruck. It was obvious to me that the man is a pure student of hip-hop music and has studied the giants of the genre meticulously. What results on this record is absolute perfection in spite of Game's obsession with name dropping rap legends early and often. The man was able to craft a record so good, that he could legitimately say that he was better than his label superior at the time 50 Cent. Of course, the belligerent 50 would never have allowed that which is one reason why The Game hasn't been this good since then. 50 Cent sabotaged him. Even still, The Documentary is a smooth and delightful listen.
7. The Black Album/Jay-Z, 2003: By 2003, Jay-Z was considered a demigod in the world of rap music. With the release of The Black Album, that status was elevated even more. With Jay set to retire after its November 14th release, this record took on an even greater significance. But the bottom line is simple; this is a classic album from start to finish. Initially, I was unimpressed with the tracks which is nearly unthinkable now. But once I continued to listen closely, I was blown away. Amongst my favorite moments; "What More Can I Say?," "Moment of Clarity," "Threat," "PSA," and "1st Song." Jay-Z proved he was every bit as legendary as he told us he was on nearly every song. Thank God his retirement lasted just three years.
8. Get Rich or Die Tryin'/50 Cent, 2003: I had begun hearing murmurs in the summer of '02 about this mixtape hotshot named 50 Cent. After hearing him on the 8 Mile Soundtrack that autumn, I was unimpressed. The hype it seemed, was grossly overblown. Then came February 6, 2003 and I changed my tune quickly. I was living in a semi-rural area at the time and it was stunning to see long lines of country teens in FYE waiting to buy 50's debut record. When I copped it and took it home to listen, I was hooked. In spite of the sprawling 20 track playlist, this album was simply awesome. The cadence of his voice, his cockiness, his tales of street violence were all outstanding. I must admit that the song "Patiently Waiting" featuring Eminem was a major influence on why I loved the record. Now almost 7 years later, 50 Cent still hasn't approached the raw brilliance of his debut.
9. Chicken-N- Beer/Ludacris, 2003: What I loved instantly about Ludacris the first time I heard him was his enormous wit and sense of humor. This 2003 classic featured both of those attributes as well as a litany of excellent songs. From the rapid fire delivery of the record's intro and through hit songs such as "Splash Waterfalls" and "P-Poppin," this was the best album of Ludacris' decade long career. And let's not forgot the two hilarious tracks, "Hip Hop Quotables" and "Hoes In My Room." The latter features Snoop Dogg at his laid back lyrical and humorous best. Who could forget terms like "tupperware titties" and "booga bears?" Like I said. Classic.
10. Invincible/Michael Jackson, 2001: There may have been other albums that were better, but for me, Michael Jackson's return to recording after several long years away was an important moment. Not only was it a comeback of sorts, but the music itself was pure ecstasy. I love the self assuredness and palpable confidence that Michael displayed on the opening song "Unbreakable." The first half of the record was filled with first-rate lush ballads including my favorite "Heaven Can Wait" which I dedicated to my girl. The music video for "You Rock My World" sadly ended up being, for all intents and purposes, Jackson's final short film. The only reason I didn't rank this album higher is because the second half of it isn't nearly as awesome as the first half. It also suffers from what I feel was Michael's obsession to top his own un-toppable legacy. In any event, this record will always hold the distinction of being his final studio LP. That fact alone makes it a worthy addition to my favorite albums of this decade.
    

Kanye West: A Cocky, Brilliant...Idiot

CLEVELAND - Kanye West amazed and inspired me from the first time I heard his work as a hip-hop artist. Some said he was arrogant, I said he was very self-assured. Some said he was obnoxious, I said he was cultivating his brand. Turns out, everyone was correct.

He was and still is all of those things.

Sunday night marked the lowest point of West's "social" career, which is saying an awful lot. In a moment destined to become an infamous event in pop culture lore, West hijacked country singer Taylor Swift's acceptance speech after she won an MTV Video Music Award over, among others, Beyonce Knowles. He took the mic from Swift and proclaimed to the star studded audience that Beyonce had "one of the best videos of all time." In other words, West felt as though Beyonce should have won instead of the 19-year old Swift.

I, along with the rest of America was in utter shock.

Swift, momentarily deflated and stunned, gave an awesome live performance of her song "You Belong With Me" just minutes later, but the West backlash had already begun. He was removed from the building and the mere mention of his name garnered boos from the crowd for the rest of the night. The Internet was abuzz with reaction to the incident, even from celebrities who were in attendance at the VMA's. West later posted an apology on his blog, but it didn't matter.

The following day, the debacle was all over the news and West himself was vilified and castigated for the audacious incident. In an ironic twist, he'd been scheduled for months to perform the hit single, "Run This Town" with Jay-Z and Rihanna on Jay Leno's brand new variety show, which debuted just 24 hours after the infraction. During an impromptu interview with Leno, Kanye appeared shaken, contrite and humble -- emotions that have never described him.

The following day, Swift appeared on The View and recounted her thoughts as the event unfolded. She also mentioned that West hadn't personally contacted her to apologize. However, before she left the building, she received a call from him and according to sources, she accepted his apology.

Here's my take: I am one of the few people that has always understood Kanye's personality. Sure, he seems egotistical and arrogant, but I believe he is just a guy that faced so many challenges and had so many doubters, that now that he's a critically acclaimed music producer and recording artist, he chooses to shout it from the rooftops early and often in an I-told-you-so-fashion. I believe his passion got him there, but that passion often manifests itself in less than stellar ways. He tells the world how great he is, then isn't able to summon humility when he needs to and conversely, we get his petulant outbursts at awards shows.

This was different, though.

For West to insinuate himself into a situation that had absolutely nothing to do with him was above the pale. The nominees were female for one, and for two, they were Swift and Knowles. If he had a problem with Beyonce losing, that's fine, he's entitled to his opinion. But in no way did he have a right to crash Swift's speech and defile her moment to satisfy his own (drunken) agenda. That was beyond rude and arrogant. It was selfish and childish and reeked of a distinct lack of respect, class and poise. For Kanye to be so gifted as an artist and producer, he is very lacking in tact and grace.

After reading a few comments online from several black folks, I am even more enraged. While nearly everyone, even West's peers and friends say that his behavior was deplorable, many of the comments were from people upset with West for "bowing to the white man" and for essentially being an Uncle Tom. They even suggested that Swift deserved what Kanye did to her and even labeled her a "white devil." Most of these people applauded him for his behavior and felt like he "sold out" by apologizing.

Wow.

When ignorance, idiocy and stupidity is present, I just want to leave the room. Nothing was acceptable about his actions, and like it or not, he just furthered the disdain that Whites have for Blacks. Kanye made us all fit into a stereotype that so many racists have put us in with his transgression.

Talent means nothing without class and respect.

Leno's New Gig: Familiar, Yet Still Very Funny

CLEVELAND - I've been a fan of late night talk shows for a quarter century, so when Jay Leno ended his 17-year tenure on The Tonight Show last May, I knew a great era had ended.

Until last night.

Leno, 59 debuted his new series on his old network with a familiar template, a few subtle changes and his trademark gags still firmly in place. The effort was strong, his comedy was still highly entertaining and his guests were better than expected.

But with his challenging new 10PM time slot, I hope he can last.

Comedian Jerry Seinfeld was Leno's first ever guest (on this show) and was funnier than usual. When he mentioned to Jay that in the 1990's, retiring actually meant that a person left (instead of starting a new show), it set the stage for a truly funny interview. Media maven Oprah Winfrey dropped into the conversation, via a television and actually added a little spice to Seinfeld's interview, while Leno himself played the straight man.

Gags and short sketches have long been a strength of Jay's brand, and it was no different here. His opening monologue was sharp and witty, a faux "interview" with President Obama was gut-bustingly funny at times but a car wash skit was garbage.

By the time Leno got to a previously unscheduled interview with Kanye West, (the most anticipated portion of the show just a day after his VMA meltdown), I was pretty locked into the familiar looking show. West had long been scheduled to perform with Jay-Z and Rihanna, but asked Leno for a brief sit-down to apologize further for his deplorable behavior at Sunday's award show. West, a notoriously egotistical hothead that just happens to be an awesome music producer and artist seemed contrite and was certainly at a loss for words. The incident, in which he ambushed country singer Taylor Swift's acceptance speech at MTV's Video Music Awards to proclaim that Beyonce should have won, has creating a firestorm of rage around West since it happened. This was his first public discussion about it, and he was visibly uncomfortable during the awkward sit-down that saw him apologize and apparently realize the selfishness of it.

Or maybe he was putting on a hell of an act.

Just seconds after the talking ended, West stepped onto a stage with Jay-Z and Rihanna and the trio promptly went into performing the hit single "Run This Town" from Jay-Z's brand new LP, The Blueprint 3.

Leno ended his inaugural episode with his famous "headlines" bit.

I enjoyed the "new" show and I hope it flourishes. If it fails, it won't be because of Leno; he's still funny as heck.

For Jay-Z, 'Blueprint 3' Is Evolutionary Brilliance

CLEVELAND - Talented people are not automatic geniuses and superstars don't always evolve into legends. For one Mr. Shawn Carter, he is the rare exception.

He is a legendary genius, and it continues to show in his work.

Carter, the 39-year old Brooklyn native known professionally as Jay-Z has released his 11th solo album The Blueprint 3 today, three days earlier than planned to lessen the impact of bootlegging the LP, which leaked online a week ago.

I can say with absolute certainty; this album is superb.

While Jay-Z's 2001 album The Blueprint is among the top albums of the decade and 2002's The Blueprint 2: The Gift and the Curse was a guest-laden, double CD offering that was very good, yet mildly disappointing, the new album showcases Jay as a brilliant lyricist, versatile and evolutionary. His formidable legacy looms large over this album (in spite of the litany of guests) and he deftly proves yet again why he's as great as he is.

Nowadays, it has sadly become popular to ridicule Jay-Z because of his age. Many lesser artists use this as their best defense mechanism since rap is typically a young man's game. But the truth is quite simple; Jay-Z has what no one else in the game has or for that matter, ever had. The man has a resume more expansive than anyone else in the 30-year history of hip-hop. No one has ever enjoyed such relevance for over a dozen years whilst doling out a gigantic catalog of mega hits, guest appearances and indelible lines. And let's not forget the millions upon millions of records sold and endless cache of awards.

And that's just the music.

Jay-Z is a superlative businessman and a tireless worker. He isn't simply a rapper that romanticizes his drug-dealing past and brags about his mega-wealthy present. There is a distinct sophistication in his music, especially the new joint. Jay-Z is an amalgam of hustler, executive and philosopher and merges the wisdom and pragmatism of such contemporaries as Talib Kweli and Common with the glittering commercialism of a Lil' Jon or a Soulja Boy -- just with a far more substantial lyrical dexterity.

Listening to The Blueprint 3, it becomes increasingly apparent that Jay studies everything. He takes hip-hop into unfamiliar and unconventional areas that work for him better than it works for anyone else. Case in point: on the much maligned "D.O.A.," he likens his music to that of iconic crooner Frank Sinatra. For a drug-dealer turned mogul, that is a huge leap but it fits because of his aura. Yes, the track has gotten plenty of flak (many call him an out-of-touch fuddy duddy), but he exudes a smooth elegance on this song that makes him equally believable as a Rat Pack-era star who shares commonality with Sinatra and Sammy Davis, Jr. or a modern day hustler in the 'hood.

Another though that occurred to me as I listened to the album: Jay-Z has actually laid out his blueprint his entire career; hustle your way out of the environment you were born into, never let that place confine or define you, learn from what you see and experience and be smart enough to allow that hard knock life to inspire epic ambitions, of which many he's achieved. On the hit single "Run This Town," Kanye West (who produced much of the album) co-stars, and it was his understanding and acceptance of Jay's philosophy that took him from a Chicago suburb (obviously different circumstances from Jay's) to the top of the music industry as both artist and producer. West has excelled because he's followed Jay's blueprint.

"Empire State of Mind" showcases Jay as a diverse, global figure. He is clearly the most adaptable star in his genre's history and is a student of not just hip-hop and its pioneers, but also Hollywood, sports, politics and pop culture. Coupled with his vast intellect, that is precisely why he's so incredible and witty, not to mention full of substance.

"On to the Next One" has Jay's evolution front and center. He details his significance and prominence in the entire entertainment industry, matter-of-factly mentioning holding company with such icons as Michael Jackson and Oprah Winfrey as well as President Barack Obama. Theme of the song: he doesn't get bogged down by the status quo.

"Off That" is an interesting merger of young and experienced. Current Mr. popularity R&B/rapper Drake features on this track but it's Jay that dominates. He conveys a been-there-done-that vibe with this song, even doing so with grand hubris. Understand this: the inherent nature of hip-hop is flexing one's bravado and swagger, yet most do it without having accomplished anything. Jay actually explains why he's earned the right to do so.

I can't help but admire Jay-Z's excellent wordplay. On "Venus v.s. Mars," he deftly uses double entendres and puns to illustrate the subtle differences between he and his girl. Lines like "shorty like Pepsi, me I'm the "coke" man" are highly entertaining to anyone that actually "gets" it. I feel as though the song loosely represents the metaphorical differences between he and many of his supposed "competition."

My final analysis of The Blueprint 3 is simple. It is a great album and perhaps with time, a classic. Right now though, it is certainly a masterpiece and it stuns me that Jay can still be this good after 13 long years. No, it's not a typical Jay-Z album from his early years. But like he so eloquently states on the CD, "you want the old Jay, buy [his] old album." This is about evolution and improvement, and he's done both very well.

He's only added to his legacy as the best in history.