The third release in the Kanye West pentalogy, KIDS SEE GHOSTS serves as a wildly successful (re)union of West and Kid Cudi. The chemistry exudes throughout the album, as Cudi’s emotive howls haunt Kanye’s ghoulish production.
Operating as the climax in Kanye’s dramatic structure, KSG follows Pusha T’s Daytona energetic sultriness with an honest emotionality absent on ye, Kanye’s expositionary outset. From the moment “Feel the Love” hits, you know that this is the Cudi/Kanye chemistry you loved on the unexpectedly influential – and excellent – Man on the Moon I and II. Pusha-T’s verse ensures that the listener is hearing a continued musical creation with the release of these five albums in subsequent fashion.
Coming in at a tidy 24 minutes, the album seethes, emotes, and viscerally envelops the listener. It moves fast, but lingers. The Andre3000 (nee Benjamin)-produced “Fire” literally picks up musical threads from “Feel the Love” and flips into a Kanye verse much different than anything on ye. The words are sharper, the syllables are placed with more exactitude, and the mirroring of voice/track adds a layering more robust than the minimalist ye.
Cudi and Kanye have both expressed mental health challenges and it fuels KSG. The adopted moniker for the duo, KIDS SEE GHOSTS, is appropriate – and the music feeds off of the visualization of the name. “4th Dimension” takes the 1936 Louis Prima single “What Will Santa Claus Say,” features a haunting echo and a spine-tingling bass line that conjure both literal and mental ghosts.
“Freeee (Ghost Town Pt. 2)” once again nods to the continuity of This Kanye Project, as Kanye exudes on the the hook “I don’t feel pain anymore/ guess what baby I feel freeeee.” This harkens back to “Ghost Town” on ye as 070 Shake painfully exclaims “we’re not the kids we used to be/ I put my hand on a stove to see if i still bleed.”
“Reborn” is where we see both Cudi and Kanye at their modern best. “I’m so reborn/ keep movin’ forward” is Cudi’s hook, sung in straight-forward and melancholy fashion, leading right into Kanye’s best verse in a long time:
Very rarely do you catch me out
Y’all done “specially invited guest”‘d me out
Y’all been tellin’ jokes that’s gon’ stress me out
Soon as I walk in, I’m like, “Let’s be out”
I was off the chain, I was often drained
I was off the meds, I was called insane
What a awesome thing, engulfed in shame
I want all the rain, I want all the pain
I want all the smoke, I want all the blame
Cardio audio, let me jog your brain
Caught in the Audy Home, we was all detained
All of you Mario, it’s all a game
Introspective, honest, addressing his demons, cohesive and intelligent. This is the Kanye you love, and the reason why his makeshift effort on ye was such a disappointment. My gut instinct is that there is much more material of this particular nature that was scrapped after the TMZ debacle, but frankly – this verse, and Kanye’s on “Kids See Ghosts” (the track) are more indicative of Kanye doing what he can/should be doing as the King of 21st Century Music.
The title track here features Yasiin Bey (nee Mos Def), whose self-imposed exile in South Africa left a gaping hole in 21st century lyricism. Mos Def always carried gravitas to any project on which he was featured. Bey continues to do so here, with a halting iteration of “Kids See Ghosts sometimes/ spirits moving around/ just moving around (yeah that’s a king)” which hands off into a melodic Cudi verse, which parlays into more hungry, honest – there’s that word again – Kanye. Once again Kanye chooses his words carefully, “ye just going to live up to everything that sucks to you. . .to everybody that said I was better off dead” followed by
Got a Bible by my bed, oh yes, I’m very Christian
Constantly repentin’, ’cause, yes, I never listen
Don’t like bein’ questioned and don’t like bein’ less than
Any a competition in any of my professions
Again, Mr. West at his purest – religious and flawed, hyper self-aware and emotional. Cudi also orates musically what can only be described as “ghostly sounds” that serve to close out the track and evoke the name of the track, album, and duo. Brilliant.
“Cudi Montage” is a very intriguing finish to the album, and veritable transition to Nasir. Using a Kurt Cobain sample from a home recording, Kanye continues to induce spine-tingling in the listener, while figuring out a way to meld the asymmetry of the genres into a work of art.
Because KIDS SEE GHOSTS is essentially a “pop-up” art gallery of music. Kanye West fully intended for his pentalogy to be dissected, discussed, analyzed; criticized & lauded. Here, with KIDS SEE GHOSTS hiding in plain sight as the third of five releases, he gives his effort at brilliance, yet it is intentionally ephemeral. As the sum of all parts, the five albums may not hold up as a classic. But KSG certainly is excellent, and carves out a niche in Kanye’s ultimate pantheon.
The key elements of true lyricism are – in no particular order – flow, content, creativity, consistency, staying on message.
Thus, these are the most outstanding hip hop eMCees over the past 20 years. . Peep:
Andre3000 check 13th Story/Growing Old from ATLiens, or The Art of Storytelling 4 for his best work, though factually and subjectively The Greatest eMCee of All Time. I challenge you to find one lazy rhyme, line or vocal. The thing with Andre? He’s evolved from Southernplayalistic to ATLien to the amazing work of art Aquemini through Stankonia, The Love Below and yes, Idlewild. Growth akin to say a Radiohead in rock & roll; he’s not what he was, but he’s more him than ever. Amazing growth, maturity, intelligence, wisdom, talent, skill & execution.
(image courtesy of DilsJ)
Mos Def from Blackstar to Black on Both Sides, Mos was consistently the most heart-felt, artful eMCee in the land. Evocative, emotional, intelligent & mature; a rare combination in hip hop. Fell off slightly during The New Danger/Black Jack Johnson phases, but returned with an authoritative revitalization with Ecstatic.
(image courtesty of threesixphive)
Pharoahe Monch who? why? isn’t that the screachy guy that yells? Indeed. Since the days of Organized Konfusion, Pharoahe has pushed the envelope of singing/preaching in the context of his complex, layered sonnets. Tracks such as Agent Orange & The Healer showcase his relevant, political leanings, and his intelligence and awareness of The Modern World is second-to-none in hip hop. Remains underappreciated, and just like Mos & Andre, does not waste a verse.
Jay-Z/Eminem/Nas each has received enough accolades, album sales & kudos to last seventeen lifetimes (see below lists). Each deserves the credit, and though the trio probably has enough content/stories/rhyme scheme creativity, longevity to speak for themselves, I tie a common fault with each in that there are ALWAYS one-to-in-the-case-of-Nas-five tracks per album that are just lazy, cliche & there to check a box. While Nas’ first album, Illmatic, remains an artistic and lyrical icon, his steady downfall (laziness) has relegated him to the second ‘tier’ of true lyrical stardom.
Other notables include Notorious B.I.G./Tupac (though both were extremely reliant on image and thusly coasted on too many tracks, specifically on their respective double albums); Rakim (basically invented the ‘modern’ flow, though in the prism of retrospect, content lacks); Guru from GangStarr (maturity, content, voice, but ‘the king of monotone’ really did get old); Common (post-Like Water for Chocolate, though, guy really adopted the Neo-Soul thing and just split); Phonte (from Little Brother – completely underappreciated and essentially put 9th Wonder on the map, but peep ‘Last Day’); J-Live (raw deal from the days of raw shack, Longevity was amazing and has consistently released crate digging albums for lyricists to enjoy for 15 years); One Be Lo/One Man Army (formerly of Binary Star, one listen to his verse on KGB or ‘I Know why the caged bird sings’ and you’ll understand); Method Man (consistently impressive despite the pothead facade; in particular, his rhyme scheme evolves with each album, even after all these millions); Big Pun (negative points for content, but an amazing flow. Amazing).
Conceptually designed as a Euro-only press, this album showcases Mos’s career path from true Brooklyn eMCee to ‘face of the underground’ to ‘a bit Hollywood’ to experimental singing & rock n’ roll. That said, instead of being disjointed, this album comes together magically. Released in 2009 on the independent label Downtown Records, Mos reaffirms his almost mythical status as acceptable underground/crossover with Quiet Dog Bite Hard, a rough, rock-influenced track in addition to the near-miraculous Life In Marvelous Times. Though guest appearances have been known to ruin hip hop albums, Auditorium (Slick Rick) and the 9th Wonder-produced History with Talib Kweli both provide excellent complements to Mos on the appearances.
Peep the album – it’s wonderful, and a true Hip Hop Classic.
a bit fast on the cuts, but omega 3600 nails it spot on with Mos, Obama, et al
*from the fantastic Mos Def album, The Ecstatic, one of the albums that brought me back into the Hip Hop Renaissance.*
Hip Hop Renaissance II (track listing)
i) Projections – Juggaknots
ii) Starr Status – Kenn Star
iii) Anti-Matter – KingGeedorah/MF Doom/Mr. Fantastik
iv) Here we Go – 9th Wonder/Buckshot
v) Duck Season – DJ Babu/Beatnuts
vi) Dreamin’ – Del the Funky Homosapien/Brother Ali
vii) In the Ghetto – Elvis Presley
viii) The Grudge – EMC
ix) Murs Day – Murs
x) History – Mos Def/Talib Kweli
xi) You’re a Customer – EPMD
xii) Cypher Freestyle – Mos Def/BlackThought/Your Boy Eminem
xiii) Take Me to Your Leader – King Geedorah
xiv) Stay Chisel – Large Professor/Nas
xv) High Rollers – Ice-T
xvi) Hip Hop’s Cool Again – Oddisee
xvii) Hip Hop Tribute – Icewater/Raekwon
xviii) Kelly Watch the Stars – Air
Ev’s Top Albums of the Decade
*In the era of hip hop degradation, decline and distress, these albums still shined through. In fact, I realize now as the decade closes that these are indeed the most influential records of my lifetime. Though it took an excessive amount of filtering, research and kickdowns, I am very fortunate to have encountered & enjoyed the following EP’s (with a special thanks to TFleezy and MoBeezy for further opening my personal, audio windows).
Without further adieu:
Blueprint – 1988
Jay-Z & DangerMouse – The Grey Album
DJ Shadow – Private Press
JayLib (Madlib & JayDilla) – Champion Sound
D’Angelo – Voodoo
Cannibal Ox – The Cold Vein
Aesop Rock – Labor Days
J-Live – All of the Above
Honorable Mention(s): 9th Wonder & Nas – God’s Stepson; Foreign Exchange – Connected; Damien Marley – Welcome to Jamrock; Common – Like Water For Chocolate; MadVillain – Madvillainy; Matisyahu – Live at Stubbs; Del – Deltron 3030; Murs & 9th Wonder – Murs 3:16 the Ninth Edition; Jay Dilla – Donuts; Atmosphere – God Loves Ugly; MF Doom – Special Herbs 1 & 2; RJD2 – Deadringer; Little Brother – The Minstrel Show; Ghostface – Supreme Clientele; The Coup – Party Music; Mr. Lif – I, Phantom ; Redman & Method Man – Blackout 2