The purists and the hip-hop heads will hate Kanye West's new album. Let's just be honest about it. It's a big departure from his past work and honestly, I wouldn't even class it as a hip-hop album. The closest he comes to actual rapping is on "Heartless" and there are two guest spots from Young Jeezy and Lil' Wayne (neither is very impressive). Instead, he sings through an Auto-Tune on every single track. I actually had to double check that T-Pain wasn't guesting on any of the songs. So yes, some major changes in sound for Mr. West.

I'll need to give it a few more listens before I can say whether I like the album or whether it's just okay. I do like a few of the tracks quite a bit: "Love Lockdown," "Heartless," "Paranoid," and "Say You Will." But just know that it is going to sound different than what you'd expect from Kanye and go into it with open ears and an open mind.

One of the things that struck me most about the album is the contrast. Much of Kanye's fame is based on his swagger, the braggadocio confidence that he's the best and no critic can tell him otherwise. That idea was the central theme of his amazing "Glow In The Dark" show. He's a star and he knows it. He's never had any qualms about saying exactly what's on his mind. But while the honesty I think is still there on 808s, it's rife with insecurities. From the jittery electronica beats to the simplified pop lyrics to that damn Auto-Tune, much of the album sounds nervous, edgy, uncertain.

The title doesn't lie: it's an album about heartbreak. No political tracks. No rap game and fame. No shout outs or attacks. Love never really featured prominently in past albums. Sex yes. Family yes. Love...no tracks immediately come to mind. In the past year, Kanye's mother died and another review of 808s said that he also had a bad split with his fiance. That's some heavy shit to go through, and it would be impossible for that not to come out in his music. I remember my initial reaction to Lupe Fiasco's "The Cool" was similar, a very dark album after the death of his father and imprisonment of his mentor and friend. It's a new direction for Kanye, and it gives some encouragement that there really is a heart and feeling behind the reputation he's created for himself.

I actually liked a lot of the music. Kanye's a great producer and he has a strong ear. A lot of the tracks have retro-sounding synth vamps matched with broad, slow hip-hop beats. And I really do appreciate when an artist is willing to try something so utterly out in left field. He ran the college/fuzzy bear arc for as long as it needed to go, and he's too creative to continue in the same vein just because it's worked in the past. Kanye never really settled for traditional-sounding hip-hop tracks, so I give him full props for coming up with a new sound that fits the album's changed, sadder subject matter.

However. For a man who has spit some of the sharpest, wittiest lines I've heard, the writing really suffered here. And I feel bad saying that, because I do think that Kanye's usual honesty is still in full force here. I would believe that he is not in a good place right now and that he means every word he says. But the way he phrased a lot of the songs just doesn't sound original. Who knows, maybe heartbreak is just too universal to be expressed in a new way? Doubtful. "RoboCop" especially didn't sit well with me lyrically, but the "Pinocchio Story" track I think had some of the most interesting writing. It's also a bad sign that I just finished listening to the whole album, and other than the two songs I'd already heard, I couldn't sing back a single memorable line.

Despite my mixed feelings about the album, one of the things I like about Kanye is that he's never boring. He always has something to say, he has brilliant ideas, and he's a master showman. If 808s ends up being an aberration in his catalogue and he goes back into traditional hip-hop, then you can bet it's going to be a good listen. If he carries on in this vein, maybe finding a way to blend his old flow with his new sound, I would be on board with that too. But, and I'm surprised to be saying this, I do hope he gets some swagger back.

AKA - I need a weekend to recover from my weekend.

Friday: Saw Public Enemy perform "It Takes A Nation Of Millions To Hold Us Back." This was hip-hop history, living legends on stage. I have so much respect for Chuck D, so seeing him live was pretty phenomenal. And Flavor Flav...the man's a hoot. He said something about his reality show and when patches of the crowd booed, he told them off. He also gave the most ridonkulous uplifting message at the end of the set. DJ Lloyd (replacement for Terminator X) got a solo bit during the encore and holy fuck it was scratching and syncing and I have no idea what the technical terms are for the things he did to that record but damn it was good. Post-show went to Erin and Nickd's place for fancy beer. Had creme brulee beer. Must acquire that.

Saturday: Got drenched in the three blocks between my apartment and the bus stop. D'oh. Heard some of Fuck Buttons, but left to go hear Dizzee Rascal. I have a soft spot for British rappers (well, The Streets at least). I love the accent of course, but the whole manner of delivery and approach towards beats is different. Dizzee was really on and the crowd loved it. Must acquire his albums. Then we had the fantastic dance party one-two punch of !!! and The Hold Steady. Got to rock out and be that obnoxious flailing dancer for the latter show with Austin. Must acquire The Hold Steady albums. I left the park right after their set to go home and recover before going downtown to see The Dark Knight. I wouldn't have gone of my own accord, but my friend Chez and already seen it and insisted. It might be the first Batman movie I've seen in full. It was good. I love watching movies filmed in Chicago. They showed a nighttime skyline shot and Nikki and I looked at each other and smiled. Unfortunately it was mid-downpour when the film let out. We waited for awhile, and then Nikki and I broke into "Eye of the Tiger" to hype ourselves up for braving the rain. It had mostly let up but I decided I was too tired to hike to the blue line and hailed a cab. As we were just leaving the River North area this dude walked up to the cab, opened the passenger side door and sat down. He didn't say anything. The cab driver told him to get out, first civilly and then aggressively. I swear they were this close to a fistfight. Finally the douchebag left the cab and walked away, flipping off the driver. That was interesting. Was too wired to sleep and finished off "Anna Karenina."

Sunday: Slept in. Camped out for Les Savy Fav, sharing an umbrella, hand-held fan, and small-town stories with a couple of strangers. Rocked out to Les Savy Fav. I'm getting better at seeing bands I'm completely unfamiliar with live and still having a blast. Saw Ghostface Killah and Raekwon. Again, I'm not at all familiar with the Wu-Tang or any of Ghostface Killah's solo work, but the rest of the crowd was. It's not so much my style of hip-hop: they favor heavy thumping bass with little to no melodic line. But it was a pretty solid show. I had hoped to see some of Cut Copy but they were still setting up at quarter to nine, and I decided that Spoon was more important. They are. I love Britt Daniels' voice and he's just as good live as on record. Their set seemed way too short (curse you, noise ordinances!) but it was just exciting to hear a great band live. Must acquire their earlier albums. Walked home at record speed for a cold shower and cold water.

And now, sleep.

Things are nutty as ever at work, but I'm finding small things to keep me sane. One of them is eating zucchini muffins (seriously, they could end wars they're so good). Here are three more things:

"Raising Sand" - Robert Plant and Allison Krauss
Yes, that Robert Plant and that Allison Krauss. For those of you who did not grow up in a classic rock household, Robert Plant was the singer of Led Zeppelin. For those of you who ignore anything that might be remotely like country music, Allison Krauss is a popular bluegrass artist. This album is such an unexpected delight. Despite the chasms separating the two singers in age and genre, they make a really good team. It is a bluegrass/folk album and almost all of the songs have the timeless feel that I associate with the blues, like they've been sung by countless people and in countless versions, but they're still so gosh darn good. There's so much potential in a simple melody and honest lyrics. I actually don't know if any of these songs are really old-school blues tunes, but that's the atmosphere they've created and I just love it. I'd only heard Allison Krauss's solo work indirectly, in friends' rooms at my old dorm. I remember finding it pleasant, but not especially memorable. She really is a good vocalist, though, and she's got more bite in her than I thought. Robert Plant is still pretty badass, and his lead on "Fortune Teller" is one of my favorites. Amazingly, the pair sounds fantastic harmonizing together. Their cover of "Gone Gone Gone" and the duet "Through the Morning, Through the Night" are two more highlights. Seriously, it's worth a listen just to hear what the man behind "Stairway to Heaven" is doing with his life.

"Aquemini" - Outkast
I approached Outkast backwards. 2003's double release "Speakerboxxx/The Love Below" was the first album of theirs I heard (and I still really like both halves), followed by "Stankonia" from 2000. "Aquemini" was their third release (1998) and the third I heard, and it's interesting to hear their progression in reverse. This middle album seems to have the best balance so far between substance in the rhymes and an off-kilter feel in the production, sounding original without being completely wackadoo. I'm very curious to get my hands on "ATLiens" and "Southernplaylisticadillacmuzik" and hear the earliest roots of the group. Highlight tracks for me: "Rosa Parks," "Skew it on the Bar-B," "Aquemini," and "Da Art of Storytellin," but they're all pretty good. As a rule, I protest the presence of skits and dialogue in rap cds, but Outkast always manages to throw in a couple that really make me laugh, particularly the brief exchange at the end of the title track. And that's always been Outkast's charm. Not only are they whip-smart with great ears, they're also damn funny. It's a golden combination in hip-hop. I'm sorry to see that the duo seems to have called it quits in favor of film pursuits (has anyone actually seen "Idylwild?" I heard it was mediocre, but I still want to watch it), but at least they left us with plenty of quality work to feel nostalgic about.

"Late Registration" - Kanye West
Speaking of going backwards, it is my humble opinion that Kanye's albums have gotten worse. Not that any of them are bad (and I actually haven't listened to "Graduation" straight, although I've heard all of the individual tracks - thank you, youtube!), but for me "College Dropout" had the most brashness, swagger, and originality not to mention the highest ratio of good songs to annoying skits. But lately it's been Kanye West's sophomore release that's getting me through the work day. I mostly blame "Touch the Sky" for that. Kanye closed his Glow in the Dark tour with it, a great encore for a great show. I'd somehow forgotten what an awesome track it is, so now it's perpetually in my head as penance. Can we just take a moment to give "Move On Up" props for being a really frickin' awesome song and being sampled/reused in brilliant ways? Thanks. It's not just the Curtis Mayfield sampling that's keeping me listening, though. There's also a great one-two punch of "Drive Slow," a semi-biographic track with a beautiful sax line, followed by "My Way Home," a short, sad Common feature where Kanye doesn't rap or sing at all. He's still got plenty to say, though. I mean, this is Kanye West. Echoes of the military-gospel sound from "Jesus Walks" come through in the incisive "Crack Music." The oddly creepy ramble of "Addiction" touches on the darker side of fame. There are two cuts of politically-charged "Diamonds from the Sierra Leone," one with a Jay-Z guest spot and one without. Two of the women in Kanye's life get songs in their honor: "Hey Mama" for his late mother and "Roses" for his grandmother. It's a very different sound from "College Dropout," but what he says is never boring.

On a semi-related note, I heard Grandmaster Flash do an interview and a brief DJ set on the radio this afternoon. What did you do for lunch today?

The Raconteurs - "Broken Boy Soldiers"
I'd written about "Consolers of the Lonely" shortly after it's release, but I've found myself enjoying the band's first album even more than the new one. Maybe that's due to near constant-listening, but if I'm at the point of wanting to go through the album almost every day, then there must be something good about it. I found that the rock/blues blending on "Consolers" was interesting if a little rough in places, mostly when they tried to switch styles mid-song. "Broken Boy Soldiers" keeps the genres more separate, and I think it's much more obvious whether Jack White or Bredan Benson penned each tune. But the differences keep things fresh instead of inconsistent. And as with "Consolers," the songs are so damn catchy. 

Jay-Z - "American Gangster"
I'll admit it: I got really sick of Hova's whole "I'm retiring/I'm not retiring" game. I'd actually never heard a whole album of his before, just singles (although I've been meaning to acquire The Black Album, and Dangermouse's mash-up doesn't really count in this case). So when I heard he was putting out another album, I didn't pay much attention. And when Pitchfork put it at a whopping #13 on their 50 Best Albums of 2007 list, I was skeptical. And then I heard "Roc Boys." And then I kind of had to hear everything else. It's really good. Production-wise, Diddy took the helm on most of my favorite tracks, plus two gems from the ever-awesome Neptunes. The album is loosely based on the Denzel Washington / Russell Crowe movie of the same name and samples some bits of dialouge, which I guess makes sense given the intertwining of drug culture and dealing in both modern hip-hop and Jay-Z's personal life. He's a fearless man, that's clear from his rhymes. He astonishingly manages to keep most of the lyrics new and interesting, but it was the beats and music that really caught my ear and have kept me hooked. 

The Go! Team - "Thunder Lightning Strike"
I'd had this album on my iTunes for probably two years, but only listened to it recently because of this ingenious video. "Junior Kickstart" remains my favorite track, but the whole thing is full of exuberance and rock-your-face-off-ness. The second half for me is particularly good, and it's really interesting that so many of the songs are instrumental, or have lyrics that are somehow synthed-up and distorted so they're almost indecipherable (best example: "Bottle Rocket"). It's a rare thing to have a band that rocks this hard where the vocalist isn't always the star of the show or the public face of the ensemble. This is one of my favorite albums for work; once someone was by my cube to ask me a question and I was too busy bopping along to hear them. They laughed at me and I wanted to pass my headphones over to her and tell her "Listen to this and just try to sit still!" It's just some seriously fun stuff.

 Let me preface this by saying that my only experience with the White Stripes is "Seven Nation Army." I never really felt the need to listen to them. I'd heard of his side project the Raconteurs, but didn't know what style they played or who else was in it. I think I'd maybe heard one acoustic song of theirs in a friend's room at college. I also exist in a music time warp and very rarely listen to an album within the same year of its release, much less the same week. I heard about the magic trick of keeping their new record "Consolers of the Lonely" so tightly under wraps and then producing the physical album in lightning speed and when they were so positive about them, my curiosity was piqued. Clearly the stars were aligned for me to hear this record. And I liked it quite a lot. 

As a recent convert to country music, I found the blend of rock and blues very appealing. The closing track, "Carolina Drama," is a rambling tragedy of a white trash family from guess where. "Rich Kid Blues" puts its genre right out there with a nice twist of irony and a very catchy riff. Sometimes, particularly in the first few tracks, they will mix it up within a single song, and while that was occasionally disruptive, I applaud the crossing-over attempts. When it works, it really works. And I found myself really trying to listen to the lyrics, again something I don't often get on a first listen. I really like how the writing style matches the music style: sharp, economical, and energetic. Tunes like "Attention" pair a snappy chorus with snappy chords to great effect. A lot of it sounds retro, and strongly reminds me of hits by the Kinks. Very concise and classic. It's a rockin' album, and I bet it would kill live.

In any case, I think one of the best things you can think at the end of an album is, "Man, I want to listen to that again." Which was my reaction. I'll probably have more things to say once I have heard it again, preferably when not sitting at my desk at work...


 

When even I have heard of a classical pianist, you know they must be pretty famous. I recognized not only Mitsuko Uchida's name on the Chicago Symphony calendar, but also her face. I have no idea where or when I read about her, because I know I never heard her perform before. So when a chance came for me to hear her play two Mozart concertos with the CSO, you can imagine I jumped. The program consisted of his concertos in C Major and A Major, with the Divertimento for Strings in D Major and an intermission in between.

She came onstage wearing, I kid you not, what looked like pijamas: gray velveteen pants, a teal tank top and a sheer teal shirt three sizes too big. At one point I even wondered if she was wearing shoes. (She was.) But whatever Ms. Uchida may lack in fashion sense, she more than makes up for in musical style. Her playing has a lightness and delicacy that perfectly fits the Wunderkind's concertos. Even in the solo piano sections and hesitating cadenza melodies, every note had movement. Whisper-fine, but movement nonetheless. The sound filled Symphony Center, but just barely. She pulled out the power and drama on a few chromatic runs, but for the most part the music doesn't require any sort of additional fireworks.

I think Mozart wrote some of the most joyous and elegant classical music. It's so gosh darn pleasant. For anyone looking to begin your journey into the instrumental world, I would highly recommend his orchestral work and concertos as your starting point. There's almost a pop sensibility to his compositions: he found a winning formula and stuck to it. Having a little experience performing Mozart myself, I could hear when the final trills for a cadence were approaching, when the orchestra would come gliding in with the main melody, when the tune would be passed from section to section, and when the modulation was happening. To hear an orchestra of the CSO's caliber performing this music is aural paradise.

That leads me to the additional dimension of Ms. Uchida's performance. She not only soloed, but also conducted the orchestra. Again, having played a concerto before, I do know that every nuance of that piece is so ingrained in a performer's ears, fingers, and mind that they really might be able to play in it their sleep. Knowing the music is one thing. Leading the orchestra is another. It takes intense concentration to put the artistry and personal interpretation into a song as the soloist, and a very different concentration to convey those thoughts to the other musicians onstage as well as the audience.

The moment her hands released the final notes and rebounded off the keyboard, someone immediately cried "Brava!" A three-bow standing ovation followed. Ms. Uchida first stood and spoke to the orchestra. When she turned to acknowledge the applause, her face beamed with sincere thanks. She even hugged the concertmaster, which I have never seen an artist do. She bowed deeply, nodded, and touched her heart. I love when musicians look happy after their performance. It was especially touching tonight since Ms. Uchida seems to me to have a natually sad expression: a thin, long face with downturned mouth and eyes. But after such a brilliant performance, she was all smiles.