Tag Archives: kanye west

#1369: Kanye West – Through the Wire

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I remember ‘Through the Wire’ being a single when it first came around in those halcyon days of 2003. Its music video was playing somewhere, and little notifications popped up covering how Kanye West was in a car accident where he almost died, but didn’t, and had to have his jaw wired shut. Whoever was running those notes made it very clear that he hadn’t passed away, he was very much alive. But eight-year-old me didn’t get the picture. Aaliyah had died a couple years earlier, and the video for ‘More Than a Woman’ came out posthumously. I don’t think I’d got over that and was convinced that ‘Through the Wire’ was that type of deal. But then 2004 came around, videos from The College Dropout were dropping for ‘All Falls Down’, ‘The New Workout Plan’ and others. I slowly but surely became convinced that Kanye West might not have actually died after all. My sister got The College Dropout, either as a gift or by her own actions, and there’s many a memory I have of hearing its music around the house during those days.

So, ‘Through the Wire’. What could I say about it that isn’t covered in its Wikipedia page, really? It was Kanye West’s debut single, properly introducing the world to the man if they hadn’t paid attention to the production credits he’d racked up to that point. It’s the song he initially recorded vocals for with his jaw wired shut while he was recovering from the near-fatal crash he experienced when he had fallen asleep at the wheel of his car. When the song first came around, I didn’t think his voice didn’t sound all that bad considering his situation. It turned out he had just re-recorded the vocal when his jaws were free again. The original recording shows how much he could really only mumble in the state his face was in. So, as he says, he was very much delivering his message through the wires. Plus, it heavily samples Chaka Khan’s ‘Through the Fire’, with Khan’s vocals pitched-up to the maximum, a standard in the “chipmunk soul” West brought to the mainstream during that period. Chaka Khan says she didn’t like what West did to her voice. She also performed her song live alongside him at the VMAs. Who knows how she feels? All I can tell you for certain is that I like it, if it wasn’t clear.

I listened to this song again yesterday, just to gear myself up and gain some thoughts on what I wanted to write. I only just realised that at about 1:40 in the song, whoever’s playing the bass guitar plays a bum note before carrying on. It’s hard not to notice it now. But that miniscule detail can’t detract from the overall result. ‘Through the Wire’ is a classic tale of the phoenix rising from the ashes, with West humorously recounting his experiences of the crash, the aftermath and his experience in the hospital. “The doctor said I had blood clots / But I ain’t Jamaican, man”. I’ve always liked that lyric. It’s simple, but it does the job. I could go through the track line-by-line, but there’s no fun in that. And there are websites available for that purpose anyway. Generally, it’s a track like this that makes me miss how Kanye West used to be. He poked fun at that kind of sentiment in 2016. But in these times, it rings truer than ever. The Life of Pablo was his last album, though, wasn’t it? Can’t remember him releasing anything else afterwards.

#1257: Kanye West ft. GLC & Consequence – Spaceship

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‘Spaceship’ is another song from Kanye West’s The College Dropout that I found myself having to listen to on a frequent basis back in ’04. It’s a story I’ve told in a few of the other songs from the album here: My sister got the album as a present, she played it on the computer, my computer had these nice but unnecessary speakers my uncle set up. The song played; I’d be lying around somewhere nearby. And I think my sister would spontaneously start singing the chorus at random points too. So she was a fan. Big into The College Dropout. Me, it took a few years to catch up. I was well in my long-lasting rock phase. Back in 2004, I was probably listening to The Darkness or something. That was a good year to be a fan of that band.

I caught up, though and got to appreciate ‘Spaceship’ for the song it was/is, which is one listing the struggles of the three performing artists who were sick of working in their dead-end jobs and looking for any kind of escape that would help them to achieve the great things they know their destined for. In the first verse, West details his less-than-pleasant experiences from working at the mall, his disdain for the manager, and his self-belief that the work he was putting into his beat-making would save him in due time. GLC makes clear his own conflict about having to portray a clean-cut image for his peers while also being a man in the streets who usually has to carry a piece for his own protection. Consequence tells a story of one of his co-workers seeing but not recognizing him in a Busta Rhymes music video, and makes note that however soul-sucking his job might be, he’s putting in the grind until things truly take off for him. All of this over a beat made via chopping up Marvin Gaye’s track, ‘Distant Lover’. A hypnotizing bass line, I could listen to that by itself all day.

The track was very, very close to being a single from The College Dropout. Had a music video made for it and everything. But by the time it was to have been released, West was well underway working on what was to be his second album. So plans were shelved. He also didn’t like the video all that much. The general public didn’t know about its existence until 2009, when GLC posted it on his blog. And in 2020, West posted it on his website to commemorate the announce of his fashion brand’s partnership deal with The Gap. He’d made his peace with the video at that point. In another world, with a ‘single’ status, I guess a lot more people would know about the song. But people in the know, know, and we can all take some pride in that. Oh, and a big mention has to go to the vocal harmonies by singer Tony williams during the choruses. Those, from what I remember hearing, were a very last-minute addition. A very, very nice addition, gotta add.

#1164: Kanye West – School Spirit

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Hey, look, it’s another Kanye West song on here. I’m think in the today’s world, we can all come to agree there’s no saving the guy. He’s just needs to lay low for a while. He’s said and done some stuff over the past six/seven years that has definitely skewed the way I used to gauge with him as a listener. You’ll still have those dedicated followers, for sure. Me, I tend to look more from an uninvolved distance. But there was a time when I was excited for a new Kanye project, and things from his part were coming from a relatively good place. And where better to capture that than with a song from his first album. Been 20 years, you know.

The College Dropout came into my sister’s possession back in 2004. Got the feeling it was for her birthday or something. I have memories of just being around the house and hearing it play out loud on the speakers. Some songs stood out more than others to the nine-year-old boy I was, and I can distinctly remember ‘School Spirit’ being one of those, particularly its ‘Alpha step, Omega step…’ hook and the harmonised humming vocals that appear at points during its duration. But it probably wasn’t until a few years later, think about 2008, when I properly listened to it engaged rather than in passing. Had a YouTube channel where I just uploaded albums, and I needed to upload some content, so I got to know The College Dropout a lot more around that time. That YouTube channel doesn’t exist anymore, by the way.

Kanye details his disillusionment with the educational system in this one, pretty much giving the background behind why he became the titular college dropout in the first place. He was going to pursue his own dreams of becoming a world-famous artist, something he felt he couldn’t do in the time he wanted if he was sticking around in college, and leave behind the hangers-on who would still end up in a dead-end job even with the highest level of degree. It’s nothing cynical though, the whole track is delivered with a sense of humour. West flows over an old-school beat made by himself, sampling Aretha Franklin in the process. Franklin didn’t want Kanye swearing over her material, so any curse words that appear in the track are distorted and flipped around, almost to a comical level. Luckily, you can find the uncensored version of it online without much hassle.

#1145: Kanye West ft. Pusha T – Runaway

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September 12th 2010. The day of the 2010 MTV Music Video Awards. I remember that show. Well, not really. I was kind of watching it out of the corner of my eye while I was browsing the Internet for whatever reason. The big news about it was that Kanye West was going to be performing a new song on there, returning to the same ceremony where a year earlier he had interrupted a young Taylor’s Swift acceptance speech and became the most hated man on the planet for a hot minute. Barack Obama called him a jackass, it was a wild time. ‘Runaway’ was the new song, and I have to admit I wasn’t really into it. I thought Kanye was gonna come out rapping and making some huge statement. ‘POWER’ had come out earlier in the year, so I had some expectations. Instead he was on a singing tip that reminded me of 808s & Heartbreak, which I’ve never been the greatest fan of, no matter how influential it might be. Went to school the next day. Friend asked what I thought. I said I didn’t really like it. He said the same. And it was left at that.

So that was my initial feeling on ‘Runaway’. It was one that lasted for maybe a couple months before hearing it properly, in good headphones, amidst the other 12 songs it was accompanied by on Kanye’s brand new album My Beautiful Dark Twisted Fantasy. That album, to me, was a strong return to form. The chopped-up soul beats were back. He was in his rapping bag. All the songs sounded massive. It was such a thrill for 15-year-old me. But ‘Runaway’ was there, looming. With a duration of nine minutes and eight seconds, it was the longest song on there by just over a minute. Had my reservations about it based on those September “feelings”… But from the moment that lone, repeated pinging E note on the piano came in, played 15 times by the way, I found myself captivated by the entire production. As the song continued, I’m sure I wondered if it was even the same song I heard on the TV that September. But it was. And I was entranced, even through its three-minute outro, which I never skip and neither should you, where Kanye’s heavily distorted vocal riffs over the piano hook and string section.

Kanye West essentially explores his shortcomings as a person in the song, particularly when it comes to relationships, knowing that he acts the wrong way too much of the time to be worth the object of affection of his significant other. He acknowledges his less-than-graceful behaviour with a sarcastic toast to the ‘douchebags’, ‘assholes’, ‘scumbags’ and ‘assholes’ who act the same way, leaving his lady with the advice to run away from him and get as much distance as she can between he and her. Kanye’s singing isn’t the problem I initially it was. It’s pitch-corrected, but not as obnoxiously as it was on 808s…, leaving his melodies to sound much more human and personal. Pusha T comes in with a verse to counteract with Kanye’s sections, going further in-depth in the hedonism that’s the cause of these selfish actions. The whole thing’s a masterpiece, I don’t know what else to say. The song has an actual music video, which itself was taken from the Runaway short film made to accompany the album, but it cuts the song down by quite a bit. It’s down there if you want to watch, makes for a nice visual. The longer album cut is always the way to go.

#1098: Kanye West ft. Ty Dolla $ign – Real Friends

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So it actually has been eight years since Kanye West initially released The Life of Pablo, before making some fixes to the mixes some of the songs, adding a few new ones too, and then released it again a few months after. That was a hectic time to be a Kanye West fan. When is it not, really? This new record that eventually became TLOP was constantly being renovated and shaped up even in the lead up to its unveiling. It could have been released in 2014 as So Help Me God, which fans will still say is West’s best unused album title. It was going to be called SWISH for the longest time, up until a week before the release West announced on Twitter that it would indeed be named The Life of Pablo. Think there was meant to be a prize for any Twitter use who guessed what the “new” title would be after West announced that “TLOP” were the initials of the album’s official name. Wonder if that person ever got their prize.

Yeah, I was there when it was all happening. Was a hectic time. I was in my year out of university doing work at Songlines magazine, August 2015 – July 2016. A month before that February ’16 release of Pablo, even though I can’t remember this specific part myself but it’s what Wikipedia says, Kim Kardashian announced that the GOOD Fridays weekly music release that West had previously utilised in the run up to Dark Twisted Fantasy was back. The song that marked its return was today’s subject, ‘Real Friends’. Now, I have a vivid memory of loading up the exclusive page dedicated to the song on Kanye’s official website and playing it at least three times on repeat. Thought it was the best thing he’d done since anything on Dark Fantasy. Yeezus has never done much for me. And the standalone singles from 2014/15 were okay. This really felt like the Kanye return I had been waiting for for years.

This is a sad, sad song. The sample loop that continues throughout set the icy tone from the very beginning, but the sense of desolation is only reinforced by Kanye’s lyrics concerning his own failures in being a less than awesome friend and family relative, something that fans were quick to jump on when thinking about great being in the family sounded when exploring that theme on ‘Family Business’, and his inability to trust anyone he may come across knowing that at any moment they could take advantage of him. Singer Ty Dolla Sign comes in in various places, lending his heartfelt vocals to the proceedings, particularly to the choruses in which West jokingly states that he deserves all the hate and bad treatment he gets because of… well, everything he’s done that gets people talking. This and ‘FML’, a track that I would have written about too had the stars aligned, are the one-two punch of sincerity in what was the tail-end of the original album before the “bonus” tracks were added on (“Wolves” was meant to be the true album closer, but things changed), and both hit me right in the gut every time I hear them both. Kanye would get sad on records that followed, but there’s something about them that can truly make a heart sink on one of those days.