Whether it was putting Jay-Z and Talib Kweli on the same song (back when that was as weird as Raekwon and Justin Bieber), celebrating his contradictions (“first nigga with a Benz and a backpack”), calling out the president on live television, or idiotically racing up to the stage to explain why Beyonce’s better than Taylor Swift, Kanye West’s pop provocateur tendencies have always been as important as the music itself. He’s just become more of a dick about it.
Or rather, he was more of a dick about it. West’s recent works—as in really recent–have been music events first and pop cultural moments second, and that’s a good thing. But that doesn’t mean there aren’t conceptual edges to what he’s doing, he just isn’t footnoting the shit out of it to make sure audiences know it’s a big, thumping statement. So, he drops the video for “Power,” an attempt at art with a capital “A” and one that wrestles with age-old themes of vulnerability and hubris, right after an episode of Jersey Shore but doesn’t harp on that part of it at all really.
And now, he constructs a funhouse mirror version of a DJ Khaled posse cut called “Monster” wherein every aspect of the song is funneled into making Nicki Minaj sound as exhilarating as possible. Then, a few days later, he pairs Raekwon with Justin Bieber on a remix of Bieber’s “Runaway Love.” Both songs are very good and full of musical and lyrical details to obsess over, but they also don’t topple over from the conceptual context West stuck on top them–and at this point in West’s career, that’s pretty novel.
“Monster” works, first and foremost, as a posse cut–at least as its understood in 2010—but one that slowly unravels itself until it exists strictly as a platform for the oft-debated (is she great or is she terrible?) Nicki Minaj to really rap her ass off. Kanye’s a genius at this juggling of disparate guests, and it isn’t just that he put Minaj next to Rick Ross and Jay-Z, but that Minaj gets the final third of the song to do her thing, so that she simply can’t be ignored or laughed off.
Then there’s this “Runaway Love” remix, which sounds like a joke song uploaded to the blogs on April Fool’s day (Justin Bieber – “Runaway Love Remix” featuring Kanye West and Raekwon) but is indeed, very, very real. Part of the joy of this song is indeed, that it exists, but that fun would wear off in only a few moments. Kanye’s brilliance here is that he made a song out of joke he made on Twitter, remixing Bieber’s “Runaway Love” the way a rap producer in the 90s would’ve remixed it–by turning it into a new song–and then finding some strange balance between a hard-edged hip-hop track and um, a hard-edged hip-hop track that has a good and proper place for Justin Bieber’s teenage yelp.
It helps that Bieber’s actually a talent. He’s got a really interesting, specific voice that genuinely sounds great, and it’s just fit for remixing (ask Baltimore’s ). On “Runaway Love” Kanye employs the kid’s plaintive chirp the way on one of those numerous classic house remixes: as a strangely isolated thing of perfection in an otherwise jagged soundscape. Also, by surrounding the shards of the original with edgy, straight-rapping, it feels like Biggie on the “Real Love” remix or something: a jarring, odd but effortless fusion of sounds that shouldn’t have much to do with one another but hey, kinda work!
The best thing about “Monster” and “Runaway Love Remix” though, has to do with the fact that neither of these songs have an intended audience. They’re both the “little bit of everything for everybody,” market-researched singles as of late, reduced to absurdity. Every element of “Monster” moves towards Minaj, which will excite a certain fanbase, but utterly baffle a far more significant group of listeners. And really, who is the Bieber remix “for”? Kanye and Raekwon share some fans sure, and West and Bieber wander around on the same increasingly desiccated pop landscape, but the song seems designed to confound listeners from both the Raekwon and Bieber camp and perhaps ideally, expose fans of one to the other, and move every listener out of their comfort zone.
*you can also read this post on Tumblr now, golly!
At some point in the past bunch of years, Raekwon, and company bought into the idea of 90s New York hip-hop pushed by weren’t-even-there nostalgics and not you know, what it actually sounded like. Because rap got kinda fruity, New York rap was been retrofitted into being nothing but hard-ass aggression and tough-talk. No knowledge. No insight. Just pithy, gritty storytelling. Timbs and 40s. “Cracks and weed”. Sprinkle in some Kung-Fu samples, some Killer clips and resurrect Papa Wu and you’re there. Not that all those things weren’t a part of Cuban Linx’s success, but that’s not all there was.
So, Juicy J’s recently released two modest-budget, DV videos with an eye for the details of the streets. Swelling with super-specific hometown pride, “North Memphis Like Me” bubbles over with the character of Juicy’s birthplace–this is hyper-regionality; the kind that can’t be turned into a movement by some A & Rs.
Man, it’s 2009 and between months and months of hype and then the imminent album leak, nothing’s interesting and it’s all boring before the first album cut even finishes. Who has time for entire songs? And who has time for entire songs reviews? Here’s reviews of parts of songs, mostly good parts. Maybe a recurring feature here, we’ll see…
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