The producer, rapper, creative director, CEO and now, devout follower of Christianity. Kanye West has earned himself a lot of titles. However, the titles given to him by the crowds have leaned toward “crazy,” “arrogant,” and “a**hole.” It is hard to solely critique a West album as an individual entity without bringing up who he is, and the current world around us as a whole. He has brought a sense of global awareness to every single one of his albums. Right from the jump, he told us, “… he wasn’t talking ‘bout coke and birds/it was more like spoken word, ‘cept he’s really puttin’ it down.” Ever since his first song as a solo rapper, “Through the Wire,” West has preached not only about the plight of the black community, but also incorporated the very same “soul” that can be felt in gospel music. Beginning in 2001, he became known as a producer by “chopping up” soul tracks and adding modern drums to it. Therefore, his 12th studio album, “Jesus Is King,” is the triumphant conclusion to the creative-genius arc that is West.
In the early 2000s, the wide-eyed West was trying to break away from the label as just a producer. A near-tragic car accident in 2003 gave him the rude awakening he needed to release his first project, “The College Dropout.” The hit song “Jesus Walks” resonated through America: “They say you can rap about anything except for Jesus/that means guns, sex, lies, videotape, but if I talk about God my record won’t get played, huh?” In 2005, his second solo album “Late Registration,” felt like jazz collided with early 2000s New York City rap, with the theme of pulling oneself out of a tough situation by following your dreams in order to earn yourself a living. Some notable bars: “here’s the conflict/It’s in a black person soul to rock that gold/Spend your whole life trying to get that ice/Bought a Polo rugby, it looks so nice/How can somethin’ so wrong make me feel so right?” and “Where I’m from the dope boys is the rock stars/But they can’t cop cars without seeing cop cars/I guess they want us all behind bars — I know it.” West built the beginning of his arc with a foundation of viewing the oppression brought upon his community in a different light. He saw what was happening in Chicago and reacted by illustrating that personal accountability will springboard one out of a rough environment, and that nobody will do it for them. And yet, in 2019, America is still confused as to why West is Republican. The middle of his arc is the one he is most known for. The albums “My Beautiful Dark Twisted Fantasy” in 2010 and “Yeezus” in 2013 not only were considered his magnum opuses, but included his most arrogant, outlandish and secular themes. Coming off his infamous bash of Taylor Swift at the VMA’s, MBDTF’s album cover is literally West fornicating with a demonic-woman, and “Yeezus” packs a track called “I am a God.” This is the turning point into the second act of his career. He has embraced his role as a global figure whose power is immense. At the same time, he has begun to collaborate with designer Louis Vuitton and begin his own brand, Yeezy. He felt he was on top of the rap game, and it made sense why: he topped 50 Cent’s “Curtis with Graduation” in 2007, the likes of Kendrick Lamar, Drake, and J.Cole had not yet hit the main scene, and Jay-Z released “The Blueprint 3” in 2009 which meant he was nearing his end. The only other notable name of the early 2010s was Atlanta rapper Lil Wayne. No one was reaching the level of fame that West reached. This “Power” that he felt took a toll on his mental health, which leads us to the third act of West’s career.
In 2016, “The Life of Pablo” was West’s most recognizable album, as it was a collection of all his musical styles, and it also was a symbol for the minimalism of the Yeezy brand. During the middle of the “Saint Pablo” tour in 2016, he cancelled the remaining 20 shows due to his mental condition. He was in debt to the IRS and for the first time in his career, he was forced to face his own personality flaws head on. At this time he now has a wife and two kids. “Which/One” graced the cover of “The Life of Pablo,” implying that at this point in his career, he must make the decision of which path he must take in life. The life of a rock star with a sex addiction, mentioned on Beats 1, or the life of a family man? It all came pouring out on his eighth album, “Ye.” The title “Ye” refers to the word “you” as the most used word in the Bible. “Ye” is the stripped down and raw battle West has had with his diagnosis of Bipolar disorder. On this album he made it clear which path he was taking: the one where his wife and kids were included. He moved his studio to Wyoming and he plans on making clothing and shoes on his 500+ acre land. In 2019, coming full circle in more ways than one, West’s “Sunday Service” brings us back to the beginning of what put him on a pedestal as an innovative producer. He utilizes the human voice and brings his traveling choir along with him across the country singing about Christianity. In his interview with David Letterman, he says how every week his daughter is excited to go to church. West’s family is the most important thing in his life. His mother and grandmother were themes on “The College Dropout” and “808’s and Heartbreaks.” He went from wide-eyed producer and overlooked rapper, to an arrogant, egotistical “maniac,” to a 42-year-old with his priorities where he wants them to be, no matter what the media says.
In order to listen to “Jesus is King,” and a lot of West’s work for that matter, you must separate the art from the artist. Whatever grudge or barrier that is holding one back from listening is completely understandable. In my opinion, as his career-arc comes to an end, this project is the current state of West. His main goals seem to be on his business and his “Christian innovation” endeavor, as represented by Sunday Service. “Jesus is King” is not as much a gospel album as it is an interpretation of West’s current stance with his faith. Yes, he made it about himself. Some notable tracks that will make any fan of hip-hop feel inspired: “On God,” “Everything We Need,” “Follow God” and “God Is.” Some tracks that we do not need: “Closed on Sunday,” “Hands on,” “Water.” Overall, “Jesus is King” is an acquired taste for sure. It is intentionally minimalistic, at times it feels like a draft that was submitted too early. West is clearly doing as he pleases without any affirmation from the crowds. But what else would one expect from the creative genius?
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