Album Review — Kanye West’s ‘Jesus Is King’

What can I say about Kanye West that you haven’t heard from somebody else already? There isn’t, so let’s just cut to the chase: his newest album Jesus Is King. With this new album Kanye goes gospel and has said that he’s done with secular music and he’s not swearing in it either (there is zero cussing in this album). Yeah I’m sure this will stick, just like when he dropped Yhandi like he said he would last year. Nevertheless, let’s roll with it. Jesus Is King opens with “Every Hour,” which prominently features the Sunday Service Choir. It’s a passionate and uplifting performance from the group and while as a standalone song it doesn’t really work, it does work great as an album opener. So Kanye does establish the right mood for a gospel album.

“Selah” is Kanye’s fiery proclamation of being a born-again Christian and him giving himself over to Christ. And this is great for Kanye. But as for the song: it feels like it never really leaves first gear. It has an epic opening with the pounding drums and the Sunday Service Choir singing “hallelujah” in the background. It truly makes the song feel like something big. But nothing big ever really comes. The bars range from decent to mediocre and puzzling (I have no clue what he means when he raps “Everybody wanted Yhandi/Then Jesus Christ did the laundry”). It’s basically a half-finished song, which is a common theme on this album.

This continues on “Follow God.” I love the sampling of “Can You Lose By Following God” by Whole Truth, continuing Kanye’s excellent knack at picking samples. The beat is catchy, as well as Kanye’s flow. But the lyrics go nowhere, as it’s just Kanye rapping about talking with his dad and then really nothing after it. “Closed on Sunday” may be Kanye’s most cringe-inducing track of all-time, as the writing reaches an all-time low for him: “You my Chick-Fil-A/You’re my number one with the lemonade.” This is Luke Bryan-level rapping bad. Not to mention the production is weak and too minimalist. And why is he weirdly shouting out Chick-Fil-A at the end? Any other restaurant and I would say Kanye was being paid to say it, but I don’t think Chick-Fil-A needs any advertising to convince people to eat there. It’s delicious and it sells itself!

“On God” is another short song, but this one actually feels finished. But the lyrics are so contradicting. On one hand, West is rapping about being so thankful for God and then on the other he reiterates being the best artist of all-time, complains about how much he pays in taxes and then tries to justify why he charges so much money for his merchandise (for $150 you too can have a Kanye/Jesus sweater!). In the words of his dad on “Follow God,” that ain’t Christ-like. Hence why so many people like myself are 100% skeptical of the “new Kanye.” Thankfully it finally gets better on “Everything He Needs.” Ty Dolla $ign is smooth as silk on the hook, as he usually is on features. The harmonies of West, Ty and Ant Clemons sound great and give the song an appropriate uplifting feel to a song about being thankful for everything you have. It’s a solid and complete track, which is an accomplishment on this album.

Clemons has another great feature on “Water,” as he sounds better over West’s production than West himself. The same can be said of the choir. But West’s bars are lazy and short and he doesn’t even feel necessary on the song. So you’re left with a good hook, production and an unbaked overall concept. Again. “God Is” is one of the best songs on the album and shows Kanye at his best. It’s a genuinely inspiring gospel song where Kanye brings a lot of passion with his vocals. If he could have brought this level of energy and focus over the entire album, it would have been excellent just like this song. And it once again is a great sampling choice, this time “God Is” by James Cleveland and the Southern California Community Choir.

“Hands On” is a rambling and quite frankly boring song where Kanye has the most basic and monotone flow. And the song goes on and on with Kanye rapping about being judged by Christians and asking for prayers. I’m not really sure Kanye was going with this song, but with what have it goes nowhere. It’s beating a dead horse, but this is what happens when you rush projects.

“Use This Gospel” is another big highlight on the album and that’s a big thanks to the excellent features. First is the reunion of Clipse, as both Pusha T and his brother No Malice kill their verses. It’s great to hear this duo together on a song again, especially No Malice, who left behind music to become a preacher and is the perfect feature for the album. Then Kenny G of all people comes at the end of the song and blows you away with a satisfyingly smooth saxophone solo. Again, when Kanye is focused it’s incredible how he can bring together several different elements and make them sound amazing.

Of course the album doesn’t end on this great note, but instead a mediocre interlude (calling it a song feels insulting) in “Jesus is Lord.” It’s completely pointless, but if you’ve listened to multiple Kanye projects and the rest of this album, you’re not surprised.

Kanye West’s Jesus Is King shows glimpses of being a great album. But ultimately Kanye didn’t spend enough time and focus on it to bring it together. So you’re left with several unfinished songs, ideas and largely great production that is wasted. There are enough good to great songs and moments on the album that make it worth checking out. But there’s also plenty of down moments that balances this album to overall being just bland and okay.

Grade: 5/10

Album Review — Freddie Gibbs & Madlib’s ‘Bandana’

The last time Freddie Gibbs and Madlib teamed up for an album, they delivered a stone-cold classic in Piñata. So expectations were sky high for Bandana and while it’s not quite as great as Piñata, it comes pretty damn close. From front to back this album is full of bangers, bars and beats that constantly leave you coming back for more.

Opening tracks “Obrigado” and “Freestyle Shit” establish the humor and grittiness that you’re accustomed to hearing in a Gibbs album. “Half Manne Half Cocaine” is a bit of a departure from the usual for Gibbs and Madlib with its heavily trap influenced sound, but you wouldn’t know it with Gibbs’ flawless flow over the beat.

“Crime Pays” is more in line from what you expect from the duo and it’s definitely one of the standouts on the album. Everything about this track is smooth and it’s one of many moments on the album that shows how Gibbs just continues to improve both his technical rapping skills and his bars. “Massage Seats” is a fun banger that features some of my favorite bars (“Golden State, the roster, my garage deep” and “Big baller, father, you my son like Lonzo”).

When looking at the track list, “Palmolive” immediately stands out with its A-list features of Pusha T and Killer Mike. And it goes just as hard you expect with these three on a song, with a perfectly nasty sound. But I would be remiss if I didn’t say there are two disappointments with this song: Freddie’s unfortunate anti-vax bar and Killer Mike not getting a verse. Pusha T however absolutely destroys his verse and it continues a year in which he’s delivered some of the best features in hip hop. I also love the stand-up interlude at the end, as it’s classic Gibbs humor.

“Fake Names” goes into the dark and gritty details of Gibbs’ experience of dealing cocaine and the relationships and the greed of the parties involved. While it’s most definitely a banger, Gibbs also does an excellent job displaying his storytelling chops with all of the intricacies the songs covers. It’s Gibbs at this best at what he raps about best. “Flat Tummy Tea” is another fun song and it sounds so much better within the album compared to when it was first released as a standalone single.

“Situations” is my favorite of the album and it’s because of the smooth, yet frenetic delivery from Gibbs and the grimy production from Madlib. Everything just goes together so well on this track and you just get slapped in the face with bars (my favorite being “Motherfuck Jeff Sessions, I’m sellin’ dope with a weapon”). Gibbs comes through with another great interlude on this song too, this time the funny and insightful cussing pastor.

“Giannis” sees Gibbs dropping great bars about everything, from watching Dora the Explorer with his daughter and then getting right back to making dope to calling out rappers getting screwed on 360 deals. Anderson .Paak comes through with a really nice feature and fits over the production well with his delivery. “Practice” is one of the most introspective songs Gibbs has ever done, as it examines how he treats his loved ones and having to change his ways for them. It’s really nice to see and further proof to those who unfairly dismiss him as just a coke bar rapper.

“Cataracts” is an awesome banger and another standout on the album. “I’m chillin’ in my old school, Chevy thang, Cadillac/Smokin’ on that good, good/Good for my cataracts” is one of the best bars on the album, with its catchy wordplay and flawless delivery from Gibbs. “Gat Damn” is one of the more overlooked tracks, but it’s grown on me with more listens and I’m enjoying it more. I think a lot of people will overlook that the song revolves around Gibbs reflecting on his time in jail for being falsely accused of rape and gets more introspective than you realize. It’s also a different flow from a lot of the album and showcases yet another side of Gibbs’ abilities.

“Education” is a song I feel I can’t really do justice because it not only covers so many important topics, but the amount of amazing lyricism from Yasiin Bey, Black Thought and Gibbs is something you just have to hear for yourself. To me this is the type of song you play for people who thumb their nose down on hip hop and say hip hop artists can’t pen serious lyrics like other genres.

The album’s closing song “Soul Right” is Gibbs reflecting on his lifestyle and his choices, and while he realizes he’s made mistakes, he still hopes for forgiveness from God and to get his soul right with him. The dichotomy of the immorality of his actions and the justification of them in the name of injustice and making ends meet is explored throughout the album and so it’s perfect that it ends with him striving for an inner peace after years of grinding to where he’s at now.

Once again Freddie Gibbs and Madlib deliver big, as Bandana is probably not only the best album you’ll hear in hip hop this year, but one of the best albums you’ll hear out of all genres.

Grade: 10/10