Pop Supremacy

Elite is not a four letter word.



It’s been a fun summer, Kids. But, sadly, it’s finally time for the bonanza of free Mr. Reynolds throwbacks to come to an end. I hope you’ve enjoyed my little bit of self-indulgent nostalgia over the past few months.

For the final installment, I’ve decide to give you something extra special - an MC.


That’s right, this week’s cut features not just a hot instrumental from my developmental days, but also one of my favorite rappers to work with at that time - M.L.  A supremely talented kid (I think he was 17 or 18 when we recorded this tune) from NY’s Lower East Side, M.L. had an incredible skill set, a great look, and bar after bar of solid rhymes. Let the fact that M.L. never ‘made it’ serve as a warning to all just how hard it really is to gain acceptance (and cash flow) in this business.

We tracked “Rotten Apple” back in the days of ‘free time’ at Quad studios. Quad had, for many years, made its studios available to staff when nothing paying was booked. It was a great tradeoff - we interned for free (or engineered for very little money) and got to record our own stuff in rooms which Alicia Keys, Paul McCartney, Tupac and even Michael Jackson (among MANY others) had graced with their presence. Rad.

Some of my fondest memories involve late nights on free time, learning how to use the mics, gear, consoles. Blasting my nascent ‘beats’ on gigantic speakers at volumes that have surely done permanent damage to my cochlear region. Bringing in artists, collaborators, and friends to experiment and record all night, only emerging from the cavernous lab when the rest of the world was heading to work. It was a truly magical time in my development as a producer and a human being. And I’m sure there were no drugs or alcohol involved in these evenings. It was all work. Though my memory is a little fuzzy…

This time period was also when I had first started working as Music Director for Robert ‘LB9000’ Dorsey’s production company, Brought To Life Music. M.L. was an artist LB had been nurturing for some time (they had probably two albums worth of really outstanding material) and it was exciting to finally get a crack at working with M.L. on one of my own tracks. This was one of the first times in my life where I truly felt like a ‘professional’ producer. Granted, LB was running the show (as he is wont to do, a fact to which anyone who knows him can attest), but I felt a great sense of accomplishment and more than a little excitement at hearing my track brought to life by such a talented artist and his producer. Co-piloting LB’s production and engineering, this was one of the first times I really got to dive in and learn the art of coaching vocals, really producing a song, and it was the beginning of the development of a set of skills that has proved invaluable to me over the years. I hate to break it to you, but if you just ‘make beats,’ you’re not a producer. Please stop referring to yourself as such.

Sadly, free time began to dwindle as business slowed. Which is understandable until you think about it for even half a second - the studios were more empty than ever, yet the staff wasn’t allowed to make use of them. Huh? Even more sadly, Quad, an historic music business institution, barely exists anymore. What used to be 5 individual floors of studios with gorgeous full live rooms and impeccably equipped control rooms has become 1 shared floor of a digital protools room with a vocal booth. Times they have a-changed.

Perhaps the struggles experienced by Quad, the music industry, and myself in subsequent years are what make me view this period through the rosiest of tinted glasses, but I’m not so sure. It was a pretty remarkable time in my life. I was too young and stupid to know what a terrible business I was getting into. The myths of bygone days still lived strong in my mind and I may have been at my happiest when I had no idea just how far the music business had fallen from the heady days I had once read and dreamed about.

Self-indulgent nostalgia, indeed. Thanks, Kids.

People Are Terrible Human Beings

For the second time in a week, I found an abandoned Pit Bull in the courtyard of my building when I got home at midnight last night. Because no public service picks up at that hour, apparently, I dialed 911. I was told to call the humane society (whom I had already tried and where no one picked up). After much wrangling, I got the 911 operator to contact the Humane Society and was told they’d be on their way (though without any kind of ETA).

An hour and a half later… I call back. Trying to get an ETA. I’m put through to the local police department where I’m told that the Humane Society would call me back shortly with an ETA. 45 minutes later, nothing. I call back and am told that they called the ‘on-call’ guy, but he had never called back. Wonderful. Would have been useful information TWO HOURS AGO. But thanks. I really need to go get my drivers’ license again…

At this point, I lose it. This poor pit mix was just adorable and loving. Wanted to snuggle me and lick my face all night. He was emaciated beyond belief, with an unfathomably narrow stomach and prominent ribs. And I can’t take him home because 1) I’m extremely allergic, 2) I have a (hypoallergenic) schnauzer at home that does NOT do well with other dogs and 3) my building doesn’t allow dogs over 25 lbs. So I start cursing out the officer on the phone. Not my finest moment, I’ll admit, but I was at the end of my rope. And, in my defense, I acknowledged to the officer mid-rant that this was not her fault and she didn’t deserve my wrath.

I finally get a call back from the supervisor on duty who tells me they’re going to send a police car. She can’t leave it at this, though and attempts to lecture me on public service - how it’s not anybody’s responsibility to do anything and the humane society is not the police’s purview. She also took the time to point out that I took the problem upon myself by putting a leash (my belt, through the harness he had on) on the dog and sitting with him. Right. Because I was the only one acting like a responsible human being in this situation.

Finally a squad car comes and picks him up to bring him to the humane society. At this point I’m absolutely torn up. I know the humane society, despite the name, is a death sentence for dogs, especially pits. But the alternative of letting him run loose, fending for himself seemed even worse given his extremely unhealthy condition (on top of being gaunt he smelled like urine, had bloodshot eyes. Poor guy…).

So I’ve spent my morning (and now early afternoon) trying to contact no-kill shelters and pit bull rescues to let them know where the dog is and to see how we can get him taken care of.

Aside from finding many disconnected numbers and not getting a response from many of those whom I could contact, I got one particularly horrifying response to an email I had sent.

You already surrendered him (bad idea)…he will be euthanized now. That place is a hell hole.”

That’s Dina @ The Polished Pit Bull. Ostensibly a Pit Bull rescue organization who can be reached at ThePolishedPitBull@gmail.com
Thanks, Dina. Appreciate all your professional and empathetic advice in this situation. Good to know you’re working so hard to help give Pits a good home.
I’m still trying to find a way to help this poor little guy, but it’s not looking good. If there’s anything you can do to help, please email me at info@themrreynolds.com or just shoot me a Tweet @THEmrReynolds.
I know there are good people in the world, and that most people are mostly good. But these past 12 hours have a gone a long way toward reinforcing my nagging suspicion that people are terrible fucking human beings. 



After a week off, we rejoin our intrepid young producer as he’s cutting up some yacht rock to reshape in the form of hip hop. Take a little 808, some newly sampled breakbeat drums, mix, lather, rinse, repeat and presto -


As always, enjoy and make it your own. Always love hearing your new takes on my old cuts. Wondering what this is all about? Click here.

You’re welcome.



I’m sure you’ve all noticed I’ve been neglecting you here and on Twitter lately. My deepest apologies. However, a man has to eat and if he’s going to eat he has to fish and if he’s going to fish he needs to first build himself a…what was I talking about?

Anyway, I’m busy. I know, I know - we’re all busy. Granted. So that’s not really an excuse no matter how hectic things get. Which is why I’ve stayed on top of these Throwback Thursday posts and your beloved Top Ten Teardown on Twitter. Because I care for your well being.

So, without further adieu, I give you this week’s TBT offering -

I Love You So

Anyone who can name the sample gets a free smile from me. Anyone confused as to what these posts are all about can read more here. Anyone confused as to how they ended up here, I can’t help you with that. Just be glad you did.



No time for a weighty or witty post this week. Just a dirty old MPC track from my early days, dug up special just for you.

Ooh Yeah




This week’s cut is one of my few forays into what most people would call a more ‘Southern’ sound of hip hop. Not really my cup of tea, but I’ve always been of the opinion that there is much knowledge to be gleaned from working on art (‘art?’) you don’t personally enjoy. It broadens the mind and develops skills that would otherwise atrophy in the unexplored recesses of the brain.

Plus - it’s just fun. For all its general awfulness, Trap Muzik (nee Dirty South, nee West Coast) is a LOT OF FUN to make. It’s easy and satisfying. Five minutes of work and you’ve got yourself a track big enough to annoy your neighbors and impress your friends.

Unlike most hip hop from south of the Mason-Dixon, though, this contains a sample. Three 6 Mafia was hot at the time. Sue me. At any rate, our reinterpretation this week comes from the incomparable Burt Bacharach. Take a listen to Dionne Warwick's fabulous rendition of “I Say A Little Prayer" and you’ll have no problem recognizing the snippet I grabbed.

Hmm..There’s something I’m forgetting. Wait. Don’t tell me. I’ll…oh right. Free Download.


Enjoy, Kids. Rock it. Sing over it. Rap over it. Do what you will. It’s all yours. Don’t believe me? Check out all the Throwback Thursday rules & regulations here.

The most frustrating thing about being a D-List producer is listening to A-List producers speak and realizing half of them have no idea what they’re talking about.

—Mr. Reynolds



I have only one thing to say about this week’s installment -


OK, maybe a few more words on the subject. But really, who needs anything more than drums and horns? Not this guy.

And where better to find horns than jazz records? OK - funk records. But you get my point. These particular brassy bits come from Stan Kenton's arrangement of 'Stairway To The Stars' - a lovely little tune that appears on his 'Adventures In Jazz' album.

Here’s how I used it - “SWING

Take it. Bump it. Make it your own.

As always, you can get the full rundown of the Throwback Thursday rules & regulations here.

Enjoy, Kids!


I’ve told you I have no desire to be a music journalist in any way, shape or form. I’m a musician. I like making music, not writing about it. Leave the analysis for those with more time to dedicate to it. I shouldn’t be spending my hours writing about other people’s music when I could be making more of my own.

And there’s the slippery slope of sour grapes. Considering I can’t stand most of the stuff I hear and comment on and I’m generally talking about people who have been far more successful than I, it’s tough to avoid the perception that I’m bitter. I AM bitter, but I do my best not to let that cloud my normally infallible judgement. 

So I really should just leave this whole music commentary thing alone. Leave it to the professionals with fine arts degrees who are being compensated for their time spent penning musical opinions. I should really just stay in my cave & let my work do the talking.

But apparently I can’t help myself.

It appears the fate of hip hop hangs in the balance in 2013. Apostles of Yeezus are set to square off against beholders of the Holy Grail in an apocalyptic battle that will decide the future of a genre. Or something like that.

Maybe it’s not that serious. But Kanye West's absurdly titled Yeezus & Jay-Z's equally presumptive Magna Carta Holy Grail have each provoked wildly passionate and often diametrically opposed emotions. There have been positive & negative outbursts for both, but Kanye does appear to be winning in the minds of critics and fans alike. Though it’s worth noting that, as I write this, MCHG has only been out for two weeks (less if you don’t own a Samsung phone or didn’t feel like having every action monitored by yet another giant conglomerate…).

Naturally I feel it is my duty to give the world proper perspective on this kerfuffle. Despite my misgivings about dabbling in music journalism, I am compelled to use my god-given ability as the Arbiter of Good Taste to let you know on which side you should fall in this epic debate. That and I love hearing myself talk. Or reading my own words, as the case may be.

So where do we begin? Music? Lyrics? Concepts? There are few indulgences I enjoy more than sitting in the studio late at night, after the session has finished, talking about music. Or, shall we say, engaging in spirited debate about music. In those situations I could go on and on for hours, often to the chagrin of whoever happens to be on the receiving end of my pontification. But, considering I’ve droned on quite a bit already without actually analyzing either record, let’s keep this to two categories - Music, where we’ll dig into the tracks & the skill-levels of the emcees, and Message, where we’ll try to figure out what these guys are attempting to say to the world. I’ll do my best to trade in brevity. I will surely fail.


We’ll start with a little note. I’m failing at the brevity bit already.

Obviously Jay-Z is not a ‘producer’ in the sense that Kanye is. You’ll never catch Sean Carter behind an MPC. But Jay-Z controls his records, shapes them himself - so he deserves as much credit & blame for his product as Kanye does for his. And before the Yeezers (that’s what you call Kanye fans, right?) come after me - yes, Kanye is a more talented musician. Jay-Z can’t make a track and therefore will always be inferior in terms of overall talent. Everybody on the same page? Good. Now that we’ve got that out of the way…



I don’t need to tell you who is Punk and who is Polish in this little analogy. Though Yeezy has done a much better job with his tag than Jay has with his. And Yeezus shows a lot more Polish than people give it credit for, while there is absolutely zero Punk in MCHG.

You have no idea how much it pains me to admit this.

But it’s true. Musically, Kanye’s record ticks a lot of the boxes. It is an ALBUM. There is continuity and cohesion. It is adventurous and forward-thinking. Emotional, gritty, engaging. West’s whole soul is in this record. The fact that I don’t particularly like his pompous soul can’t negate that.

Kanye is searching for the future with Yeezus. I don’t know that he gets there, but at least he’s attempting to plunder the farthest reaches of the time-space continuum. And it is that willingness to try new things that makes me forgive the whining voice, the autotuning, the prosaic lyricism. Almighty delusions aside, his experimentation on ‘I Am A God' in particular is the kind of adventure alt-pop dreams are made of. The kind of adventure I'd like to see high-profile artists go on more often.

Yet West still manages to squeeze some quality, dare I say ‘catchy’ hooks and songs into Yeezus, which Jay-Z somehow failed to do on Magna Carta - something viewed as more than a little ‘commercial.’ There is not a single truly memorable tune on MCHG, while I constantly have ‘I Am A God’ or ‘Black Skinhead' or 'Bound 2 (among others) looping in my mind. OK, that’s a lie. There are three hooks from MCHG that stick in my head - ’Holy Grail,’ ‘F.U.T.W.' & 'Crown.’ But none of them are terribly good and two of them are positively terrible.

How did someone with the track record of S dot Carter manage to make an entire album without a single classic? Even Kingdom Come had ‘Show Me What You Got' (it IS a classic. Fuck you). I think there was an attempt for something timeless - sometimes on Holy Grail I felt like I was listening to an updated version of Jay-Z’s catalog. Tracks that seemed to reference the vibes from The Blueprint or Hard Knock Life or The Black Album without achieving any of the timelessness (real word, I swear) exhibited in Jay’s best work. Just give me the real thing, dammit!

Magna Carta Holy Grail is more pleasant to listen to than Yeezus. At times. Especially if you’re a fan of old-school Knock & Thump. The record actually had me rocking until Rick Ross started raping - oops - rapping. And I, personally, could listen to Jay rhyme all day. Kanye’s whiny (or worse, mechanically modulated) voice & often obvious lyrics can drive me up the wall. But while Kanye gives about 1500% (don’t worry, I checked the math) on every track, Jay is barely trying for half his album. He gets sloppy, less creative, fails to really dig in or seem to give a crap in general. 

Or worse, he tries too hard. Jay-Z should really not be saying words like ‘trill’ or ‘twerk’ (though we’ll give him a pass on ‘twerk’ since he’s using it to mock Miley Cyrus). It sounds like your creepy uncle trying to be cool. There’s a certain desperation for Jay to keep himself current that is the only real cohesive thread throughout the record.

And the record is current. But it will be dated in a couple of years. Aside from some throwback bangers, most of MCHG is really just the best of what mediocrity has to offer in today’s entertainment climate. Beyonce may have offered up a bit of unwitting commentary when repeating ‘cliche’ over & over again in her intro to ‘Part II (On The Run).’ Or maybe she did it wittingly…

If Jay-Z wants to stay relevant then he should embrace who he has become as a leader, not rap over disposable beats using words adults should be embarrassed to say (again, ‘trill?’ Really?). There are far worse things to be than a grown-up mogul.

For all his foibles, at least Kanye sticks to being Kanye. While Jay-Z spends some cuts trying to sound like Drake or some other popular, interchangeable, hack of a young rapper, Kanye is honing and developing his style and voice. We’ll ignore the fact that his style & voice originated as (and still kind of is…) a whiny Jay-Z knockoff.

One of the few tunes where I think Mr. Carter actually puts it all together, embraces who he is and gets a little personal is ‘Jay Z Blue.’ The 'Mommy Dearest' sample may have been a bit over the top but you’re rhyming about your tenuous relationship with fatherhood. I get it. And I thought the Biggie sample was a clever touch and executed well. A link to one of his musical mentors as he’s talking to his daughter. Maybe not the most subtle move ever, but it works.

Speaking of Christopher Wallace, I have mixed feelings about Jay-Z’s post-Black-Album trend of continually referencing old lines of his (half of which were B.I.G. references in the first place) in new songs. I initially thought it a bit lame if not lazy until @k122n posited that it could be Sean Carter The Business driving consumers to his old records. Keeps them current, boosts sales a touch, maybe snags an extra license or two. Kind of like a personal audio hyperlink. It’s an interesting theory and, if correct, I see it as a sign of genius. If you think that’s selling out, you don’t understand the music business.

Nonetheless, most of Magna Carta Holy Grail is a flop of Brobdingnagian proportions. Not that Jay-Z has never put out a questionable record before, but this may be the sign that it’s time for him to move on. Stay in the boardroom. Make deals, guide young minds, maybe executive produce an album here or there. After an incredible run, Sean Carter may have said all he has to say. Musically, at least.

But for the first time in my life, I’m excited to see what Kanye West does next.

Jesus H. Jones. I hate myself right now.


By now the narrative has been well established: Kanye has created a hiphoppunkrockdisestablishmentarianist masterpiece and Jay-Z has released a corporate Trojan Horse designed to mine your data and empty your wallet. Kanye has launched a revolution for the next generation while Jay-Z has lost touch sitting in his ivory tower (ebony tower? Which would be more racist in this context - the actual idiom or the joke? Just pretend I wrote whichever you consider less offensive). To a certain extent, these perceptions ring true, if a little extreme.

But of course things are more nuanced than that. And despite their best efforts to convince us to the contrary, they are both very much the music business establishment. You can play the rebel all you want, Kanye, but you still came through the System. And, though Jay would have you believe MCHG is about the trappings of fame, it is very much a record designed to propel Brand Carter to new heights.

True, there are no riches in record sales anymore but, much like anything Red Bull does, albums are about raising your profile with consumers. If we go too far down that road, however, this becomes a very dry read indeed. If it isn’t already. So we’ll just get back to the art of it all…

It is interesting to see how the two deal with the dichotomy of their different realities. Mr. Carter can’t seem to decide if he’s still the upstart from Reasonable Doubt or a very successful modern business, man. Mr. West’s neuroses have him leaping from battered victim to god-like leader of the untelevised revolution. Personally, I’d like to see Jay-Z embrace the leader he has become and Kanye mature into the leader he thinks he is.

That’s really what grates me most about Kanye West. Sure, it annoys me that he’s so revered despite being a narcissistic twit with a generally mediocre catalog (don’t get me wrong, the hits are masterful), but what I really can’t stand are the delusions of grandeur. I hate that he truly believes he is The Voice of This Generation.

I hate it because it’s true.

I won’t waste space here explaining how terrible human beings are in the modern world (especially when Bob Lefsetz did such a good job of that already) but Kanye IS their voice. Every single one of those (mostly white) kids pumping their fists at his concerts is just as entitled, self-centered, and delusional as he is. Yeezus help us.

Which is not to say that Jay-Z doesn’t engage in plenty of hyperbole about himself. But his lines feel more like hip hop bravado while Yeezy’s feel like the mantras of a man who built an aluminum space-ark so his followers could join him in the next existence.

One boast that gets my g.o.a.t. with both of them is the MJ self-comparison. Or comparisonssss as the case may be (especially with Kanye). In fact, I have more of a problem with the MJ similes than the god metaphors . Gentlemen. Come on now. Neither of you are the reincarnation of Michael Jackson. That’s like Dwyane Wade calling himself Michael Jordan. You are both very talented individuals but you’re just not that brilliant. It’s ok. Few are. VERY few. Please stop blaspheming the Christ of Pop.

OK. So I’ve been dancing around one final issue. Mostly because I’m white, partly because I’m squeamish. As a straight male of the caucasian persuasion, it’s tough to speak on most truly important issues. People that look like me have had the benefit of, you know, everything. For a long time. I don’t know what it’s like to be persecuted because of something I was born with. (Before the trolls at the Self-Hating White People Police get on my ass - people assuming you’re a racist or calling you a cracker or the panoply of other things you people (yeah, I said it) complain about are really nothing. I’m not going to get into it here, but just stop it. Please. Your insistence that I shouldn’t be embarrassed by white people makes me more embarrassed by white people)

Where was I? Oh. Right. Avoiding talking about race.

Here’s the deal - it has to be talked about with these records. With Yeezus at least. The first two singles are ‘New Slaves' & 'Black Skinhead.' Nuff said. And Kanye has received a lot of praise for taking such a solid stance against the establishment, for speaking out for a very important issue that somehow often gets lost in the entertainment industry. An industry built on years of racism.

But here is where my footing is dicey, because I don’t know that he succeeded. But how can I really know that sitting here in my white skin (and clothes too, don’t worry)? I just don’t feel like Kanye deserves as much credit as he’s getting considering he’s dropping N-Bombs liberally throughout the record. And rarely in an ironic manner that’s meant to illustrate his point. Also, how do you expect to be taken seriously with that hook on ‘New Slaves?’ It’s homophobic as all get out and just not that clever. But the homophobic & misogynistic lyrics, the morethanslightlyinsensitive references to Native Americans or Parkinson’s sufferers? Those I can get over. It’s not ideal (ok some of it is pretty awful) but this is hip hop and at least he’s not encouraging date-rape. Still, how do you maintain credibility on the issue of black empowerment when you’re using ‘nigga’ in one song basically only because it rhymes with liquor (or liqua, i guess)?

*I cringed typing that last sentence, but I’m dampening my guilt with the fact that there’s an -a not an -er and the fact that I’m quoting. Still feel a little queasy.*

At least Kanye is trying to send a message, though. Whether it’s credible, whether he succeeded, he tried. And for a person in his position, that’s an important thing. Hopefully it’s not lost in the cacophony of the modern news cycle over the coming months and years.

That was what I originally wrote on ‘New Slaves’ & ‘Black Skinhead.’ But the more I listen to those two songs, the more I read their lyrics, the more I backtrack on this opinion. Just because I don’t like Kanye’s often heavy-handed lyrics doesn’t mean they’re not smart, doesn’t mean they’re not getting the message across. And his use of the n-bomb (on these two songs, at least) appears to be cleverly ironic & meant to illustrate his point.

Again, whether he succeeded or failed, the importance of a person in Kanye West’s position even attempting to send America this message about race cannot be understated. With a media & culture that continually tells the masses that people of any color other than white are ‘less than,’ everyone - entertainers, businesspeople, black, white, women, men, everyone - has the responsibility to speak out as loudly as possible using whatever platform they may have. We’ve seen what happens to our society when we remain silent.

In fact, the more I think about it the more I realize there are few people in a better position to speak on the issue of race than Kanye West. All those entitled, self-centered white kids shouting ‘nigga’ while singing along at his concerts are precisely the people who need to hear about white privilege and black oppression.

MCHG, meanwhile, seems more focused on Jay-Z’s personal struggles than anything else. Don’t get me wrong, Kanye is bitching about selfish things all over Yeezus, but MCHG rarely makes an attempt to enlighten the audience. Rarely, not never. ‘Oceans' (featuring Frank Ocean. Haha) is a beautiful piece. And it says some of the same things Kanye is saying on ‘Black Skinhead’ & ‘New Slaves,’ albeit in a smoother manner. Too bad Jay didn’t expand on it or make it a focus…

There’s another commonality (and dissonance) between Yeezus and MCHG on display in ‘Oceans’. Jay-Z, as is his way, subtly drops a ‘Strange Fruit’ reference and moves on. Whereas Kanye drones in his whining Kanye voice, repeating ‘I see the blood on the leaves’ in ‘New Slaves.’ Despite the whinging drone, should I give ‘Ye credit for digging in a little more, using a line from ‘Strange Fruit’ instead of just the title? No. He ruined that with his mewling. But he does deserve a LOT of credit for the songBlood On The Leaves.’

A lot of credit, or a one-way ticket straight to hell.

Strange Fruit' is one of the most important songs in history. When it comes to music speaking out for social justice, it doesn't get more monumental than Billie Holiday’s classic (though the version West sampled is Nina Simone’s). 

Here’s me listening to ‘Blood On The Leaves’ for the first time:

"OK, ‘Strange Fruit’ sample. Let’s see where Kanye goes with this. That’s an awful lot of responsibility to take on. Right…now he’s started his autotuned whinging. Great… Using the sample beautifully, though.

"So what is going on here? Is he rhyming about a breakup? He is. He’s doing a goddamn breakup song while Nina Simone sings in the background about lynchings. You have GOT to be fucking kidding me!!! I’m done with this dude. I can’t even… Somewhere, Abel Meeropol is rolling around in his grave.

I suppose I should at least finish listening to the whole s…wait…what? ‘Fuck them other niggas cuz I’m down with my niggas??’ What. The. FUCK??? What kind of ignorant, backward-ass motherfucker would…I mean…how do you disrespect ‘Strange Fruit’ like that??”

I had to listen again. Pulled up the lyrics & listened yet again. Searched for nuance & meaning. Subtext & hidden messages. I desperately wanted it to be something more thoughtful & respectful than it was. Or maybe I just couldn’t believe that even Yeezy would be crazy enough to use such an important song for anything other than an important message.

And maybe, just maybe, Kanye West, though still certifiably insane (maybe. probably. don’t sue me, Kanye), is a lot smarter than I ever gave him credit for. Or has matured more than I thought he ever would. Maybe he’s exhibiting subtlety & nuance I didn’t know he was capable of. Maybe he has constructed one of the smartest and subtextiest songs ever written. An allegoric anthem for the injustices visited upon Black America.

Or maybe he’s just a twit. I honestly can’t tell.

Because, the truth is, if it weren’t for the Nina Simone sample, I would have just heard the breakup/abortion song and moved on. So am I really so desperate for this to not be an abomination of history that I am imparting my own deeper meaning on West’s words?

If it is indeed an incredibly layered tune with racial subtext out the wazoo, ‘Blood On The Leaves’ succeeds where ‘Black Skinhead’ & ‘New Slaves’ fumble a bit. And Kanye may be more than a bit of a genius. If it’s not, if it really is just a song about breakup & abortion… then you should be ashamed of yourself, Mr. West. Not for the abortion talk (I’m all for it), but for taking a massive deuce all over a piece of history. Bastard.

The point may be moot. I don’t think most people get it even if it is a brilliant allegory about the black experience. I think most people take it as a break-up & abortion song and either don’t know or don’t care about the significance of ‘Strange Fruit.’ Sadly, a quick perusal of the interwebs reinforces that theory. I won’t blame Kanye for other people misinterpreting his deep message, but if there is no deeper message in ‘Blood On The Leaves’ then it may negate the rest of his album. At least when it comes to the Message. It would be such an incomprehensibly gargantuan misstep that I don’t think it could be forgiven.

Or he’s a genius. Fucking Kanye.


I think you all know where I stand by now. Musically, it’s not even close. Despite the fact that I used descriptors like ‘garbage’ and ‘a waste of space’ the first time I heard it, Yeezus is something special. The first worthy album of 2013. Kudos, Mr. West. I apologize to all of the critics & fans whom I’ve been calling crazy for the last month.

When it comes to The Message, Kanye probably wins too. Though I still think he gets more credit than he deserves, tis far far better to try and not fully succeed than to not try at all. The margin of victory hangs on his intentions with ‘Blood On The Leaves.’ An ingenious continuation of the struggle gives him a landslide the likes of which we haven’t seen since the Mondale administration. An history-butchering breakup song renders Kanye, his album, and his Message irrelevant.

*Self-Editor’s Note - ‘the struggle?’ Really, Reynolds? Who the fuck do you think you are? Cornel West? Slow down.*

But the biggest question, musically, has to be - is this the best we have? It is truly disappointing that Yeezus (as wonderful as it may be) is the best record so far this year. Maybe I’m asking too much. It is an incredibly tall task to produce something that can garner attention now and still stand the test of time. But I feel like there has to be more. More innovative music, more evolved ideas. I appreciate Kanye’s attempt to raise the bar, though. However misguided it might be at times.

Of course, this could all be nothing more than a well executed Team Jacob v Team Edward ploy. Nothing sustains promotion better than having two rabidly opposed camps digging in their heels and shouting at each other over the internet.

Even if the release of these two contrasting records was a ploy, I applaud the strategy. We’re all just trying to make the next dollar. And it was worth being duped. If people hadn’t started fighting over these albums, I wouldn’t have re-examined Yeezus.

I just wish Jay-Z the MC was still as good as Sean Carter the Business, man.