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- #KANYE WEST 808S AND HEARTBREAK REGISTRATION#
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“I’m trying to put on those Phil Collins melodies,” West told Miss Info, naming the most elusive and least-explored influence on 808s. That boom is a bedrock sound of hip-hop, but West saw it as a way to propel himself beyond the genre’s walls. To hear producer Jeff Bhasker tell it, there were eight writers in the room when West was turning mumbles into what would become “Love Lockdown” while zoning for hours on that simple, thump-thump-THUMP, boom pattern.
#KANYE WEST 808S AND HEARTBREAK REGISTRATION#
Late Registration boasted four co-producers, while Graduation had eight, but on 808s, the liner notes exploded: There were at least five co-writers on nearly every song. And 808s marked the birth and flowering of West’s “creative CEO” method of album-making. Tallahassee Pain was only one of the ghosts in Kanye’s machine: Kid CuDi, an art-student dropout, was also brought in to help with the chilly synths and mournful air West was chasing. But after collaborating with T-Pain on the Top 10 hit “Good Life”-and then experimenting with Auto-Tune while playing that song live-West recruited him to help with 808s, essentially making that sound cool again.
#KANYE WEST 808S AND HEARTBREAK SOFTWARE#
So he made his voice more palatable and melodic with Auto-Tune, a piece of software that was loathed at the time for its association with T-Pain, a true innovator who became seen, in hindsight, as a happy jester running a fad into the ground. Technically, he was (and is) a bad singer, as he readily acknowledged. He was required to stretch far, far beyond his abilities to make it. Looking back, it’s easy to see how many point-of-no-return qualities the album had. Kanye is performing the entirety of 808s this weekend at the Hollywood Bowl, perhaps as a well-timed reminder, after a somewhat flat year, of what his peculiar brand of bravery can accomplish at its best.
#KANYE WEST 808S AND HEARTBREAK CRACK#
808s might have been his most complete zeitgeist achievement to date, a crack in time when he was truly, as he once put it, “on the freeway in a fucking plane, in all lanes at all times.” The project was surprisingly elegant in presentation for something thrown together in less than a month, its minimalist artwork-a lone deflated heart surrounded by grey-acting as a perfect introduction to the bare sounds within. This was the moment, just after his iconic shutter shades, when all of his vague ideas about fashion, design, and pop art streamlined with his sharper notions about pop music. “From now on, I want to be seen alongside only the musicians you see in the old black-and-white photographs-Jimi Hendrix, the Rolling Stones, the Beatles.” “Hip-hop is over for me now,” he started saying, dismissively, in interviews. But then he evidently threw out this life script. Kanye West had always been audacious, but this was a new kind of wire-walk.Ĩ08s & Heartbreak was West’s great pivot: He had promised since 2005 that his fourth album would be called Good Ass Job, the capper to his premeditated hip-hop takeover. But his body was twanging with effort as he gripped the mic stand for balance while heaving himself into the music. On take two, he still sounded shaky, badly missing a note even with real-time pitch correction software. The song called for him to sing alone, and he botched the first take in front of the studio audience.
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There was a manic quality to his promo tour: Just one week before his New Zealand press conference, he was in New York performing 808’s lead single, “Love Lockdown”, on “Letterman”. In the time leading up to the album’s November release, West gave the impression of a man running on fumes, flooring the pedal through the most nightmarish moment in his life. Still reeling from the death of his mother as well as a breakup with his fiancée, he explained how “ 808s came from suffering multitude losses at the same time-it’s like losing an arm and a leg and having to find a way to keep walking through it.” When a reporter asked what he planned to see during his visit to New Zealand, he replied dryly: “The back of my eyelids." Sporting Tom Ford shades so dark that they seemed to obscure half his face, he waded through a 40-minute press conference in seeming slow-motion. He was in New Zealand to promote-or perhaps explain- 808s & Heartbreak, the new album he recorded in an ungodly rush amidst his continent-hopping Glow in the Dark tour. Kanye West arrived at Auckland’s Westin Hotel in December 2008 looking exhausted, at the end of every possible rope.