Class Dismissed

Late Registration’s value to listeners hinges heavily on tolerance for Kanye’s ego. The production is top notch with the mass appeal to work its way into any top 40 rotation and probably another go at some Grammys. Unfortunately, Kanye’s lyrical content can make or break the album for most listeners. His seemingly intentional hypocrisy and unrelenting narcissism pushes away those who won’t tolerate it while his passion for his music draws admiration from others. With enough tracks to top charts for months to come, Late Registration is by no means a mediocre effort. Kanye owns up to his eccentric persona with an album so refined that it’s impossible to deny his talent and work ethic. While songs such as “Roses” and “Hey Mama” are a bit melodramatic, tracks like “We Major” and “Gone” exhibit such incredible pacing and layering, it makes it easier to overlook any of Kanye’s shortcomings on the mic. His lyrics are often hit or miss but his smooth delivery is always on time and works well enough to keep listeners engaged.

West continues to display an uncanny knack for sampling gems and assembling a cohesive progression; a feat rarely accomplished on hip-hop albums when emcees commission an assortment of producers that don’t always mesh in the final arrangement. More importantly, he leaves behind the stereotypical signature high-pitched samples that most fans identify him with, opting for a new approach that comes off much more sophisticated and polished. However, Kanye walks a fine line, deliberately imposing his celebrity on listeners with an air of self-righteousness and arrogance that can be odious as he continually switches gears from superficial to sentimental.