Wednesday, September 21st, 2011
30

Kanye’s '808s': How A Machine Brought Heartbreak To Hip Hop

Part of a series on collaborations that we now take for granted but initially made little sense.

Hip hop’s lyrical narrative often gets unfairly abbreviated to being about nothing more than posturing and persona, a never-ending series of mostly meaningless boasts about how nice my rhymes sound, and so on. That’s been a component of the story for a long time—recall Sugar Hill Gang’s proud pronouncement, in 1979, that “I got a color TV, so I can see/the Knicks play basketball”—but hip hop verses are also a place for confessions, specifically for those of black men. There's a reason, for example, that Scarface once wrote a song in the form of a diary entry, or that The Notorious B.I.G. recorded a song for his suicide at age 24, or that Jay-Z wrote an entire hit song about not crying, and that each of them felt comfortable doing so on 16 bars.

The break beat is, and always has been, a haven for hyper-masculine confessionals that might otherwise go unspoken.

But Kanye West, long as the public has known him, has never needed the break beat to say what he wants to say. He’s not like Nas, who often sounds shy and characterless in interviews despite being a hell of a storyteller in his rhymes, and he’s not like Eminem, who always depended on his alter ego to share his darkest thoughts. His problem—especially outside of the recording booth—has always been the opposite: Kanye has always struggled to withhold (or at least to measure) his confessions.

His fourth studio album, 808s & Heartbreak, is the best musical and lyrical manifestation of Kanye’s need to say everything all at once. He released it in November 2008, after three hit albums that effectively branded a Kanye style of hip hop—and yet 808s wasn’t really a hip hop album. On it, Kanye doesn’t say anything we were accustomed to hearing on any hip hop track, and he doesn’t really sound like Kanye. He sounds like a cyborg. The album is a close partnership with machine (he used the vintage Roland TR-808 drum machine for his beats) and with a kind of artistic dishonesty (he used the modern Auto-Tune device to adjust his subpar singing voice in nearly every track on the album). At the time of its release, the final result was rather startling. Kanye had a style, and the 808 and the Auto-Tune just didn’t jibe with it. And yet the collaboration with those devices allowed him to sing real, unfiltered heartbreak—something that he hadn’t yet done in his career, and something that hip hop as a whole had never really dealt with before.

On 808s, Kanye doesn’t tell stories, and he doesn’t confess anything in any of the ways we've come to expect. There are none of the quintessential Yeezy lines, simultaneously self-critiques and boasts stitched into the songs' stories: “Well all self conscious,” he rapped on “All Falls Down,” off of his debut album College Dropout, “I’m just the first to admit it.” But on 808s, if there are insecurities to be named, Kanye only seems to be admitting them to himself.

808s is not exactly subtle about its intent. The year before its release, as we all must be aware by now, had been rough for Kanye. His mother, Donda West, died of complications related to cosmetic surgery in November 2007, and a few months later he and his fiancé broke up. 808s & Heartbreak is, well, his heartbreak album, and that’s a hip hop subgenre that didn’t really exist at the time. On these songs, Kanye sounds hopelessly and intentionally lost. Unlike Jay-Z’s “Song Cry,” there is no masquerade at play: The only way Kanye is able to communicate his sadness is to state it, clearly and unapologetically and over and over again until the listener becomes quite sure that human sorrow has never sounded so processed before. It certainly hadn’t been sifted through a voice filter and laid out over sparse, electro-pop beats quite like this, at least in hip hop.

That was one of many perceived problems with the use of the 808 on the album. Kanye’s production had been celebrated because he’d created his own sound and perfected it until it became familiar, even the norm. On 808s, that sound shifted so dramatically and so forcefully, it sounded unnatural. The 808 took the place of the Kanye soul sample (there are just four samples on the entire album), and it did so prematurely. Kanye’s emotional burden is expressed in every layer he piled onto “Love Lockdown”—from the pulsing, opening beat to the jumpy piano line and his strained singing. The singing, it must be said, is just never very good on 808s. Throughout the album, Kanye is crying to himself and shouting at us at the same time.

Beautiful as the album sounds (and that’s a fact that’s been documented extensively enough), it is wholly exhausting to listen to. There's never a mention of his Louis Vuitton shoes or his Maybach to relieve us from the heartbreak. The songs have names like “Coldest Winter,” “Welcome To Heartbreak,” and “Bad News.” Kanye says things like, “Chased the good life my whole life long/Look back on my life and my life gone” and “Let me know/Do I still got time to grow?”

Judging by the album’s reception, most people did not want to give Kanye West time to grow. A lot of people hated 808s and a lot of other people tolerated 808s (I loved it). The collaboration here, between man and machine, made for sparse, electro-style instrumentals that often stretched on—rather indulgently—for two or three full minutes after the final verse. Coming from a normally meticulous producer who was known to thrive on bombast, this just sounded unfinished, even boring. The immediate reaction to the album might have been similar to the one in Newport, Rhode Island in 1965, when Bob Dylan went electric at the Folk Festival. We don’t like drastic changes from the artists we’ve come to depend on for a certain kind of musical narrative, even if those artists happen to be going through drastic changes themselves.

Hip hop, especially, hadn’t really endured or welcomed creative leaps like 808s. There have been shifts to the music’s sound, of course: groups like A Tribe Called Quest brought jazz to the mix in the early nineties, and back in ’86, Run DMC and Aerosmith made the “Walk This Way” remix, which was one of the first merges between rap and rock and a total commercial success. Kanye has even credited himself for reintroducing soul sampling to hip hop in his early years as a producer. But all of these leaps sounded in keeping, in some way, with the music we’d come to know and love.

Kanye’s revision on 808s is different: it isn’t so much the shift in the sound that bothers listeners as it is the shift in the narrative. These lyrics don’t align, in any simple way, with the proud bombast of “Jesus Walks” or “Touch The Sky.” These are songs about a vulnerable black man who is trying excruciatingly hard to let us know how sad he feels, and these lyrics are not rapped. Within a culture that flaunts and rewards a rather established expression of masculinity, there is an inherent risk in that effort. Hip hop has heard heartbreak before, just not in this context.

With someone with as famous an ego as Kanye West, it’s disconcerting to see him so unguarded. You have to go back in time a bit to see that. It’s worth revisiting 2004, when the rapper Mos Def introduced Kanye to a studio crowd as “the future of hip hop” for the third season of the HBO show Def Poetry. College Dropout was out by the time it aired, but at the taping—and you can really tell by watching his later appearances on the show—nobody really knew who he was. Onstage, Kanye recited lyrics from the first and second verses of the song “All Falls Down,” only here, the form was a spoken word piece named “Self Conscious.” In it, he looks proud and humbled to be there; his clothing has nothing in common with the couture he wears today.

I’ve learned, since I discovered it a few years back, that I can watch this clip many times and never get tired of it. Part of the wonder is merely in observing someone who’s earned the carefully rationed “global superstar” title when he was a relative unknown. It was only shot about seven years ago, after all. But the real draw is that it’s a total recontextualization of a song to which I now know every single word. There’s no beat, of course, and no effect to his voice, either, save for Kanye’s exaggerated nervousness at the beginning. He takes more time to recite his words, pausing for emphasis or relief, and at one point—the 1:50 mark in the clip—he cuts his own rhythm with a faint aside. No one in the audience can interrupt, because no one knows what he will say next.

A few years ago, I sat in a living room next to a very drunk young man who was, along with many of the other young drunk people in the room, shouting the lyrics to “All Falls Down.” When he reached the middle of the third verse, he yelled out the line, “Drug dealer buy Jordans, crack head buy crack/And a white man get paid off of all of that,” and then he turned to me and said, laughing self-consciously, “I always feel so bad when I rap that part.”

In his Def Poetry performance, Kanye ended on the line that always made that particular white person feel very bad. He smiled out at the crowd in a kind of bashful pleasure, letting them hear what he’d said for a moment, and then left the stage. But on the radio version of “All Falls Down,” the line is edited out, so that we only hear, “— —- —- —-, crack head buy crack/And a —- man get paid off of all of that.”

808s has a lot in common with that Def Jam performance. It’s imperfect, totally raw and an absolute departure from what we think we know about an artist. The album was not great, but it was daring: It took hip hop’s confessional, twisted it into something overwrought and unrecognizable, and left it on the table to see what would happen next. Like the Maybach in the “Otis” video, he mangled a form to which he’d made us accustomed.

I don’t know if The Black Keys’ Blakroc project would exist—or if Jay-Z and Beyoncé would have gone to see Grizzly Bear together, or if Drake (or Kid Cudi, or The Weeknd, for that matter) would still be singing about millennial angst over electro beats, or if “Runaway” and “Devil In A Red Dress” on My Beautiful Dark Twisted Fantasy would each have two-minute codas—if Kanye West hadn’t made an album that everybody seemed to hate, with a machine nobody cared to hear. 808s was a leap, but it made those other progressions sound more natural.

Those are silly speculations, though, because hip hop has always taken in music and samples and voices only to then spit them back up. It’s a constantly evolving music; it could, after all, even sustain the 808’s sound. The music’s lyrical narrative, for whatever reason, just hasn’t yielded as much experimentation. It’s hard enough to make exciting music; it’s even harder to say something new in 16 bars. When Kanye warped the sound of his voice over those stark, startling beats he made with his 808, he shifted the story by making a song cry, figuratively and literally and probably way too many times.

He found a way to admit to himself, “I’m sad and fucked up” and to still make us sing along with him and his machine.



Emma Carmichael works at Deadspin.

30 Comments / Post A Comment

iantenna (#5,160)

wow, this is off-base on so many levels i'm not sure where to start. oh, wait, no, this is definitely where to start "Hip hop, especially, hadn’t really endured or welcomed creative leaps like 808s."

hip hip is fundamentally about creative leaps. more so than any genre i can think of since its inception, from kool herc to clams casino.

emmacar (#8,833)

@iantenna So Kool Herc from the start, and Clams Casino in the past year. Those are bookend leaps that are really about sound — in 808s, I think the leap is more about what Kanye was saying on wax, and how he used sound to make it OK to say it.

iantenna (#5,160)

@emmacar my examples were meant to point out innovators on both ends of hip-hop's lifespan, there are countless others in between, both lyrically and production-wise. so kanye was the first rapper to talk about shit that wasn't just braggadocio? please.

@emmacar How about Kool Keith? Way more than just a deviation in sound.

@Clarence Rosario I don't think that's an apt comparison though because Keith was not really producing those records to the same extent that Kanye controls production of his. Keith worked with Dan the Automator, and many many others to give him that groundbreaking sound. Kanye is pretty much a one man show.

@French Linton@twitter Emma's point was that hip hop doesn't abide by aberration. Who cares who's producing, Kool Keith was out there compared to the rest of hip hop, persona and sound-wise. To me, that's a "creative leap".

I think Bry covered this theme very aptly: http://www.theawl.com/2011/03/rap-music-is-good-now-because-rappers-arent-afraid-to-be-weird

I'm not quibbling with Emma's attraction to 808s Just saying there's been plenty of groundbreaking stuff in hip hop well before that record. Like the Beastie Boys playing their own instruments.

@Clarence Rosario Hip Hop really didn't abide by Kool Keith, either. As a person who attended many, many Keith concerts, I can attest to the fact that his audience was mostly "coffee shop chicks and white dudes" so to speak. The fact that Kanye took this leap in the middle of his mainstream dominance is noteworthy, and I think that is the ultimate point of this article, and a very interesting one.

deepomega (#1,720)

White Blogger Enjoys Kanye

Jasons_Johnson (#3,341)

@deepomega +1 4 ever

Aa@twitter (#111,284)

@deepomega except that the vast majority of listeners/purchasers of rap are white and most likely blogging. so yeah, still plus one.

shudder (#5,913)

Dave Bry to thread plz.

Jewishthunda701 (#9,861)

I'm going to have to disagree with you here. 808's was Kayne's worst album because of his clear and repetitive stating of his heartbreak. There's nothing inventive about it. Anyone can tell you that they're sad. If you listen to an old Kanye song like "Drive Slow" (and ignore the Paul Wall verse) he manages to exude feelings of sadness and nostalgia without ever actually having to say, "I'm feeling sad and nostalgic right now," which is basically all he did on 808's

Kevin Slane@twitter (#100,179)

@Jewishthunda701 But the thing that made 808 so different was that hip-hop rarely allows for that kind of album. You can find heartbreak albums in nearly every other genre, but mainstream hip-hop isn't one of them. Are you telling me that In Utero would have been better if Nirvana simply exuded feelings of angst rather than attacking them head on? Minimizing emotion is what other mainstream hip-hop artists do, and that's what made 808 so special.

The last time a song so starkly outside the norm topped charts was probably Eminem's "Stan," and even The Marshall Mathers LP didn't directly address emotion like 808 did, instead relying on the Slim Shady alter-ego.

Beautiful as the album sounds (and that’s a fact that’s been documented extensively enough)

That is the opposite of a fact.

I think now that My Beautiful Dark Twisted Fantasy has been such a huge success, and everybody can see on songs like Runaway what the end product would look like, people are more accepting of 808s. It's a clear transitionary record, but just like your conclusion said, it's influence really can't be understated.

iantenna (#5,160)

@Mr. November@twitter it can, however, be grossly overstated.

Emma, thank you for writing this!

Although the clothes have changed, I don't think that Kanye's most essential and overbearing traits really have: earnestness, vulnerability, defensiveness, paranoia, and an air of sadness that he can't seem to shake even when he's trying to do fun. 808s was brilliant because it embraced those qualities instead of shying away from them. Kanye is seemingly completely serious pretty much all the time — to a fault — and I think that's the greatest difference between 808s and the other hip-hop I had heard at the time. It's starkly and bravely depressing.

Danny Gold@twitter (#22,931)

@Summer Anne Burton@facebook I agree with this completely and had been working on a similar essay that also touched on Kanye opening the door for more vulnerable artists like Kid Cudi and Drake, who have no problem putting aside typical hip hop boasting and sharing their weakness, especially with women. And if you look at which hip hop artists are selling these days, those three are definitely at thew top (well, maybe not Cudi). Though I don't necessarily see the relevance of the 808 machine in the emotion, I do think Emma's points about Kanye putting himself out there on the album are great.

NM (#97,266)

Wow, spot on with this review! 808s was stellar because it exemplifies the essence of Kanye. 808s is Kanye.

Whereas other albums covered him in pseudo-confidence, the Auto-Tune strips it away, and all that's left is heart and soul. This article is everything I believe about 808 but have never been able to put into words.

iantenna (#5,160)

my goodness, are you 808s dudes googling the album title on a daily basis in search of kindred spirits?

@iantenna New commenters don't equal new readers. I've been reading the awl daily for ever, but I usually don't chime in on the comment conversation because I'm afraid it would take over all of my free time… I felt the need to do so in this case because there was so much negativity on what I thought was a really interesting, well-written piece.

Kevin Slane@twitter (#100,179)

@iantenna What Summer Anne said. I usually stick to the comments section of Splitsider, but I thought this piece was extremely well articulated and presented a compelling argument, and so I felt moved to sign in and endorse it, especially with all your negative comments dominating the narrative at the moment.

Emma Carmichael, you should write about music more often please. This was great, and I'm with you, I loved 808s (and fuck the haters)

revawi1vog (#98,377)

I've been surfing online more than three hours today, yet I never found any interesting article like yours. It is pretty worth enough for me. Personally, if all website owners and bloggers made good content as you did, the web will be much more useful than ever before.

Stefan Haynes (#9,723)

This article was appallingly awful, packed with countless misconceptions about hip hop's matriculations, its subject matters and evolution. She then topped off her gussied up fan rant by stating that 808's is a "factually" beautiful album based on a handful of reviews.

There is no statistical measure for art; therefore, it's all opinion; therefore, any credibility you had as a serious journalist fell out the window with that assertion; therefore, go back to Deadspin and please don't return.

Whoa, hater! When did Emma pee in your Internet soup?

For the record, Emma was here before Deadspin, so all credibility you have as a serious Internet commenter fell out the window with that assertion.

(Yes, I'm teasing you. There's no need for you to come in so hot over here!)

hot mess (#4,014)

'Parinoid' and Frank Turner's 'Reasons Not To Be an Idiot' are my theme songs. They are perfect when you just have to get over yourself.

RedStapler (#106,515)

My take on 808s at the time was:

"Kanye got dumped, smoked a lot of weed, watched season three of Battlestar Galactica, and then locked himself in a basement and wrote this album."

And I still love the shit out of it.

Aa@twitter (#111,284)

True story: these 808 songs were the first Kanye I'd ever heard. I have a punk/indie/etc background, but I've always listened to a lot of rap/electro too. And the rap that 'the kids' listen to has always been weird/emotional/envelope-pushing. Of course, underground rap made this all possible, with artists like El-P, Subtitle, Dave Dubb, Radioinactive, Dose One and so many more. And artists like these have always made music that incorporated sounds and content bound only by their bottlerocket whimsy. It took well over a decade (since the mid-90s underground rap explosion that coincided with the ease and affordability of self-published music) that commercial rap and rappers felt it was safe enough to take these so-called 'creative leaps'. For those who paved the way for today's mainstream artists, posts like this must be infuriating. In addition, there are so many other artists that have been fusing electro/808s/soul/personal lyrics for decades as well. Again, the 808s album is great, but it's hardly an aberration of any canonical.

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