Kids See Ghosts is a fine album title, but I don’t see the point of using it as a group name. It seems unnecessary, silly even, to use one at all. Kanye West did an album with Jay-Z, and Jay-Z did two with R Kelly, without any pseudonyms. That this set, one of what will reportedly become several seven-song releases from West’s Good Music label, begins with a verse by Pusha T is even more confusing.
It’s the quality of the music that should matter most, of course, and there it’s mostly a middling affair. The beats, which sound like lo-fi hip-hop experiments, do sound good, but they’re too often met with vastly inferior, sometimes downright annoying, vocals. Freeee and Feel The Love both contain grating examples of the latter. It isn’t until the end, literally the final song, that a memorable chorus arises.
my rating = 3 of 5
“I love myself way more than I love you,” Kanye West declares, presumably to the general listening public, but surely he could’ve come up with a better title for this… I guess it’s an album, albeit a short one; a mere seven songs, though No Mistakes sounds more like an interlude. It’s better than both Yeezus and Life Of Pablo though, for what that’s worth; and while it’s not quite the old Kanye, it gets close.
Ghost Town, the one song with no rapping, sounds like the karaoke version of an age-old gospel hymn. 070 Shake’s bit is a bit much; they should’ve left the chorus to Kid Cudi; but the song is an easy favorite. All Mine is another, but guest Valee’s falsetto will work your nerves. Like swapping an enchanting synth loop for a basic drum beat at the end of Killing You, it’s the odd artistic decisions that flaw Ye.
my rating = 3 of 5
Jay-Z shines here. Part of it has to do with the grandiose way protégé Kanye West introduces him and much of it has to do with the beat, an Indianish dance joint led by a Shirley Bassey song sample he (Jay-Z) is wise enough to acknowledge. While the mogul spends three-too many bars on his support for Memphis Bleek, this is one of his best verses. West stays truer to the concept though, which makes a moral argument against diamonds cut to promote war in Africa. “These ain’t conflict diamonds,” he asks Jacob The Jeweler, “Don’t lie to me, man.”
my rating = 4 of 5