Graduation [PA] (CD - 2007)

Personnel: Connie Mitchell, Tanya Herron (vocals); Young Jeezy (rap vocals); Mike Dean (guitars); Gloria Justen, Luigi Mazzocchi, Eric Gorfain, Igor Szwec, Daphne Chen, Emma Kummrow, Olga Konopelsky, Charles Parker (violin); Alexandra Leem, Peter Nocella, Leah Katz, Alma Fernandez (viola); Richard Dodd, John Krovoza (cello); Wired Strings (strings); Omar Edwards (Fender Rhodes piano); La Mar 'Mars' Edwards, Andy Chatterly, Darryl Beaton, Jon Brion, Chris Rob (keyboards); Tim Resler, Vincent 'Biggs' James (bass guitar); Timbaland (programming); Jehireh Williams, Jalil Williams, John Legend, Ne-Yo (background vocals); Eric Hudson, Tony 'Penafire' Williams, Jay-Z, Jennie Lorenzo, Section Quartet.

Additional personnel: Chris Martin (vocals); DJ Premier (scratches); Dwele, Lil Wayne, Mos Def, T-Pain.

Given the remarkable critical and commercial success of 2005's LATE REGISTRATION, Kanye West's rich, rewarding sophomore release, expectations were high for 2007's GRADUATION. Ever savvy, West flouts those expectations by delivering a record that delivers curveballs while staying true to his sharply sculpted, commercially minded m.o. West's rapping, never his greatest strength, is still entertaining. He delivers witty, smart, sometimes absurd rhymes (he seems to take more lyrical chances on GRADUATION) that fit nicely with the overall feel of his tracks.

As usual, it's West's productions that stand out. While there are examples of his style-defining use of classic R&B samples and background choirs (as on the feel-good highlight "I Wonder"), West streamlines his sound to center on synth-driven lines, giving many of the tracks a retro-electro new wave feel. "Stronger," for example, another standout, is powered by a vocoder-drenched vocal sample courtesy of French dance superstars Daft Punk, which finds West again more comfortable in hip-hop's uncharted waters. The overall results make for a fun, inventive album that offers proof that West still has tricks up his sleeve.

Graduation's pre-leak talk wasn't as substantive as it was with Kanye West's first two albums. As with just about any other artist's third album, it had to be expected. The College Dropout was one of the most anticipated debuts of the early 2000s, while Late Registration had people wondering why Kanye would feel the need to work so extensively with multi-instrumentalist rock producer Jon Brion (the J Dilla of the chamberlin) and whether or not Kanye's hubristic tendencies would get the better of it. With Graduation, there was Takashi Murakami's artwork, a silly first-week sales competition with the decreasingly relevant 50 Cent, and chatter about synthesizers running wild. That was about it, but it all seemed loud and prevalent, due in part to a lack of high-profile rap albums released in 2007. Graduation is neither as bold nor as scattered as The College Dropout, and it's neither as extroverted nor as sonically rich as Late Registration. Kanye still makes up for his shortcomings as an MC and lyricist by remaining charmingly clumsy, frequently dealing nonsense through suspect rhyme schemes: "I never be picture-perfect Beyoncé/Be light as Al B. or black as Chauncey/Remember him from Blackstreet, he was black as the street was/I never be laid-back as this beat was." The songs that are thematically distanced, introspective, and/or wary -- there are many of them -- are, in turn, made more palatable than insufferable. That his humor remains a constant is a crucial aspect of the album, especially considering that most other MCs would sound embittered and hostile if they were handling similar subjects, like haters new and old, being a braggart with a persistent underdog complex, getting wrapped up in spending and flaunting, and the many hassles of being a hedonist. Those who have admired Kanye as a sharp producer while detesting him as an inept MC might find the gleaming synth sprites, as heard most prominently throughout "Flashing Lights" and "Stronger," to be one of the most glaring deal-breakers in hip-hop history. Though the synthesizer use marks a clear, conscious diversion from Kanye's past productions, highlights like "I Wonder," "The Glory," and "Everything I Am" are deeply rooted in the Kanye of old, using nostalgia-inducing samples, elegant pianos and strings, and gospel choirs. So, no, he's not dreaming of fronting A Flock of Seagulls or joining Daft Punk. He's being his shrewd, occasionally foolish, and adventurous self. ~ Andy Kellman minimize