| | |  | Best Sellers | Home » » 808s & Heartbreak | | | | | | | Description: | | The ten-time Grammy Award® winning musical phenomenon, rapper, producer, and now singer embarks on a new musical journey taking his audience to new heights. Kanye West returns with his fourth album 808s & HEARTBREAK. His highly anticipated new album set for release on November 25th, featuring the heart pounding first single LOVE LOCKDOWN which premiered live for the first time on the 2008 MTV Video Music Awards. LOVE LOCKDOWN quickly exploded at radio with the video premiering nationwide on the Ellen Degeneres show. "Heartless," the second single, is next up to hit the airwaves further amplifying the story behind the musical direction for 808s & HEARTBREAK. | | | Features: | |
• WEST KANYE 808 & HEARTBREAK
| | | Product Details: | | | Audio CD Release Date:
| November 24, 2008 | | Studio:
| Roc-A-Fella Records | | Number Of Discs:
| 1 | | Average Customer Rating:
|  based on 370 reviews |
| | | Track Listing: | | | 1. | Say You Will | | 2. | Welcome To Heartbreak featuring Kid Cudi | | 3. | Heartless | | 4. | Amazing featuring Young Jeezy | | 5. | Love Lockdown | | 6. | Paranoid featuring Mr. Hudson | | 7. | RoboCop | | 8. | Street Lights | | 9. | Bad News | | 10. | See You In My Nightmares featuring Lil Wayne | | 11. | Coldest Winter | | 12. | Pinocchio Story | |
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| | | | Customer Reviews: | |
Average Customer Review:
 ( 370 customer reviews )
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Most Helpful Customer Reviews
74 of 82 found the following review helpful:
 Complete Different Kanye - Haunting, Minimalist, and RawNov 25, 2008
By Ian Leue
This is very different Kanye. You'll know that within the first two seconds, and if you've heard Love Lockdown, you've already got the basic idea. Kanye sings, using heavy Auto-Tune, often with a vocoded or heavily distorted slap-back echo. The sound of the classic (and very distinctive) Roland TR-808 features very prominently on the album, backed by minimal keyboard-synth sounds.
Subjectwise, the album deals prominently with loss, specifically of his mother and his long-time girlfriend. The Auto-Tuned vocals and minimalist beats underscore the painful lyrics, creating a haunting, soul-wrenching soundscape.
It all adds up to a painfully honest Kanye, sad and alone - a Kanye we haven't seen on his previous 3 albums. Both lyrically and musically, Kanye strips off his flash and shows us the part of the man who can't always live "The Good Life."
60 of 70 found the following review helpful:
If you only listen to hip hop promptly move your cursor to the top left of this screen and click the arrow pointing left.Dec 13, 2008
By Ronald L. Tucker
This album will not be fully appreciated until it is rediscovered 15 years from now by kids that have never heard College Dropout, Late Registration, or Graduation. They will be impressed by the primal sounding drums, mixed with the deep bass of the TR-808, haunting keyboards and Kanye's vocals channeled through the autotune program. They will notice how he uses this effect to turn his voice into that of a brooding android, as apposed to the Happybot that T-Pain conjures out of the program, which when added to the sonic backdrop gives the album a post-apocalyptic feel.
I can't wait until this album does get the respect it most certainly deserves. I believe that is the most daring album to come out in my life time and I've been around the block a time or two. It is extremely ugly and amazingly beautiful all at once. Bravo Kanye!
Favorites (in no particular order):
Say you will
Welcome to heartbreak
Heartless
Amazing
Love Lockdown
Paranoid
Robocop
Street Lights
Bad News
See you in my nightmares
Coldest Winter
Yes it's THAT GOOD!!!!!
Remove all prejudices and biases and give this album an honest listen. You will love it!
28 of 33 found the following review helpful:
 Not your mommy's KanyeNov 24, 2008
By Travis M. Owens
Kanye fans are in for a big surprise with this album. Most importantly you should know this is NOT a rap album. Kanye sings every song using heavy vocoding on his voice. Alot of the songs have heavy bass and a grinding aspect of them.
In a nutshell I'd say this album is a mix of Kanye beats /w a somewhat Neo like singing and even some old prince mixed in.
At first I didn't really get the album, but by my third listen the composition started to catch my attention. Despite, I expect a large part of his fan base not to be into this album, and if you're only a fan of Kanye as a rapper you might want to skip this album, but if you can get into more electronic compositions and some 80s spin, this album might be for you.
6 of 6 found the following review helpful:
 Interesting, if Mediocre Background MusicJan 07, 2009
By B. Krueger
"ccbball"
After Graduation [Explicit], I thought that Kanye West might be incapable of making a bad song. He was the rare musician who made albums without filler. After a very good first album (The College Dropout [Explicit]), West tightened up his act to make two consecutive albums without bad tracks (aside from the skits on Late Registration [Explicit]). On these three albums he showed that he was the rare producer whose rapping talent matched his production talent (Dr. Dre and Timbaland are examples of great producers who can't rap). On 808s & Heartbreak, however, West showed that not only could he make a bad song but he doesn't really rap (he sings instead) and his production is subpar for his very high standard. The result is an album almost completely different from his first three and while decent on its own, it is not great and it certainly does not approach the greatness of Late Registration or Graduation.
The most notable thing about this album is West's overreliance on the Auto-Tune. Unlike T-Pain's use of the device, I don't find it irritating to hear West use the Auto-Tune, but it does have the effect of making the album rather sterile. It's harder to hear emotion through the distortion of the device. The Auto-Tune also has the effect of making some of the songs drag on a bit. Part of this is because West is singing the lyrics rather than rapping them, but somehow the Auto-Tune seems to exacerbate this slow delivery.
The other notable characteristic about this album is a very different production style when compared to previously albums. It could be considered a downgrade from the three previous albums, but even when looking at on its own, the production is lacking. On several songs, with "Say You Will" being the worst offender, the beat drags on for up to three minutes after the lyrics are complete. This is not like a guitar solo but instead is simply a loop of the same three second clip. In "Say You Will" there is a 20 second break in that loop about a minute and a half after the lyrics stop, but the original beat resumes thereafter running the time post-lyrics to over three minutes. On half of these songs (four of eight), the beat runs for 30-40 seconds after the lyrics stop. The other four run longer.
Aside from this apparently deliberate editing mistake, the production is unremarkable. On songs where less is more in the beat department, the singer's delivery carries the day and a more complex beat would seem to only take away from the singer's voice. Whitney Houston's I Will Always Love You and Mariah Carey's Hero are examples. Obviously Kanye West is not anywhere near their level in terms of singing ability. As far as I can recall, when a musician lacks the ability to sing remarkably, the production is more complex so as to make up for the singer's deficiency. An example is Britney Spears' Blackout, which featured mediocre singing and stellar production. To this album's detriment, Kanye West went in the opposite direction and created an album that works as background music but doesn't really jump out at you. West was apparently attempting to evoke the sound of tribal drums, but the only instance where that really works well is on "Love Lockdown" where the beat is alternately simple and very complex. The complex parts are what grab your attention.
With these significant drawbacks in mind, there are still quality songs on this album. They are listed below in order of my preference for each:
1. "Love Lockdown" is the best song on the album. Its production is superior to the other tracks because of its complexity but also because it seems to fit what West is saying and how he is saying it perfectly. The beat drags on for 55 seconds after the lyrics, but unlike in the other tracks, it is complex and varied enough to keep my attention.
2. "Heartless" is probably faster-paced than any other song on the album. West also raps the most of verses, which is a welcome break from the rest of the album and well done.
3. "Amazing" is average until Young Jeezy's verse, which makes it one of the better songs on the album. He's as good as ever in his rapped verse.
4. "See You in My Nightmares" is a duet with Lil Wayne and has the least use of the Auto-Tune on the entire album. West does well on the track but is outperformed by Lil Wayne. It probably has something to do with West singing while Wayne is rapping.
Most of the songs on the album are mediocre. They won't make you want to buy the album but they won't ruin it for you either. There are, however, a few that might ruin it for you:
1. "Pinocchio Story" should not have been on this album. The audience can be heard more clearly than West and his freestyle is unremarkable.
2. "Paranoid" has the most irritating beat on the album. It's an 80s throwback that doesn't fit the album.
3. "Robocop" is apparently the most hated track on the album. Apparently even Kanye West doesn't like it. I think it's kind of funny that he uses the Robocop sound effect in the beat, but funny probably isn't the reaction he was trying to elicit.
My advice to buyers is to buy the album if you're a big Kanye West fan because it's interesting to hear this change of pace, especially in light of the terrible events that went on in his life in the last year. If you're not a fan, though, I'd suggest buying the highlights only.
17 of 21 found the following review helpful:
A "Closer" for the hip hop generationJan 03, 2009
By DIOONER
First and foremost, I'd like to express my exasperation at hearing or reading people moaning at some - currently successful - black artists (Kanye West being one of them), accusing them of having betrayed the so-called "original true spirit of hip hop". These, behaving like self-proclaimed guardians of some private temple, seem to forget that hip hop, like every other form of art, is a mean not an end.
I also recall the great Mos Def was once asked, a few years ago, what he thought of his peers parading in videos with lavish ladies and expensive cars instead of providing supposed conscious statements in their music. His answer has baffled me for years (and still does): he said that it was precisely this (i.e. the fact of seeing black people behaving that way in front of huge audiences of, say, MTV proportions) that was revolutionary, more than any kind of political contest. And so, whether you fancy it or not. I can't agree more, as it seems, more generally, that a black artist is, still nowadays, supposed to deliver what's expected of him: making "black music".
Sorry for that somewhat long introduction, but I thought those two distinct points could be helpful to fully understand what Kanye West's fourth album proper is all about, and what it aims to be. On the previous one, 2007's "Graduation", he already considerably extended his sonic palette (sampling Daft Punk or legendary german krautrockers, Can), yet after that, last summer he produced, in the form of his duet with the promising Estelle, the wonderful "American Boy", which can only be described as the single best musical mainstream moment of the year, all straightforward dancefloor power and heavy beat science upfront.
"8O8s & Heartbreak" is an altogether very different beast to both those releases; having recently both lost his mother and ended up a longtime relationship with his fiancee, Kanye West isn't exactly in a partying mood here, to say the least. Yet, and it's what makes this record so satisfying, he still manages to entertain while expressing his utter sadness and pouring his deepest doubts over every song featured. From the first few bars of "Say You Will", it's understood Kanye's probably unleashed his landmark piece of music this time: over a bleak, possibly new wavish rhythm synth, he croons in a desperate yet suggestive and seductive manner about the loss of his love. The much-publicized use of the auto-tune process, supposedly a limitation, in fact allows him more freedom than ever: some reviewer pointed out he's not Nas nor Guru (he actually barely raps on the whole LP, mind you), and heaven knows he ain't Marvin Gaye either, but if the spine-tingling lament that is "Heartless" or the broody hypnotic complaint the first single "Love Lockdown" manages to be fail to move you, then nothing ever will. On the only upbeat track, "Paranoid", Kanye West even delivers the most perfect slice of pop angst ever heard since, say, Depeche Mode's "Enjoy The Silence" (yeah, that good). Perhaps only the quite blank "Robocop" is a relative failure, as every other song is a fascinating trip through this visionary artist's mind, even the somewhat rawer-sounding live freestyle "Pinocchio Story", that closes proceedings with an overwhelming tearjerking class.
Being very intimate, sounding entertaining at it and clearly conscious of what he does, somewhere between Kool & The Gang produced by New Order and the late and great Al Green stuck with The Neptunes in an elevator, Kanye West has achieved, minor weaknesses aside, a truly perfect pop album.
In a world that enjoys nothing as much as pigeonholing people of every kind (let alone artists), that alone is a triumph in itself.
TO ENJOY, CHERISH AND TREASURE...
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