Vultures 1
¥$ (Kanye West & Ty Dolla $ign)
2013
Defying the odds, the hip hop genius manages to utilize a music relationship with one of modern R&B’s gamechangers to reclaim his throne, while saluting the new queen that remained by his side during the turmoil.
Industrial Rap/Grime/Trap&B
BY DA’SHAN “NIGHTSHAWN101” SMITH
MARCH 14, 2024
It seems like every time Kanye West gets out of one foot in mouth situation, he finds himself embroiled in another. [As an editorial note, it can be quite exhausting to have to summarize it all for the context of being a music historian that prides on being thorough]. Long story short, Kanye West was accused of being antisemitic due to a series of rants concerning his business dealings. His net worth of billionaire status severely dropped, and the public support once again diminished even further.
Then there is the newfound context that Kanye West became an independent recording artist. As ‘Variety’ reported in October 2022, “Kanye West Has No Record Company or Publishing Deal — How Will He Release Music?” That article laid out the terms of his record label recording situation, including the fact that DONDA had been his last studio album to be released and distributed by Def Jam and Universal Music Group. His time at Sony Publishing also came to an end.
That left Kanye West, who now goes by Ye, without a major backer in a game that mainly requires one in order to keep a high margin legacy intact. For instance, when Megan Thee Stallion went No. 1 earlier this year with “Hiss,” she announced a distribution deal with Warner Music, which is one of the Big Three entities of recorded music. Therefore, she’s not an independent artist in the sense of doing it all on her own without adhering to the rules of major labels and distributors. Kanye West from here on out faces an opposite challenge.
There had even been a bidding war amongst independent distributors for who would release his next album. Although Ye had alienated even more than ever before, what’s clear about him as an artist is that everyone anticipates what his next moves will be. His track record speaks for itself despite the individual’s personality sometimes working against that.
Another added layer is that Ty Dolla $ign, who is revered in R&B culture, would be his new partner— in the way JAY-Z collaborated as The Throne, and Kid Cudi as Kids See Ghost. The first track from them that would receive public attention leaked online, entitled “New Body” with a verse from Nicki Minaj. Upon the release of her Pink Friday 2 , Nicki made a point to say the release wouldn’t happen because she didn’t clear her verse. For years, the sound went viral on social media apps, and would have very well been a contender for No. 1 on multiple global charts— but because of big egos, we can’t always get nice things…
Aside from that aforementioned drama and industry summarizing, the first of a three part album trilogy finally released on the 20th anniversary of Kanye’s debut, The College Dropout . There was no backing from Def Jam, Universal, or Sony— but rather his music label, YZY, and independent music distributor, Label Engine. The release itself had to stand on pure fan love and adoration, because the higher powers of the music industry had turned their backs on him.
Musically speaking, VULTURES 1 finds Kanye West back in his own form of being expletive laden. Whereas DONDA censored swears, VULTURES 1 rolls around in the filth of lust, the manic energy of fame, and addresses the sordid controversies of Ye, the celebrity. It also works as a subtle celebration of his marriage to Bianca Censori, an Australian architect who appears as his naked muse on the album’s cover next to a hockey- masked Kanye.
While DONDA had a more clear concept that based itself on religion, VULTURES 1 frees itself from any expectation. Upon the time of its official roll out at listening parties, it was unclear what direction Kanye would let out to the world. Let alone how Ty Dolla $ign would fit into the effort.
The album starts with “STARS,” a lunar anthem fueled by marching band drums and a fireworks-like crackling. In the first verse, Kanye rubs it in audiences faces that he’s still remained a mogul despite a few setbacks: “Keep a few Jews on the staff now/I cash out.” What seems like a continuation of the choral efforts and cloud rap persistent on DONDA is finally ceased in his discography trajectory at the end of the verse: “F*ck that.”
From there, VULTURES 1 clearly becomes one of Kanye West’s strongest and most thought out projects to date. It’s pacing and continuity is reminiscent of how the self-proclaimed artistic genius has the ability to give each of his albums their own world. “KEYS TO MY LIFE” manages to blend what he’s done on 808s & Heartbreak with the revolutionary feeling of what persists on VULTURES 1 . There is an altered, singing recording of social media influencer, India Love, speaking the outro, in an extra-terrestrial like voice. Interestingly enough that moment was captured by stan and hip hop accounts on social media, giving insight to the producer’s mastery of flipping the unexpected into something that’s simply tight.
What makes VULTURES 1 a standout is that Kanye West seems to be back in the form of sampling the moments that loop in his mind. It feels very similar to what he used to do back during his The College Dropout and The Life of Pablo days. It’s the type of stream of consciousness sampling that gives insight into what he’s thinking, even if it does not make sense to the public or his avid fans. It draws back to the moments where he hears something and intends to flip it into the creation he wants. Whereas DONDA did more straightforward looping that applied to the context of the album, VULTURES 1 goes off the deep, out of context, end.
“KEYS TO MY LIFE” is clearly about the fallout from his divorce with Kim Kardashian. Ty Dolla $ign adds on to that motion with his bridge where he earnestly sings “Wasn't it always this way?/Puttin' it all on display/Usin' up all your sick days/Put up with all my mistakes.” “You already know I'm impul—” pauses Kanye in the final verse before finishing “—sive.” As the beat switches, here comes India Love with the highlight of production moments.
“PAID” marks a celebratory moment with Ty Dolla $ign carrying the chorus. It works as the tribal rhythmed “Highlights” and “Low Lights” meets “Fade” moments of The Life of Pablo . Later in the album, “PAPERWORK” continues on that theme of boasting mogul status, with the minimalism of Yeezus showing out. While “BURN” mentions a CEO giving way to the old Kanye that made his name on The College Dropout with Ty Dolla $ign giving classic soul singing.
North West steals the show on “TALKING,” with “It’s your bestie, Miss Miss Westie! … Just bless me!” That’s a moment in the rat race of today’s celebrities and musicians trying to foster their child into the next prodigy (see: Blue Ivy Carter dancing on stage at Beyoncé’s Renaissance World Tour). From there the song is divided into two with Ty Dolla $ign singing “Once Again,” over production work that recalls the stunted, choppy nature of J Dilla.
The middle of VULTURES 1 hits its stride. There is not a single skip, even as the momentum gets more and more obscene and bizarre. Ty Dolla $ign becomes essential in that anthemic feel of the album as he carries the chorus of “BACK TO ME.” The song samples a clip from the 1999 film, ‘Dogma,’ where Jay shouts “beautiful, naked, big-t!tty women just don’t fall out the sky, you know!” Kanye comically sings that before Freddie Gibbs delivers another show stealing moment that Gibbs dubbed “the greatest verse of 2024.”
The sexual nature of the album eases into “HOODRAT.” There is a voice that repeats the title— and although credit isn’t given to who is doing it— because Freddie Gibbs appeared on the previous track, it seems as though it could be something he’d say. It’s the unorthodox kind of continuity that you would have to assume while listening and placing the peace’s of the scattered puzzle together. The No. 1 global hit, “CARNIVAL” continues that theme of lust, this time with Playboi Carti on what sounds like a soccer stadium chant meant for British skinheads. It’s stop and go turbo fuel nature fitting for the current wave of British hip hop taking over.
Ty Dolla $ign shines in his pocket with “DO IT” which is his LA-based hyphy trap&B, merging with New Orleans bounce music. As the biggest cheap shot on the album, there’s a sample of Juvenile’s 1999 twerk anthem, “Back That Azz Up.” “FUK SUMN” fits into the popularity of Travis Scott’s resurgence as we hear his “ooo’s” in the background.
On VULTURES 1 , Ye sounds as confident as ever. It’s the one that fans of his new eras have come to admire and support. On the title track that features Lil Durk he gets back into his Cruel Summer motion with DJ Pharris hollering “It’s Chicago N!gga” (see 2012’s “Cold” for that shoutout).
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Related Tangents
At the end of the album, he declares himself as “KING,” with a beat that works an elevated formation of the cockiness of Graduation . He even scoffs at his naysayers with “Crazy. Bi-Polar. Antisemite” on a beat that matches what Nas and Hit-Boy achieved on the King’s Disease and Magic trilogies. This finale is rightfully deserved: the music spoke for itself even after “all that word of mouth couldn’t take [him] out.”
“KEYS TO MY LIFE” for that stellar ending that recalls how Kanye can make the most unserious in fact be intentionally important for the larger picture.
“TALKING” for North West’s first catchy moment recorded on wax that has stadiums and Tik Tokers chanting.
“BACK TO ME” for Ty Dolla $ign’s ease in the hook, which felt his most comfortable, and Freddie Gibb’s excellent guest verse, where he skated effortlessly.
“KING” for being a suitable closer that correctly prophesied how Kanye West would be at the top of music with his No. 1 album under his own label and an independent music distributor.
Key Tracks
Talk about a triumphant return. The synopsis is already full of praise. This album is on repeat because it successfully captures the essence of what makes Kanye West one of— if not— the greatest curator of all recorded music. B+ happens to be the score of this review, because it will still take some time to marinate amongst all his other instant classics, which will be scored higher when the time comes.