'DONDA' 

 

DONDA CHANT- A 52 second track where "Donda" is repeated in different tones and cadences by who is believed to be Syleena Johnson, a previous collaborator with Kanye 17 years prior on "All Falls Down". The repeated name on the first track comes across as a mantra. It prepares the listener with an almost hypnotic trance-like experience before getting deep into the themes of family, self reflection, and God.

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JAIL- It’s always an announcement when the GOAT speaks. What a grand entrance it made with Hov hinting at a possible return of the throne. Although this may not be as bar heavy as some fans may have hoped for, the verse sets the tone nicely for the rest of the album. It also compliments the structure of the track very well behind the incredible guitar sample that opens the track so abruptly yet on queue when played in order after the ‘DONDA’ chant. 

 

GOD BREATHED- This next track had fans thinking that maybe for a second this project might sound a bit like ‘Yeezus’. Not at all. This is really the only one to give that vibe, and it serves it’s purpose nicely in this section of the album. It's almost like the end of this tremendous build up of the first 3 tracks. 

 

Track 4 is 'Off The Grid', with Kanye taking the last verse and allowing Playboi Carti to really establish his presence. ‘Off The Grid’ starts very Carti-esque. It’s dark, edgy, and it's 808 heavy with a nice synth. But the Drill switch up is what caught everyone’s attention. Including the fan favorite verse from Fivio Foreign. Probably the best verse from Favi anyone has ever heard and a brilliant showcase of NY meets CHI drill. Although Carti didn’t have a very long verse, this track is still a direct representation of the influence Carti and Kanye have on each other. They have become an interesting duo; Carti gets a major platform while Kanye still remains relevant to the young. Throughout his career, you have to respect Kanye’s ability to adapt. A combination of Carti’s mosh vibe instrumentation infused with Chicago drill sounds really set the stage for Favi to eat on the majority of this track. This is without a doubt a top 5 track on the album and proves to be one of Fivio’s most impressive features to date. 

 

HURRICANE- Another fan favorite. It’s quite an experience hearing a song of this caliber come to fruition. If you remember, we first heard the original track as  ‘80 Degrees’ the promotional track for Kanye’s ‘Yandi’ that was shelved and never released. Although many fans miss Kanye’s raw vocals on the original hook and futuristic synth, no one can really complain about The Weeknd taking the reins for a much more polished final cut. There is another version of this hook floating around the internet that is with just the Choir, and it's also just as beautiful. Adding Lil Baby on the final cut was just the icing on the cake. The track stays on theme carrying a melancholy tone even throughout the subject matter of both of the features and is easily one of the strongest on the entire record. Even though Lil Baby and the Weeknd are A-List features, it’s Kanye’s hums (mm mm mmmm mm mmmm) that stick around most in your head.

 

PRAISE GOD- Wow, are we really getting this many heaters in a row? Don’t let the title fool you. You might think it will start getting gospely. Not really…

Instead, Kanye’s late mother provides us with one of the hardest ye intros to a song we’ve ever gotten. 

 

“Even if you are not ready for the day, it cannot always be night,”  

 

The perfect Segway for the 808 drop to move your soul just a little.  Right away we realize this is a heavily Travis influenced sound. And yes, he does have a verse ; But it’s Baby Keem who really steals the show on this one. Keem shows his versatility with multiple flows and deliveries, proving he’s one to look out for right now. A Kanye co-sign may just be exactly what he needed to set him up before his highly anticipated major label debut ‘The Melodic Blue’ due Sept 10th. 

 

JONAH - Next we have Vory understanding the assignment out the gate. Vory is one of Meek Mill’s artists, and he flexes his remarkable vocal ability on perhaps the best hook on the album. Kanye even has has the Vory hook play a- cappella to end the track since it’s so good. Other than the hook, the most captivating part of this track are the drums, or lack-there-of rather. The most noticeable production in this song is nothing but an 808 and a beeping noise. Yet it's perfect. It  give enough space for Vory to shine and Lil Durk to also deliver a solid verse per usual. It’s impressively one of his most introspective ones we’ve gotten out of a guest feature from him, most likely due to the nature and subject matter of the album.

 

OK OK— More music to make you hit a mean mug. The 808 carry’s on another simplistic track offering just a synth as the only other major element behind the instrumental. Yet again, it still hits so hard. Fivio Foreign in the background hyping us up with his adlibs definitely helps. Lil Yachty and Rooga offer solid verses on the sinister album cut as well and earned their spot on the star studded track-list. Although, I am personally a fan of Shenseea’s verse on the second version a bit more.  

 

JUNYA - This is another track showcasing Kanye’s collaborative efforts with Playboi Carti. Besides having his adlibs on it to make it go that much harder, the HEAVY distorted 808 and instrumental alone remind you of Carti’s Whole Lotta Red that Kanye actually executively produced. This track just happens to have an organ piano as the main element accompanying the thump of the deepest 808 Ye could probably find. It’s a combination that just connects for Carti and Kanye. “Like Heaven and Hell,” as Carti actually proclaims on the extended second version of this track. This one is clearly for fun, but still offers a vibe none of the other tracks can. "JUNYA WATANABE ON MA WRI".

 

BELIEVE WHAT I SAY- Let’s change the vibe up real quick. Kanye decides to remind everyone that he is the sample champion just in case anyone forgot. 10 tracks in, Ye uses Lauryn Hill’s famous doo wop sample and creates a feel good anthem that serves as a perfect transition point in the album. 

 

24- 11 tracks into the album, we are given what feels like our first full gospel song with ‘24’. Although it definitely slows things down, the choir really makes the track so beautiful and worth a listen every time it comes on. Rapper KayCyy who appears all over ‘Donda’, also confirmed on twitter that this was recorded just after the passing of Kobe Bryant who wore the number 24. Hearing the choir alongside Kanye’s lead and the organs that continue to appear throughout the album, it’s a 3 minute piece that almost seems necessary for the project’s eclectic blend of heavy 808, Gospel, and everything in between to work. These tracks are the glue that make the length of the album understandable. 

 

REMOTE CONTROL- Did anyone really think Kanye and Young Thug would miss? Never. It is unfortunate that  'Ye decided to scrap Cudi’s vocals on the track that we heard in the second listening event at Mercedes Benz stadium leading up to the album's release. However, ye has a formula and who are we to question it. The production in this one is again simplistic, with a whistle sample and an addictive rolling snare carrying the load of the tune. It gives room for Ye and Thug to deliver real vocals on one of the most memorable collaborations this project has to offer. Plus, we get some Cudi up next anyway.

 

MOON- This one opens with Don Toliver, crooning on the hook before he’s accompanied by a sick guitar sample, and then Kid Cudi. Sounds like heaven right? It’s really a beautiful set-up for another one of the calmer offerings on the project. Ye eventually contributes and the 3 are heard singing together about their struggles in perseverance. A truly beautiful 2 minute and half track that feels much like an interlude. 

 

HEAVEN AND HELL- Another sample out the gate with this one. This track delivers a feel much like 'Ye’s ‘Power’ had to offer. No feature, just Ye , a choir, and some vocal chops that remind us he doesn’t need much to make a hit. This track feels much like a victory chant and goes on for only 2 minutes. It also has one of the stronger endings on the album with the engineers heard just toying with the different lows and 808s to create a pattern so different, so simple, and yet so memorable in just the final 10 seconds of the track. 

 

DONDA- The title track offers some more powerful words from Kanye’s mother, Donda. As well as vocals from both Ye and the choir with Arianna Grande providing background vocals that really take it to the next level for just another interlude. Although her role is insignificant on the album, you can tell that it’s her immediately because of her distinct voice. Specifically that signature high note. Short but immensely powerful; with headphones on, this quick one might give you the goosebumps. 

 

 

KEEP MY SPIRIT ALIVE - KayCyy opens this one up with his sharp captivating voice on the hook. His voice may easily be mistaken for 070 shake, possibly a reason Kanye was drawn to his sound and enlisted him as a heavy collaborator on the project. This track has some of the best verses on the album with a Westside Gunn and Conway The Machine offering in the first couple verses followed by Kanye going back and forth with Royce da 5’9”. Yeah, you read that right. Such a switch-up in the album's roster line-up shows Kanye’s versatility. Being able to go from Chicago drill, to going bar for bar with some of the most respected lyricist in the game right now. Again, still with all features staying relatively on topic with the theme of the project. But just like every eclectic element on this project that we enjoy, there’s more. 

 

JESUS LORD - Wow. I mean wow. It’s rare to hear an instrumental heavily carried by gospel elements that still goes so hard you can bang it in your car. Kanye delivers an anecdote of his experience with death of his loved ones and keeping his faith in god for the first half of his verse. The second half he touches on an unfortunate story that is easily the sad reality for many youth who grow up in the same environments he did. The verse is a reflection of Kanye’s truth and being a product of the same environment many young men struggle in. Oh and Jay Electronica also goes OFF on his verse. You may have to rap genius it if you’re unfamiliar (actually you probably WILL have to) but I promise you it’s worth it. Not everyone can spit knowledge like that without it sounding corny. Jay Elec does it with ease. Jesus Lord pt 2 is a personal favorite since it includes the verses from The Lox. 

 

NEW AGAIN- “Most exciting out of body experience” … if you can get passed the opening line that is. To me, it has it’s shock value just like 'Ye’s bleached a**hole line on ‘TLOP’. It becomes catchy after a couple listens, promise.  Unfortunately this track is missing a Chris Brown verse that he later leaked. However, he still has vocals on the track’s hook. Having Chris Brown sing “make me new again” with a choir behind him just felt like such a powerful request to the man upstairs . I believe Chris Brown’s verse would have included content that would not have exactly aligned with the theme of the song, and thus Kanye scrapped the verse to avoid taking away from the meaning and impact it has. Another beautiful track that also sounds a bit more like a chant, or possibly a cry for deliverance. 

 

TELL THE VISION- This track is less than 2 minutes long and has only Pop Smoke on vocals. The verse sounds unfinished, like it wasn’t recorded in a studio. It makes the track easily the most forgettable on the album, however a clever tribute still by Kanye. Due to the song being 1:45 seconds , it is just long enough to count as a stream, which will in return likely become royalties paid out to the Family of Pop Smoke. 

 

LORD I NEED YOU- Another example of how you can still make great music even with gospel elements. This song opens with Kanye singing over a church choir sample. It’s different, it catches your ear, and it is POWERFUL. One of the best samples on the album. It still offers some of 'Ye’s best verses on the album too. A very vulnerable Kanye reflects not only on his faith, but also his past relationship and his children. 

 

“When you said ‘gimme a ring’ /

You really meant ‘a ring’ huh?”

 

A deep album cut for sure but still proves to be a top 5 track on the album. The sample alone gives it that right. Another sample so good, it had to be used to open and end the track. 

If this one hits home for you, it might be a tearjerker. 

 

PURE SOULS - Ye continues to experiment with young talent and their sound by recruiting Roddy Ricch on this gospel heater. The heavy church organs reappear with the lyrical content pertaining to forgiveness, perseverance, and rising above. It has that gospel feel while still having a rap format. It’s gospel rap and it’s really good. 

Roddy Ricch sounds incredible on this one. While he shows off his vocal range of highs and lows, Kanye supplies some of his most fun verses for the album here. Although still faith related , with Roddy singing about trails and tribulations, Kanye chants “this southside, and we outside!” A few times before switching it up to “devil get behind me, I’m loose I’m free.” A tune that is sure to force you to move. 

The best part is when the beat stops for a count, as if to signal that the track is over, until Roddy brings it back with the hook one more time and really sends it home shouting a cappella ,

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 “THE TRUTH’S THE ONLY THING YOU’LL GET AWAY WITH.”

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With the close by Shenseea , this track has so many elements that come together perfectly to make it another top 5 on the album. Although, there is one problem. This track is amazing, but it is also long. At 6 minutes, it feels like the ending drags just a bit.  Shenseea sounds great, but did we really need to hear her repeat the hook 10 more times? Other than that, is does still serve as a great segue to the final quarter of the album. 

 

 

COME TO LIFE-  There is not a song more beautiful than this one on this album. There may not be a song as beautiful as this that we've heard this year. Maybe it’s the church boy in me. This track has no traditional 808, no hip hop element , just pure piano, electric guitar, and Kanye. There is a reason this was the first song to have a video off the album.  Another top 5 on this album. Easily a fan favorite strictly off of how different it is than anything Kanye has had to offer while remaining so polished. It’s no wonder why it was the ending to the final listening party in Chicago at Soldier Field. This could have easily ended the album. Is someone cutting onions in here? 

 

NO CHILD LEFT BEHIND - I can’t help but hear this particular organ in the beginning of this song and automatically think of Kanye floating in the air at the end of the second DONDA listening event in ATL. Ty Dolla $ign takes the reins on this one with a breathtaking opening. Another beautiful track and great closing. Kanye used his last opportunity on the album to remind people what the Lord has done for him in his life. On the powerful album close Kanye declares  

“He’s done miracles on me,”

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Although this marked the ending of the album, Kanye felt it was necessary to add second versions of 4 tracks as well. Understandable since all 4 tracks offer features we would’ve hated to see left off of the project. 

The first bonus track brings us back to ‘Jail’ which is perfect because it’s right where we started. It makes it feel as if we have the album on repeat, except it’s a different version. A very creative way to give the fans the best of both worlds.

 

JAIL pt 2. - Jail pt 2 offers vocals from Marilyn Manson that impressively work well for the hip-hop/rock combination.  With Manson currently in the media for sexual assault allegations, hearing him on this track made it hit a little different. It also has a verse from Dababy, instead of Jay Z, where he focuses on the backlash he was recently facing for some of his comments he made on stage regarding the LGBTQ+ community and his ignorance on HIV/AIDS. On an album about trials and tribulations, it was interesting so see these 2 features in particular on the same track to really serve their purpose. It was definitely an attempt at delving deeper into the theme of repentance that is consistent throughout the album. A risky move by Kanye , but one that was surprisingly well received (for the most part). 

 

 

OK OK pt. 2- This version scraps lil Yachty’s verse for Shenseea who actually kills it. She slides on the track so smooth for a seamless transition before offering a new island vibe to the otherwise darker instrumental. Although it remains sinister, her captivating voice and island flow is really what makes her feature stand out and probably a big reason why it made the album. 

 

JUNYA pt 2. - This version provides a very fun offering from Ty Dolla $ign and an extended verse from Playboi Carti. Ty Dolla has always been known as the “feature guy” and as someone who will take your hooks to the next level. Having him behind the hype of a Playboi Carti song is something we didn’t know we needed. Experimenting yet still in his element, Ty uses this opportunity to have fun with different flows on his verse and even killing his own rendition of the hook.

 

JESUS LORD PT 2. - THANK YOU KANYE FOR KEEPING THIS VERSION ON THE ALBUM. Fans were worried when the highly anticipated track was actually missing the verses from all three members of The Lox at the final listening event. Thankfully we were blessed with an extended version that includes Jay Elec’s insane verse, with all verses from The Lox well. 

 

 

After giving 'DONDA' a considerable amount of listens, I rate it a 9/10 for it’s replay value and for being the album you want to put on when you're tired of the typical hip hop that's out. The album offers a religious perspective that is not shoved in your face and does not come across as corny. The execution from the rollout to the actual track-list itself is damn near flawless. 

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Ye has the gift of the culture in his hands. He makes everything he does such a phenomenon, that it becomes something you want to be a part of if you’re a fan. A fan of his music, a fan of his clothing, a fan of his frame of mind. The man essentially threw a mini tour for an album that was in the process of its creation. 

 

Who else has the influence to take artists that currently have the most musical impact in the street and give them an even bigger platform? Someone who can influence them to rap on a completely different scale by pushing the biggest up and comers out of their comfort zone. For example, getting artists like Fivio Foreign to go deeper into real subject matters on unfamiliar style of production… and still make it all come together. It’s new, it’s shocking, it’s exciting. It’s what Kanye finds a way to do again and again. It may not always work with every project, but ‘DONDA’ is a prime example of ‘Ye pushing the envelope the right way. 

 

Kanye’s idea to keep most of the features on topic about their personal experiences with spirituality, trials, and tribulations kept the 23 song album incredibly cohesive. The 4 bonus tracks were a nice touch to the track-listing, allowing fans to pick and choose which versions they want to hear. Every feature on this album is a highlight in their own right and the production is something out of this world. Truly a blend of sounds we really haven’t heard before. There are organs on just about every track yet it still has the dark 808 heavy feel that is starting to dominate todays hip hop scene. An eclectic blend of gospel meets hip hop. Plus, every transition is on point and all of the songs are much more refined from what we heard at the listening events. A memorable project for sure with a rollout that became a phenomenon in its own right; 'Donda' was an offering Kanye’s mother would be proud of him for creating in dedication to her. 

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'Donda' gets a 9/10