Kanye West, Donda | Album Review 💿

After a messy rollout, Grammy-winning rapper Kanye West delivers a big, flawed, but often enjoyable 10^th studio album with Donda.

The rollout of 🎙 Kanye West albums, lately, have been rollercoaster rides.  💿 The Life of Pablo (2016) sounded ‘rough around the edges’, with West refining it along the way.  Furthermore, it wasn’t available for widespread purchase for a while. 💿 Ye (2018), quite possibly his worst album, ran just seven tracks at 24 minutes in length.  Then, there was 💿 JESUS IS KING, his 2019 venture into Christian rap, which was delayed, had its moments and a head scratcher or two (“Closed on Sunday / You’re my Chick-fil-A”), and won him his 22^nd 🏆 Grammy.  The messiest rollout has been his 10^th studio album, 💿 Donda, named after his late mom, Dr. Donda West.  Donda is big, running nearly two hours in duration.  While far too long with 27 songs, Mr. West delivers some compelling moments.  It’s more intriguing than JESUS IS KING, finding West continuing to embrace Christianity/moral values with all swear words edited out (!).

“Donda Chant” 

🎵 “Donda Chant” fitting commences Donda.  Here, R&B singer 🎙 Syleena Johnson repeats ‘Donda’ numerous times, paying ode to West’s mom and album title.  One of the LP’s best moments supervenes with ✅ 🎵 “Jail,” featuring 🎙 Jay-Z. West takes a more melodic route, while “Jail” is filled with experimental sensibility.  For a comparison point, at least regarding sound, it reminisces back to 💿 Yeezus (2013).  The chorus is catchy as albeit (“Guess who’s goin’ to jail tonight? God gon’ post my bail tonight”). Jay shines on his verse: “Hol’ up, Donda, I’m with your baby when I touch back road / Told him, ‘Stop all of that red cap, we goin’ home’.” Later, 🎵 “Jail pt 2” (track 24) enlists 🎙 Marilyn Manson and 🎙 DaBaby, two artists who’ve experienced their fair share of controversies.

“I know God breathed on this,” Kanye West asserts on 🎵 “God Breathed,” another experimental number.  He’s assisted by 🎙 Vory who provides intriguing contributions including the third verse and final chorus.  The production is ear catching, again reminiscing to his Yeezus days. Better than the enjoyable “God Breathed” is must-hear banger ✅ 🎵 “Off the Grid” featuring 🎙 Fivio Foreign and 🎙 Playboi Carti.  “Off the Grid” features stellar production work (West, 🎛 DAVID x ELI, 🎛 Sloane, 🎛 Ojivolta, 🎛 AyoAA, and 🎛 30 Roc) incorporating trap and drill.  Carti is true to self with his distinct rapping style.  West shines on a chorus that easily gets stuck in your head.  The best part belongs to Fivio Foreign, who is on autopilot:

“‘Cause they want me to lose, they ain’t part of the Woos
I been tryin’ so hard not to move reckless.”

“Hurricane”

“Father, hold me close, don’t let me drown / I know you won’t.” ✅ 🎵 “Hurricane” is another bright spot from Donda. It features two superstars: 🎙 The Weeknd and 🎙 Lil Baby.  The Weeknd delivers awesome vocals on the chorus (excerpted), flaunting his distinct, gorgeous tenor.  As for Lil Baby, he continues to show why he’s become such a force in the game, delivering a fiery, standout verse (“Still remember when I just had three bands / Now, I’m the one everyone call on ‘cause I got deep pants”).  Mr. West is ‘on,’ delivering a verse chocked-full of personality: “Mm-mm-mm-mm-mm, I was out for self / Mm-mm-mm-mm-mm, I was up for sale, but I couldn’t tell.”

Donda rolls on with 🎵 “Praise God” featuring 🎙 Baby Keem and 🎙 Travis Scott.  Call it a Christian rap banger.  There are no swear words, though Keem’s colorful, extended verse features some edits.  Even with amended salty language, Keem is profound when he says, “Y’all treat the Lord and Savior like renters’ insurance, you know what I mean?” Vory returns once more on ✅ 🎵 “Jonah.” He sings the chorus (a vibe) and performs the rhythmic first verse.  🎙 Lil Durk arrives on the second verse, with his melodic brand of rap, which aligns with Vory.  The first we hear from West is on the third verse, featuring un-pitched rhymes.

“Ok Ok” 

“Okay, now they got me, wanna rap again.” That’s positive, Ye.  🎵 “Ok Ok” brings back Fivio Foreign, and adds 🎙 Rooga, and 🎙 Lil Yachty.  Foreign’s role is small, providing ad-libs on West’s verse.  As for Yachty and Rooga, they have full verses. The production work is gripping, set in a minor key against a hard-hitting trap beat.  I’ve been mixed on Yachty for years (💿 Teenage Emotions was a train wreck) but his flow/vibe is successful here. Rooga stays on for 🎵 “Ok Ok, Pt. 2,” the 25^th track, while 🎙 Shenseea replaces Yachty, performing in Jamaican Patois.  

Gotta heart the organ and menacing beat on ✅ 🎵 “Junya” featuring 🎙 Playboi Carti for the second time.  Lyrically, “Junya” isn’t deep, but there’s a degree of infectiousness given it’s simplistic, repeated rhymes.  This is a flex-fest between the two rappers with a fair share of memorable one-liners.  Can’t deny the Playboi gem, “I won with the ‘bucks,’ boy / Let me Giannis.” And of course, all West needed to utter was “Junya Watanabe on my wri’, wri’.” Worth noting, 🎵 “Junya, Pt. 2” appears as the penultimate cut, adding 🎙 Ty Dolla $ign – the walking vibe – to the mix.  Like the other ‘pt 2’ cuts, “Junya pt 2” is a remix.

“Believe What I Say”

“Don’t let that lifestyle drag you down /… One last sparkle to follow in my light.”  ✅ 🎵 “Believe What I Say” marks one of the more memorable songs.  Giving the record a serious lift is 🎙 Lauryn Hill.  No, she doesn’t record fresh, brand-new vocals, but sampling her beloved classic, 🎵 “Doo Wop (That Thing)” was genius.  Kanye West and the production team (Ojivolta, 🎛 FnZ, 🎛 BoogzDaBeast, and 🎛 Dem Jointz) do wonders with the sample, delivering a groovy, legit hit from this gargantuan LP.  The chorus is golden, while West’s verses are equal draws.  Also, give West credit for tapping 🎙 Buju Banton for the bridge.  

✅ 🎵 “24” featuring 🎙 Sunday Service Choir gives Donda gospel flavor, something that’s only happened sparingly to this point.  The organ is unavoidable, signifying church.  As for Sunday Service Choir, their tone is intriguing.  The choir is drenched in effects, which is unique. The choir sounds more robust on the bridge, fitting given the lyrics, “God’s not finished,” repeated eight times. As for West, he’s in full spiritual mode.  Follow-up 🎵 “Remote Control” featuring 🎙 Young Thug also throws some godliness into the mix, though I’m not certain it would be used as the opening hymn in a church service.  West asserts, “Got it on remote control, like a CEO,” referencing himself and God.  As for Young Thug, his Jesus talk is, well drip: “Jesus sent me brand-new clothes (skrrt, skrrt).”

“Moon” 

There’s no way you have a ‘moon’ song and not invite 🎙 Kid Cudi on the track – it’s an unwritten rule! On the mellow, slow-paced ✅ 🎵 “Moon,” 🎙 Don Toliver joins Cudi.  Yes, Kanye West appears, but Cudi is the star, performing the sole verse.  Toliver performs the chorus, joined by West the second time around.  Perhaps it’s overused but “Moon” is a V-I-B-E. The same can be said of ✅ 🎵 “Heaven and Hell.”  Sampling 🎙 20^th Century Steel Band (🎵 “Heaven and Hell Is on Earth”), the resulting timbre is must-hear.  West only delivers one verse but it’s intense – incredibly passionate.  Even his sound effects on the outro, against this alluring backdrop make “Heaven and Hell” endearing.  

🎵 “Donda” features a speech by West’s late mother.  Among the memorable moments are, “And you know, I am my son’s mother / The man I describe in the introduction as being so decidedly different, my son.” Other appearances on the track include 🎙 Stalone, 🎙 The World Famous Tony Williams, and Sunday Service Choir again. 🎵 “Keep My Spirit Alive” marks another welcome moment, featuring 🎙 KayCyy, 🎙 Westside Gunn, and 🎙 Conway the Machine.  KayCyy sings lovely over the mellow backdrop.  Westside Gunn and Conway the Machine don’t disappoint either.  Sure, West appears, but not until the third verse, alluding to 🎦 Black Panther and God’s mercy, omniscience, and wonder working power (“Give it all to God and let Jesus reimburse you”).

“Jesus Lord”

The song to beat on Donda is ✅ 🎵 “Jesus Lord” featuring 🎙 Jay Electronica.  Yes, it’s nine-minutes-long – ambitious – but it’s well worth it.  The mellow production work is sensational, enlisting 🎛 MIKE DEAN, 🎛 Swizz Beatz, and 🎛 Gesaffelstein behind the boards.  Even though the sound is mellow – reverent and reflective – there’s hard-knocking beat that’s consistent throughout. West delivers a fine verse, reflecting on his life, particularly the loss of his mother: “Mama, you was the life of the party /… When you lost your life, it took the life out the party / That woman road with me like a Harley.”  This is a prime example where you sense the grief West has experienced.  Jay Electronica thrills on the second verse, featuring clever pop cultural and spiritual references.  Two more moments solidify the greatness of this song: West’s spiritual chorus, and the moving outro by 🎙 Larry Hoover Jr. in support of his incarcerated father, Larry Hoover Sr.  The even lengthier, 🎵 “Jesus Lord, Pt. 2” concludes Donda, running an ambitious 11 ½ minutes! How does it differ from the original? Following Jay Electronica and preceding the outro by Larry Hoover Jr., we get three verses – three through five – from 🎙 The LOX (🎙 Sheek Louch, 🎙 Jadakiss, and 🎙 Styles P). 

🎵 “New Again” keeps the lengthy Donda, well, lengthy.  Positively, the production is picturesque, thanks to the shimmering synths. Assisting West is none other than 🎙 Chris Brown – *cough* another controversial guest.  Regardless, Brown sounds as youthful and potent vocally as ever, so that’s a pro (“Make me new again”). 🎵 “Tell the Vision” is a 🎙 Pop Smoke feature (RIP).  While I appreciate the love that he’s received posthumously, I don’t feel like this brief track was necessary.

🎵 “Lord I Need You” 

Sunday Service Choir returns on 🎵 “Lord I Need You,” once more with vocal effects.  Relatively short, West serves up one verse. That verse is respectable, sort of throwback ‘Ye, at least early on.  West sings during the back half of the song with success.  If nothing else, the messaging is a pro. On ✅ 🎵 “Pure Souls,” the 21^st track, West is joined by 🎙 Roddy Ricch and Shenseea. “Pure Souls” runs six minutes but marks one of the better moments.  Ricch sounds great on his melodic verse, as well as the chorus.  A memorable moment is Ricch’s reference to his Grammy.  West performs the second verse and bridge, while Shenseaa lends her lovely vocals on the outro. 

“You know where to find me, they cannot define me / So they crucify me, how so fazed when I leave?” ✅ 🎵 “Come to Life” runs past five minutes but rewards us with lovely singing by Kanye West.  Also, making “Come to Life” distinct are the sampled vocals (witnessing), the radiant production fusing multiple music cues/styles, and the sheer spirit exhibited by West. The 23^rd song, ✅ 🎵 “No Child Left Behind,” marks the last totally new song before four remixes conclude Donda.  As the coda of this review, it’s fitting and thoughtful.  Once more, this is a reflective, thankful moment from West, over a reverent, soothing backdrop.  “He’s done miracles on me,” West caps off this simple but telling gem.   

Final Thoughts 💭 

110 minutes of music is not easy to digest. Despite being far too long, I appreciate the ambition exhibited by Kanye West on Donda.  There are some fine musical moments from start to finish.  As a Christian album, it eclipses JESUS IS KING in many respects.  Donda is imperfect, and the cohesiveness is, um, questionable, but pick and choose your favorite selections, and you have a respectable product.  No masterpiece, but plenty to like. 

✅ Gems 💎: “Jail,” “Off the Grid,” “Hurricane,” “Jonah,” “Junya,” “Believe What I Say,” “24,” “Moon,” “Jesus Lord,” “Pure Souls,” “Come to Life” & “No Child Left Behind”

🎙 Kanye West • 💿 Donda • 🏷 Def Jam • 🗓 8.29.21

[📷: Def Jam]