Does the eagerly-awaited debut from Kanye’s protégé live up to the hype? Review Summary: The rise and the fall and the rise of Scott Mescudi, as told by Kid Cudi. CyHi Da Prince excepted, West's taste in musicians is usually sound, and CuDi is talented. The first two tracks on Man on the Moon: The End of Day are a one-two introduction to Kid Cudi and what he’s up to. Cudi seeks to expand upon the loneliness and deep emotional scars from his mixtape with cameos and production work by Common, Chip Tha Ripper, MGMT, and Ratatat. As a solo artist, well... his second full-length, Man on the Moon II: The Legend of Mr. Rager manages to render the jury still out. Cudi co-wrote several tracks on 808s (most notably guesting on "Welcome to Heartbreak"), and combined with hits in Drake's "Best I Ever Had" and Cudi's own "Day 'N' Nite", the commercial resiliency of that album proved that fad or not, this sadsack backpack stuff is here to stay. One of the best all-time hip hop debut albums, up there with "The College Dropout", "Reasonable Doubt", and "Doggystyle". "I got some issues that nobody can see," goes the hook to "Soundtrack 2 My Life", and it's a boast as grandiose as you're likely to hear in 2009. This album truly is a classic, it's a breath of fresh air that the industry has needed. Even with "Stapleton Sex" and "Gihad" making the rounds recently, it's probably still the most noxious sex rap I've managed to hear in some time. In fact, more of the aforementioned would be welcomed over these two pieces. No wonder Kid Cudi threatened to retire before he even put out Man on the Moon: The End of Day-- his debut essentially exists because of a record that drew most of its power from a singular cult of personality, and that's a lot to live up to. Then, of course, there’s parts like the rather abrupt line of “Shut your outh or I’ll fuck it” from “Cudi Zone”. The debut album for the Cleveland-born who helped cowrite four tracks on Kayne West's "808s & Heartbreak. But with the release of his full length studio album, Man on the Moon: The End of Day, Cudi enters the do-or-die part of the show, a phase that has swallowed up many young MCs. These two tracks do nothing to instill hope in a new sound. Kanye's new album is gonna blow this shit out of the water. Great review. Matthew Cole. Hip-Hop music relies not on the vocal talent of the artist (the artist is essentially talking, after all), but on the ability to communicate meaning to the patron. But the album’s worst line has to be “I want to kiss you on your space below your navel-ette/The place that you keep neat/So moist like a towelette”. This album is a masterpiece, a true blending of styles that culminate in something that does not belong in the world of gangster rap. Really liked this on first listen, the drums are great, and I have a fealing that I'll be listening to it a lot as it seems to be a huge grower. Cudi’s balancing act even takes a song like the Lady Gaga-sampling “Make Her Say”, which is nothing more than a three minute frat boy ode to oral sex and the album’s weakest track, seemingly have more depth within the context of the album. Things start to open up toward the end, with the ’80s arcade noises (and single-tracked lead vocal!) I have a feeling that I'll be listening to this for a long time. Cudi is obviously not a master of rhymes, but his true talent lies in connecting with listeners through the subject matters of his verses. This is not for a lack of talent. Receives First-Ever Commercial Release: Stream, Ranking: Every Bruce Springsteen Album from Worst to Best, Rudy Giuliani Caught on Camera Attempting to Seduce Borat's "15-Year-Old Daughter", R.I.P. Man on the Moon, the debut album from this rapper-singer from Cleveland, is a colossal, and mystifying, missed opportunity, misguided if it is in fact guided at all. You don’t need to own the whole thing unless you’re particularly fond of synthy dirges and bad lyrics (“You don’t really know about the trials of tomorrow/ Rather lay awake in the bed full of sorrow”? With guest appearances by Kanye West, MGMT, and the electro group Ratatat, it certainly is not lacking in any support from the musical community. Erase Me definitely took me a few listens to like it though myself, Bands: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z, Man on the Moon II: The Legend of Mr. Rager. Throughout, Cudi's issues could not be rendered in a more clumsy or obvious way, blowing up every slight perceived or real ("had mad jobs and I lost damn near all of them") into trials of such mythical proportions that it needs a bogus four-part "plot" (Cudi is sad, does mushrooms, starts to get famous, is still sad) and narration from Common. It would be numbing enough on its own, but nearly every 30 seconds there's some terrifyingly underwritten lyric to jolt you into sharp pangs of embarrassment. What's this? Really? This is one of the best albums of 09. The emotion comes off authentic as Cudi yearns for the father-son connection he never got. Album Rating: 2.5 | Sound Offnice review, this guy just doesn't do it for me though. Still, it does start to feel a little monotonous after awhile; if Moon is more sonically expansive than 808s, it also feels a little more claustrophobic, at least for its first two thirds. This is one of the best albums of 09. Lyrically, the album loses a tad of momentum. "Don't Play This Song" starts with a somber, harmonically rich string quartet and adds a throbbing pulse and a wailing Mary J. Blige; the track's elements shift slowly and subtly, giving the groove a fluid and hypnotic feel that Cudi echoes with his stuttering "ra-ra-ra-ra-right" delivery. Thematically, Mr. Rager is most compelling when it leaves behind moping alone in your room for moping while you're out on the town-- being a coked-up asshole. Where the album seems to falter is that when there are genuine emotional experiences that overtake the listener in empathy (like the reaffirmation of his existence in “Heart of a Lion”), the songs are uninteresting production wise. If you want to know further why this album is a classic you'll have to check it out yourself, but know for a fact it's well worth your fifteen dollars. His 2009 debut, Man on the Moon: The End of the Day, was a modest commercial success but a mortifying creative face-plant, a compilation of the most two-dimensional art-school-kid clichés (I'm sad, I'm stoned, I'm deep) imaginable, over unrelievedly monotonous electro tracks. By the time you get to “Make Her Say,” which repurposes Lady GaGa’s “Poker Face” as an ode to fellatio, you can’t help wishing the rest of the record had this much humor. So glad that this is on par with MOTM:EOD because I love that album, Album Rating: 4.0this sounds good. “Soundtrack 2 My Life” is the pinnacle of the concept and the absolute album standout. It makes you think things could get better if Cudi manages to cheer up in the future (and why not? It's a backhanded compliment, acknowledging that everything he does is a vital listen but also that it would be tougher to overlook the LP's glaring flaws had it come from someone who hadn't built up a decade of goodwill through his musical work and personal transparency. Tony Lewis, Singer of The Outfield's "Your Love", Dies at 62, After a Drunk Smashed a Street Busker's Guitar, Jack White Bought Him a Gorgeous Replacement, Borat's Daughter Infiltrated the White House Thanks to OAN, David Crosby Gets Backlash Over Dismissive Eddie Van Halen Tweet, Mick Fleetwood Joins TikTok Just to Recreate Viral "Dreams" Video: Watch, Rick Moranis Hospitalized Following Unprovoked Attack in Manhattan, Get This Mask if Being Home Alone Makes You Want to Scream, You Ain't Got No Business Going Outside Without This Mask, Remembering Eddie Van Halen’s 10 Greatest Riffs, This Pixar Movie Is Skipping Theaters and Going to Disney+. If Man on the Moon: Ghost in the Machine and its unnamed followup, which will complete the trilogy, follows in their steps, Kid Cudi could find himself crashing back to Earth real soon. It was released on September 15, 2009, through Dream On and GOOD Music, and distributed by Universal Motown Records. Still, the chilly, complicated Man on the Moon perfects the futuristic bleak-beat hip-hop Kanye purposed a year earlier, and rewards the listener with every tripped-out return. (Case in point: Fatlip’s classic “What’s Up, Fatlip?”) Even the career mopes in Depeche Mode know that musical depression is a game that requires a certain amount of dynamic range.
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