Kanye West Et Jayz - Watch The Throne

[nabnab7]

 

 

1.No Church in the Wild (feat Frank Ocean)

2.Lift Off (feat Beyonce)

3.Ni**as in Paris

4.Otis (feat Otis Redding)

5.Gotta Have It

6.New Day

7.That's my Bi***

8.Who Gon stop Me

9.Murder to excellence

10.Welcome to the Jungle

11.Made In america (feat Frank Ocean)

12.Why I love you (feat Mr Hudson)

Bonus : Illest motherf**ker Alive

Bonus : H.A.M

Bonus : Primetime

Bonus : The Joy

Bonus : Living So Italian

[Ulysses]

Avant une vraie critique... Mon avis à partir de mes premières écoutes.

5 * : Chef d'oeuvre.

4 * : Bon morceau.

3 * : Moyen.

2 * : Mauvais morceau.

1 * : Catastrophe.

Au bûcher Beyoncé.

[Nass.]

N hésitez pas à mettre des critiques de magazines ou de professionnels...J 'aimerais bien connaitre les critiques de magazines Rap et de musique en général ..la manière dont ils ont acceuilli cet album...quels titres ils ont préféré, ceux qu ils trouvent raté.

 

J 'aime beaucoup "New Day." que je me passe en boucle .

 

(prod. RZA, Kanye West, Mike Dean and Ken Lewis) Here's a song topic: how Jay and 'Ye plan to raise their as-yet-hypothetical boys. Kayne: "I won't let my son have an ego/ Be nice to everyone wherever we go." And later, in a nod to his notorious comment about George W Bush, he talks about raising his son "Republican, so they know he likes white people"

[Sultane]

J 'aime beaucoup "New Day." que je me passe en boucle .

 

Trop chelou l'échantillon de Feeling Good sur ce son

[Ulysses]

Popdust critique actuellement l'album morceau par morceau.

No Church 4/5

Lift Off 3/5

Niggas In Paris 4.5/5

Otis 4/5

Gotta Have It 3.5/5

New Day 4/5

That's My Bitch 3.5/5

[Invité]

Les premières reviews arrivent, celle du Chicago Tribune (la seule prise en compte par Metacritic pour le moment) est ... mitigée :

 

 

 

Album review: 'Watch the Throne' a royal waste

When two of the biggest names in hip-hop – Jay-Zand Kanye West -- collaborate on an album, is there any way it can live up to the hype? Likely not, and that's the burden "Watch the Throne" (Roc-A-Fella Records/Roc Nation/Def Jam Recordings) faces.

The two have done great work in the past. As a fledgling producer, West delivered soul-fired beats that underscored Jay-Z's 2001 release, "The Blueprint," a hip-hop classic. Now the two operate more or less as equals, with West having a hand in most of the production and Jay-Z taking a slightly larger share of the vocals on "Watch the Throne." In many ways it's an album about mutual admiration.

 

Both artists have developed distinct, not necessarily complementary personas. Jay-Z is about imperious flow, bridging his gritty past life on the streets with his current status as a cultural tastemaker and business mogul. He operates at arm's length from the listener, a self-styled godfather who never seems to break a sweat as he rhymes rings around his inferior would-be competition. He no longer needs to surprise us, he simply needs to file annual updates reminding us that, after all, he's Jay-Z and you're not.

 

West is more desperate, transparent, awkward, vulnerable; he's not nearly the MC that Jay-Z is, but still he aims for the stars, often shooting well beyond traditional hip-hop subject matter and production in his desire to make an impression. He is the one more likely to surprise and enrage these days, which makes him one of the most compelling figures in contemporary pop.

 

But on "Watch the Throne," West must also defer, and this makes for a sometimes difficult partnership. The production is often stellar, favoring West's soul-dusties sensibility, with snippets of James Brown, Otis Redding and Nina Simone. But it rarely takes the kind of chances West routinely takes on his solo albums. Instead, the idea is to create an album that lives up to its royal billing, a gilded collection of potential hits with lots of hooks and plenty of branding opportunities.

 

The tracks rely on an array of vocalists to supply hooks. Tellingly, the first vocal heard on the album is not from one of the two stars, but Odd Future's Frank Ocean, who provides the foreboding intro to "No Church in the Wild." Jay-Z and then West take turns describing a night of decadence that leaves "blood on the coliseum walls." It's an oddly unambitious start.

 

"Lift Off" follows, with Jay-Z's other half, Beyonce, delivering a vocal that again feels disengaged. "Take it to the moon, take it to the stars, how many people you know get this far," she sings. Please.

 

Coupled with the album's recent single "Otis," in which a sharp Redding sample is wasted on a vapid litany of product-placement shout-outs from West and Jay-Z extolling how rich they are, the album already is grossly out of touch with the summer of 2011. Both West and Jay-Z were vocal backers of Barack Obama during his 2008 presidential campaign, but now that America is struggling to regain its economic bearings, they rhyme about their private jets, expensive watches and supermodel escapades.

 

The album's second half finds the duo expanding the scope of their concerns, at least touching on the difficulties of the African-American community. But inevitably the focus returns to the two icons. "I look in the mirror, my only opponent," Jay-Z raps in "Welcome to the Jungle." For "Murder to Excellence," the two-part tale of destitution and dominance ends with you-know-who on top.

 

They were proudly "Made in America," a track with another Frank Ocean vocal hook that celebrates their ability to get "a million hits" on a blog.

 

Their guard lowers momentarily on "New Day." Over a handful of piano chords and a haunting soundscape from the Wu-Tang Clan's RZA, Jay-Z and West hypothetically address their unborn sons. There is a poignant undertow, as they own up to missteps and disappointments. West gets off the album's most darkly humorous lines, when he addresses his nationally televised remarks chastising President George W. Bush after theHurricane Katrina disaster in 2005: "I might even make him be Republican, so that everyone know that he love white people," he says of his unborn child.

 

The 2005 remarks turned West into a villain, a cast that he may never be able to shake off with a certain segment of America. But his knee-jerk response to the heart-breaking images from the New Orleans flooding spoke loudly for what many disenfranchised Americans were feeling at that moment, and inspired great art in return (the Legendary K.O.'s classic protest song,

).

 

In the last few days, West (and Jay-Z) inspired another powerful piece of protest music, when Public Enemy's Chuck D uploaded the song

on his Web site in response to the bling-saturated lyrics of "Otis," which play out over an explosive sample of Redding's "Try a Little Tenderness."

 

"Otis Redding was a humble country man from Macon, Ga., who bought a jet to work in, not flash," Chuck D wrote. "He perished in that plane. Here's to hoping that the J & K supergroup can elevate the masses and try a little bit more to reflect Otis heart rather than swag, because they're too good to be less."

 

Chuck D once called hip-hop "the black CNN," and from Grandmaster Flash and Melle Mel's

through N.W.A.'s

its self-regard always swaggered hand-in-hand with no-holds-barred street reporting. "This is our life," these classic hip-hop tracks declared, "deal with it."

 

In many ways, West and Jay-Z are saying something similar on their new album. But their approach is not to shine a spotlight on their community. Instead, they urge listeners to "watch the throne," and gaze in awe on their good fortune.

 

L'album se voit attribuer la moyenne note de 50/100.

[Ulysses]

Le Boston Globe aime l'album.

 

An album in which Kanye West and Jay-Z come together, call themselves "The Throne,'' and tell everybody to watch them? Hyperbole is practically its birthmark.

 

Is Kanye West the best rapper right now?

 

Is Jay-Z the greatest rapper of all time?

 

Are they the two most influential rappers of the past 10 years?

 

Um. . .

 

"Watch the Throne'' came with a release strategy that was remarkable in itself. It dropped yesterday digitally on iTunes, four days before the physical albums will go on sale, initially in a Best Buy exclusive. It didn't spill all over the Internet prematurely, a milestone in an age when so many albums are a Google search away. There's a massive tour that comes to the TD Garden on Nov. 21, and reportedly there's already a logistical issue trying to find room for both of their egos. Which raises another question: If there were a battle between Jay-Z and West, who would win?

 

This is all before hearing a verse, let alone a song, and none of those elements evaporate when you start to peel back the layers on "Watch The Throne.'' The fact that West is at the height of his rap powers is unavoidable. Sonically, his fingerprints are all over the album. It's as massive, dour, and relentlessly unconventional - if not as personal - as last fall's "My Beautiful Dark Twisted Fantasy,'' with beats from the RZA ("New Day'') and Q-Tip ("That's My Bitch'') and a pair of appearances from Odd Future crooner Frank Ocean ("No Church in the Wild'' and "Made in America''). Lyrically, West sounds like he feels invincible, and it's only more noticeable with Jay-Z rhyming right next to him.

 

On "Gotta Have It'' Jay-Z calmly spits a carefully crafted verse about holding kids hostage and wrapping them like mummies until he gets some money that he's owed back. Then West barges in.

 

"Racks on racks on racks,'' he shouts. "Maybachs on bachs on bachs on bachs on bachs.'' Jay-Z asks, "Who's in that?'' West responds, "It's just blacks on blacks on blacks.''

 

It's absurd, but it's clever. Meaningless, but essential. West can get away with murder, and he knows it.

 

At points, he seems like he's dragging Jay-Z with him. There's a verse in "New Day'' in which West sounds so vulnerable, talking about not wanting his son to make the same mistakes he did - from breaking up with his college girlfriend to blasting the president on national TV, dating a stripper, and moving his (now deceased) mother to Los Angeles. (He probably wishes he could have that Hitler comparison from this past weekend back, too.)

 

It's the kind of stuff Jay-Z made a career steering clear of, and he doesn't necessarily want to come anywhere near it this time. But because of West, he does. His very first words on the album are about religion - and his own lack thereof - on "No Church in the Wild.'' (West's likely to blame for the dubstep sampling "Who Gon Stop Me,'' too. That's not Jay-Z's style.)

 

They still sound like two solo rappers. But there's an undeniable synergy that they embraced for this project. They run rhyme relays on "Otis'' and "Welcome to the Jungle,'' picking lines up where the other left them. Jay-Z feels at home on West's beats. West is giddy to rap with his idol.

 

It all clicks on "Murder to Excellence,'' essentially two songs fused together: one a Swizz Beatz concoction about cyclic black violence ("314 soldiers died in Iraq,'' West raps. "509 died in Chicago''), the other produced by S1 about the narrowness of black success. ("Only spot a few blacks the higher I go,'' raps Jay-Z.)

 

There was a point when West was Jay-Z's pupil. They've been peers for a while now. This album isn't as much about watching the throne as it is about passing the torch.

 

USA Today aussi. Les Times qui ont posté leurs critiques sont convaincus.

[GreenPaper]

Première note Metacritic :

 

Chicago Tribune - 50/100

[Invité Placid]

Première note Metacritic :

Chicago Tribune - 50/100

 

Cette note m'a interpellé, j'ai entamer la lecture de cette critique, que je trouve bien mené dans ses quatre premiers paragraphes d'intro, mais elle perd complètement son objectivité quand il s'agit de détailler les titres individuellement.

Après avoir lu que No Church était une chanson peu ambitieuse je n'ai pas continuer beaucoup plus loin...

Qu'ils sont drôle!

[Pyong]

The source ;

 

Haven’t yet written an on-line album review while I’ve been at The Source. Hesitant maybe because I’m so damned opinionated and cats out here is so damned tender headed. Tender hearted too.Watch The Throne dropped today. The lead up to this was a veritable spectacle. Cats got ejected from listening sessions, others rose to the occasion to challenge Jay-Z’s declaration that the album would not leak. False drop dates were predicted. They even had a lead up listening party on a spaceship. Super DJ Clark Kent once told me that Jay-Z doesn’t just drop albums, just that everything related to his album releases is a major event. In terms of creating hype and hoopla, Watch The Throne did not disappoint. How does it stand sonically? Lets talk a walk and analyze.

 

No Church in the Wild (feat. Frank Ocean) – Sets the tone for some epicness. Frank Ocean’s vocals come in right on time. The ominous bass, drums, chords inform the listener that they're listening to some ominous shit. Jay leads the fray, similar to the dark themedAmerican Gangster. He raps about tears on mausoleum floors, and blood on coliseum floors. I really don’t know what the fuck he’s rapping about. Sounds real ominous. The Dream lends his vocals on some space shit too: “Your love is my scripture, let me into your encryption.” Wtf?!? But, okay. Yeezy follows up with some rap about how “love is cursed by monogamy." There’s a cocaine reference too, which always wins points in my book. But I didn’t write that.

 

Overall, a dope entrance, Kanye and Jay want to be viewed as godly rap god dudes, and man is this the tune to establish that we’re too mortal to comprehend the rappings of two rap god dudes contemplating the fate of the rap universe.

 

Bonus: Produced by 88 Keys and Mike Dean. I used to work with 88 Keys on the legal side years back. And Mike Dean called into my Combat Jack Radio Show last week.

 

Lift Off (featuring Beyonce) – I’m not worthy of this godly song. Kanye got the synths dripping feel good endorphins on this piece. Beyonce’s vocals are sharp, like an r&b goddess chick that’s married to a rap god dude. Sounds so uplifting as she belts out how they’re “gonna take it to the stars.” It’s real inspirational until you realize this song is about them taking it to the stars, and most of us are fuckt, stuck in the shittiness that is our daily lives. ‘Ye brings in some auto tune, establishing that as a rap god producer dude, he’ll use auto tune whenever he god damn pleases. Jay is sounding a lil out of his league, because this song is taking place in space, and Jay always sounds best when he’s rapping on Earth, clapping niggas on Nostrand Avenue and Myrtle, or on Fredrico and Pico. His delivery is a bit weird too, like he’s an angry uncle letting off crotchety demands because his tea was too cool, or his beer was too warm. But not like a broke uncle, more like a rich older uncle who’s younger chick is a dime singing goddess chick like shit on an album where mere mortals like us aren’t worthy. Jay also raps about “shit making his dick soft”. Pause b.

 

Bonus: Audio of real life sounding astronauts taking off in some real life space ships down in Cape Canaveral, only before the US deaded the NASA program. Sometimes I like astronauts in my rap music.

 

Niggas In Paris – The title right there makes me want to kill my life. Like, rich niggas spitting out $900 bottles of champagne for fun in Miami, Monaco, or Tunisia ain’t fly enough. Next time I save up some money to take a trip to Paris, I’ll probably only be able to afford an extra ticket for my wife. My niggas will have to stay home and spit up beer, not because that shit is fly, but because that’s what they can afford, and that they might have some types of gastric abdominal issues. The beat on this song is on some bounce shit, Jay raps about balling, kind of on his old school speed, ‘Big Pimpin’ flow, but this song is no way as heat as ‘Big Pimpin’. Kanye sounds like his regular spazzed out arrogant self, but he’s decided that he’s too super godly to say the word “crazy” in the hook and settles for saying “cray” instead of “crazy”. Several times. That’s some super godly dude shit right there.

 

Bonus: What I just said, about ‘Ye saying “cray” instead of “crazy”. We should feel so honored that he’s halfway addressing us. #ThankYouBasedGod.

 

 

What's really good here Jay? I don't know if this space shit is really meant for you my dude.

 

Otis – I already said what I thought about this song here.

 

Bonus: The album was so on some godly shit that I was starting to get some type of low lifed inferiority complex. For not being even no wheres as successful as all the lovely illuminated celestial beings that are involved in the making of this album. ‘Otis’ brings this whole thing back into focus. Some human shit to appease us lower minded heathens and savages.

 

Gotta Have It – This is dope. A recognizable sounding Neptunes track with Pharrell on the hook. Slinky, dirty, funky. Great chemistry between Jay and Ye, tossing rhymes back and forth al la Eric Sermon and Paris Smith. They’ve transformed back into mere mortals. Temporarily.

 

Bonus - Jay doesn’t overthink this one, it’s Marcy projects Jay, and it shows in his simple elastic delivery “Where my money at? You gon make me come down to your house where your mommy at, mummy wrap the kids, have em crying for they mommy back, dummy that your daddy is, tell 'em I just want my racks.” Also, Kanye makes reference to Nostrand Avenue. And is that a Lebron James, Dwayne Wade shot?

 

New Day – They knocked this one out the effn park. Nina Simone sample is haunting as fuck, as Jay and Ye make promises to their unborn kids. Heartfelt, soulful, honest. Ye wins with his stab at his ex : “And I'll never let 'em hit the strip club, I learned the hard way, that ain't the place to get love” and Jay channeling his “gotta learn to live with regrets” self.

 

Bonus – Me and the Rza Connect

 

That’s My Bitch – I hate the intro on this until I hear the James Brown and Apache sampled beats. Kanye channels Slick Rick real properly. These old school beats has Jigga sounding jiggy and real comfortable as he bigs up his boo Beyonce in the best way possible. No space shit, just beats, and synths.

 

Bonus – Jay-Z calls Beyonce a bitch. In a good way.

 

Welcome To The Jungle – For the record, I’m not a Swizz Beatz fan, but damn if he didn’t pull a banger out his ass. There’s urgency to this, controlled chaos as well. This might could cause a fight on the dance floor. In a good way.

 

Bonus – I won’t shit on Swizz as much as I usually do anymore.

 

Interludes – I didn’t mention it earlier, but they keep playing the same musical interlude after almost every record, it sounds like we’re at the circus. Shit is cool. I like circuses. The trapeze shit in real life is awesomeness.

 

Who Gon Stop Me - And just like that, they go back to the space shit. There’s a point where the song sounds off beat. I’m not saying in a good way, but maybe I’m too simple minded to understand the greatness that this record is supposed to be. Maybe. Jay and ‘Ye challenge the world as to who’s gonna stop them from doing the daily shit they do, like hang out with Russell Crowe and drink fresh goat’s blood on the 18^th night of the Sabbath. Is this a rap record, a dub step record, rock record? They’re really too deep on that experimental shit for me.

 

Bonus – A great song if you like experimental rap, dub step, rock, 18^th night of the Sabbath sacrificial shit by Ye and Jay.

 

 

Is this how Kanye looks on the 17th night of the Sabbath?

 

Murder To Excellence – Mexican strings, kids singing the chorus, the first half of this song kicks, about black on black crime. Everything is working here. Swizz Beatz again. The fuck? Shit is haunting. Kanye is on fire. Jay is working hard. I read somewhere on Twitter that the Jay/Ye combo is kinda like old Michael Jordan and Kobe Bryant playing a friendly exhibitional game of one on one. Jordan may not have them legs he used to, but Kobe only’s going to disrespect MJ but so much. I’m not liking the second half of this song, less urgent, less fluid.

 

Bonus – More like a wtf moment, where Jay loses focus of the song and raps: "In sheepskin coats. I silence the lamb, do you know who I am Clarice?” referencing that Silence Of The Lambs movie. This ni88a really did not say that. Smh.

 

Made In America (feat. Frank Ocean) – This is some beautiful shit right here. About how Jay and ‘Ye were both made in America. This is a big sounding song, and I wouldn’t be surprised if this becomes the anthem of all humans. Jay sounds a lil stiff though. Pause.

 

Bonus- Frank Ocean. Anyone could’ve sang this, but Frank just brings a sense of newness to this project.

 

Why I Love You (featuring Mr. Hudson) – Another anthem sounding joint. Jay’s rapping on some king, throne godly shit again. Rapping about being betrayed by lesser mortals who turned their backs on him because he’s so successful. But I don’t relate because he ended up being the most successful of his entire clique.

 

Bonus – Great Mike Dean production. Jay really explains how he feels about Beanie Sigel shitting on him as summed up here: “Cause the nigga that said he’ll blast for ya is now blasting for ya, these niggas got a shot, they’ll shoot, please lord forgive him, for these niggas know not what they do."

 

Illest Motherfucker Alive – Sounds like the most filler of the litter. Sounds like a song made solely for Kanye. There’s also a long ass 3 minute silent gap with no sounds on this. Wtf? Did they rap some shit in silent code? Am I missing something? Did my itunes download just screw me over? Did Kanye and Jay-Z have to sacrifice someone for this fuck up?

 

Bonus: This is the song that Jay and ‘Ye were sitting around Russell Crowe in that fancy schmancy documentary thingie, all eager like and waiting for his approval.

 

H.A.M. - I already spoke on this here.

 

Bonus – The songs sounds much better now, on this album. It’s one of the better songs onWTT.

 

Primetime – a great piano laced track by Kanye’s mentor NO ID. One of the few tracks where Ye and Jay sound evenly matched. This right here shows the greatness of what Watch The Throne is (or could be).

 

Bonus- Great material to stir the debate as to who murdered whom on they own shit.

 

The Joy (feat. Curtis Mayfied) – The spaceship has fully landed, and as we exit, escorted by blue and green and magenta hued space stewardess chicks with big racks, Pete Rock hits us with the soul punch. Ye’s manic flows blends seamlessly with Jay’s capo status tone. This could be on the Blueprint, Blueprint 2, Blueprint 3, whatever the eff Blueprint you want. Like the title, this is the joy in what Jay and ‘Ye create when they’re not too busy chasing naughty arrow shooting cherubs in the mausoleum with Gucci wings and Martin Margiela jet packs.

 

Bonus – Pete Rock gives us the most grounded track on the album. WTT needed more of this.

 

Final Prognosis: This is a great album, but not a classic. The majority of this was such Kanye material that in many instances, Hov sounded like he was not in his comfort zone. I hear they have some weird type of Oedipal relationship, and for the most part, “Ye kilt Jay. But in doing so, Ye creates a sound track that props Jay to the GOAT status that we all acknowledge, whilst at the same time letting him and all who listen know that Mr. West is already claiming next. Might there be a WTT 2 in the future? I hope so.

 

Overall, the Mind Squad here at The Source give Watch The Throne 4 Mics.

 

 

[Invité American Lover]

Comme d'habitude, je ne ferais pas de critique avant un grand moment (oui, il me faut toujours un grand temps avant de pouvoir faire objectivement une critique…) mais tout ce que j'ai à dire, c'est :

 

WHY I LOVE YOU! ♥ Le plus beau titre de l'album, Mon Dieu quel bonheur. Je deviens à moitié hystérique en l'écoutant (ou complètement… ^^). Ni**as in Paris est magnifique, H.A.M. toujours aussi intense, No Church In The Wild est superbe, Who Gon Stop Me est superbe pour le rap de Jay-Z.

[GreenPaper]

Notes Metacritic :

 

The Telegrapgh (UK) : 100/100

The A.V. Club - 91/100

DJ Booth - 90/100

Pitchfork - 85/100

HipHopDX - 80/100

Drowned In Sound - 80/100

Boston globe - 80/100

The Guardian - 80/100

PopMatters - 80/100

Now Magazine - 80/100

American Songwriter - 80/100

The New York Times - 80/100

Absolute Punk - 79/100

One Thirty BPM - 77/100

Los Angeles Times - 75/100

Urb - 70/100

BBC Music -70/100

Slant Magazine - 70/100

Sputnikmusic - 70/100

RapReviews.com - 70/100

Rolling Stone - 70/100

Entertainment Weekly - 67/100

The Phoenix - 63/100

Paste Magazine - 62/100

Consequence of Sound - 60/100

Chicago Tribune - 50/100

Sputnikmusic - 50/100

The Quietus - 50/100

The Independent (UK) - 40/100

Total : 76/100 (29 critiques)

Voir les critiques ici.

Modifié 13 août 2011 par GreenPaper

[nabnab7]

Sinon pour ceux qui l'ont téléchargés ou achetés , vous trouvez pas le livret Bidon ?

[Tchoutchou]

If you follow Buzzworthy even semi-regularly (or don't willfully live in a cave-like prison of your own design), you know that Watch the Throne, the collaborative effort between Kanye West and Jay-Z, was released earlier this week to deafening -- and quite merited -- hype. But because we always have you in mind, dear reader, we got to thinking -- maybe you're one of the few that didn't stay up till 12:01 to download it (also, are you CRAZY?) but you still don't want to be left out of the cultural zeitgeist that is Watch The Throne. Please understand that failure to comprehend the nuances, samples, production credits, complexities and wordplay of Watch The Throne could result in depression and/or isolation (which is very Watch The Throne in and of itself), ostracism, your son becoming a Republican and even loss of Twitter followers. But it's OK! We're here to help!

 

In honor of tonight's premiere of Jay-Z and Kanye West's (aka "Throne") "Otis" video at 8:56 p.m. ET/PT on MTV and MTV.com, we created a track-by-track Watch the Throne cheat sheet below to get you up to speed. Study it. Memorize it. Preach it.

 

1. "No Church In The Wild" -- Odd Future's R&B crooner Frank Ocean joins the elite over a West and 88-Keys production. "What's a king to a god? What's a god to a nonbeliever?" sings Ocean, while the rappers get meditative and pensive on spirituality and religion.

2. "Lift Off" -- What's basically an extended intro sees Beyoncé singing "We gon' take it to the moon, take it to the stars" repeatedly as horn blasts and martial drums anchor the track. But anything with Jay-Z, Kanye and B on the same track is worthy of a couple dozen plays in a row.

3. "N***as In Paris" -- Punishing drums, ominous synths and a "Blades of Glory" reference (FTW!) make up the album's first club song, with Jay-Z rhyming in double time over G.O.O.D. Music producer Hit-Boy's jittery, uptempo beat.

4. "Otis" -- Revered soul singer Otis Redding provides the title and sample (1966's "Try a Little Tenderness") on the album's single. It's a minimal track focusing on the two rappers' penchant for extravagance and watches you can't afford.

 

+ Read more about Watch The Throne and watch a sneak peek of "Otis" after the jump.

 

 

5. "Gotta Have It" -- Kanye and Jay go back and forth every four bars as The Neptunes chop up a flute melody and James Brown vocal sample. The best example of each rapper pushing the other to new heights.

6. "New Day" -- One of Throne's standout tracks, a RZA beat provides the backdrop for West and Jay to rhyme to their unborn sons, with the former telling him not to follow the road he took and the latter apologizing for a future life of paparazzi and unique challenges.

7. "That's My B****" -- Former A Tribe Called Quest honcho and master producer Q-Tip teams up with West, flipping the hip-hop classic "Apache" into dance-rap. Justin Vernon, aka singer-songwriter Bon Iver, who last showed up on West's "Monster" and "Lost in the World," provides vocals.

8. "Welcome To The Jungle" -- Jay-Z calling himself the "black Axl Rose" is the closest you get to a Guns N' Roses reference. Still, the menacing Swizz Beatz-produced track showcases Jay's mastery of braggadocio.

9. "Who Gon Stop Me" -- The most experimental song for either rapper, "Who Gon Stop Me" finds the emcees rhyming over a dubstep sample of Flux Pavillion's "I Can't Stop." West's repeated barks of the title display a newfound confidence.

10. "Murder To Excellence" -- Swizz Beatz and S1 produce Throne's lushest track, which sees the rappers transitioning from verses on black-on-black crime to a celebration of black culture. This is the one West fans will call the "epic track."

11. "Made In America" - Frank Ocean appears again to sing praise to Malcolm X, Martin Luther King, Jr. and Jesus on this reflective track. Kanye looks back on the past decade, while Jay focuses on lessons learned from a troubled upbringing.

12. "Why I Love You" - Kanye and Mike Dean flip French house group Cassius' "I Love You So" into this anthemic power ballad with an assist from UK pop singer Mr. Hudson. The '80s vibe coupled with Jay-Z's double-time rhymes make this one of the catchiest tracks.

 

http://buzzworthy.mtv.com/2011/08/11/watch-the-throne-reviews-otis-kanye-west-jay-z-video/

[Didou]

A première vue, je suis un peu déçu, j'attendais mieux. Maintenant je vais me plonger plus dans le détail.

Ca reste d'une grande qualité. Mais j'attendais un album du calibre des derniers de Kanye West : 808's & Heartbreak et My Dark Beautiful Twisted Fantasy.