This is a drag. I’ve been very much looking forward to Kanye West’s latest 808s & Heartbreak (Roc-a-fella). So far he’s been golden with everything he’s done. His own records, writing and producing for other artists have been part of an amazing winning streak.The struggles in his personal life, the death of his mother, the breakup of his engagement and his recent beating up of photographers has kept West in the public’s eye. I really wanted to hear his side of things, on this, his potentially most personal record to date.

So what does the whiz kid, hot-shot producer do? Well, first he tries to sing his way through things. Sing? Who does he think he is, Frank Sinatra? Worse yet? He manipulates his vocals using Auto-Tone, which gives it an almost robotic like sound.

So much for his personality and emotions coming through. Listening to this album is like looking at a car wreck, you watch with a half-closed eye. Because of its stripped down beats and lyrical content you still cautiously listen, though you know the outcome is horrendous.

There’s no break in the monotony until guest rappers Young Jeezy and Lil’ Wayne come to remind us what rapping is about. Too bad they weren’t enough and couldn’t save Kanye West’s 808’s & Heartbreak.

One thing you can count on is that The Killers have never changed their approach toward their music. It’s still a cross between grand anthem rock and glitter pop with a dash of disco thrown in. This is never more evident than on their latest, Day and Age (Island).

So what’s the difference between a good and bad Killers record? It all rests on their material. On their debut Hot Fuss, the band debuted the hits “Somebody Told Me” and “Mr. Brightstone,” songs that the band developed over the years.

Their sophomore release Sam’s Town was a bit spotty, only because the material seemed rushed and hurried. Here they seem to have learned from their past and have made a really good, complete record.

Las Vegas born and bred Brandon Flowers is an excellent front man who was born to the wrong generation. This guy is shoulder to shoulder with the likes of Ziggy Stardust era David Bowie, Marc Bolan, Brian Ferry and Freddie Mercury, but that generation’s loss is definitely our gain.

Produced by Stuart Price (New Order, Madonna, No Doubt) the record has that great keyboard, guitar combination that’s become their unique identifiable sound. Standouts include “Neon Tiger,” “Human,” “This Is Your Life” and “Losing Touch.”

So this is what it’s like when hell freezes over. After 13 years of recording in over 14 different studios and without any of their original musicians, Guns N’ Roses Chinese Democracy (Geffen) has finally seen the light of day. Is it worth it after all the hype? Well, sorta.

There really hasn’t been a band that tries to flex their guitar muscle attitude more than GNR, even if it’s been 13 years. Axl Rose can still scream his ass off like his hair’s on fire, though this record misses Slash’s guitar riffs, as any band would.

Still, it does show musical growth with its sometimes hip-hop drum beats, orchestral arrangements and the like. Keep in mind though that much of the hyperkinetic energy the original band magically captured on tape is missing.

Chinese Democracy is still worth listening to, especially in our current musical climate. Standouts include “There Was a Time,” “Streets of Dreams,” “Catcher in the Rye” and the album’s closer, “Prostitute.”

Ouch, what a disappointment Beyonce’s I Am. Sasha Fierce (Columbia) is. I mean, it’s an understood fact that she didn’t have the best voice of Destiny’s Child but possessed the most star power of the trio. Here, though, it has somehow abandoned her.

The record is comparable to a dead fish – it sounds like it’s just lying there. No energy, no pop, nothing. In the past, that’s what carried her through her records, not here though.

Radio friendly singles “If I Were a Boy” and “Single Ladies” arguably are the exception, but this is still disappointing compared to her previous solo work.

Being a big fan of Scott Wieland’s work with Stone Temple Pilots, I was never impressed with his vocals during his stint with Velvet Revolver. It was OK, but it just seemed like an unlikely combination.

He’s since left VR and is recording with a reunited STP. He’s just released his second solo effort Happy in Galoshes (Soft Drive). The material here is much closer to STP than VR. At times it can be poppy (“Arc Angel”), funky (“Fame”), trippy (“Beautiful Day”) and even STP-ish (“Blind Confusion”).

While I’m looking forward to the new STP album and tour this summer, Scott Weiland’s Happy in Galoshes is much more than a hold over project. It’s a very diverse album that stands as one of the year’s best.

Kanye West (Bob Hanson)