G-Double-O-D: Kid Cudi’s GOOD-est Moments

Earlier this week, Cudi took to KPWR 105.9 to announce his shocking departure from his GOOD Music family, helmed by one-time mentor Kanye West. Fans and detractors have responded with varying degrees of support and hate, but we're happy to see Cudi move in a new direction and we're excited to see how he exercises his new-found freedom.

Still, Cudi's had some really great moments as a GOOD Music team member, and we wanted to nostalgically celebrate those positive moments - including collaborations, interviews, and music videos. Here's a short list of Cudi's 10 best GOOD Music moments.

Kanye West ft. Kid Cudi - "Welcome to Heartbreak" (2009)

While he was working on 808's in Hawaii, Kanye pulled together a wildly diverse crew of collaborators - from Mr. Hudson to Young Jeezy to Tony Williams - to help him create his first concept album on which he'd be singing. At the time, Cudi was little more than buzzing artist who'd put out one great mixtape in A Kid Named Cudi, but he jumped right into the opportunity and provided vocals and writing assistance on several songs. The best of the collabs is "Welcome to Heartbreak," on which Cudi helps 'Ye explore his humanity, and the track "humanizes West in a way rappers aren't supposed to be humanized," according to PopMatters.

Kid Cudi ft. Kanye West & Common - "Make Her Say" (2009)

If his appearances on 808's were his introduction to the world, this re-interpolation of Lady Gaga's "Poker Face" was Cudi's coming out party. The collaboration is as awesome on paper - Cudi featuring Kanye and Common, with scratches provided by DJ A-Trak - as it is through the speakers. All of the guys seem to have had a great time recording this song (even Common shows his quirky side) and shooting the summery split-screen video.

Putting "Sky Might Fall" over the Transformers Trailer (2009)

In a savvy marketing attempt at building a buzz for his debut solo LP, Cudi synced his Kanye-featuring, ominously dark "Sky Might Fall" with the new trailer for Transformers: Revenge of the Fallen. With this, he essentially trolled the internet into thinking his song was the soundtrack to the new trailer (it wasn't) and got people talking about his innovative sound and approach.

Having Common Narrate His Debut Album (2009)

In his formal introduction to the world, Cudi tapped the butter-voiced Common to do his best Morgan Freeman impression and narrate his Man On the Moon album as if it was a conceptual dramatic coming-of-age drama. At times, it slightly took you out of the listening experience but as a whole it was a bold move, and Common seemed genuinely invested in "our hero's journey," so it worked.

Kanye West ft. Kid Cudi & Raekwon - "Gorgeous" (2010)

Kanye made sure to come with direct aggression on the opening tracks of his follow-up to 808's, and he certainly did with the back-to-back attack of "Dark Fantasy," "Gorgeous," and "POWER." On this retro-sounding guitar-driven anthem, 'Ye fills his verses with commentary on socio-political and economic issues, as Kid Cudi threateningly croons, "I'm on the edge, so while you playin', I'm sayin'…I won't ever let you live this down."

Kid Cudi ft. Kanye West - "Erase Me" Video (2010)

This is Cudi's first departure into the rock & roll lifestyle, and the hilarious Jason Goldwatch-directed video shows a Hendrix-esque Cudi downing whiskey and embodying the guitar rocker as he performs the ubiquitous summer 2010 hit. Kanye shows up for his closing verse and gets a gold confetti shower, which is really just a nice way to welcome somebody. Following their collabs from "Heartbreak" to "Erase Me," it sounds like these guys can do anything together.

Kid Cudi ft. Chip Tha Ripper & GLC - "The End" (2010)

One of the darker songs on Cudi's MOTM II sees a feature from original GOOD Music family member, GLC. The song is a testament to honesty, boldly delving into having and losing (friendships, relationships, fame) and maintaining your own identity throughout it all. This is one of GLC's best verses to date, and Chip (once rumored to be signed to GOOD) flanks them with a touching verse about his closest friends trying to rob him.

Kanye West & Jay-Z ft. Kid Cudi - "Illest Motherfucker Alive" (2011)

This under-appreciated bonus track was truly a high point on Jay and Ye's Throne, and Cudi provides the kings with an introductory and closing assist, singing "I'm moving in slow motion, slow motion" over the track's spooky piano keys and swooping synths.

Complex's In GOOD We Trust Cover (2012)

In anticipation of GOOD Music's Cruel Summer compilation, Complex was able to secure a cover with the entire crew, implementing the gang's black/white/red color scheme and assembling the dream team in a cross of excellence. Fittingly, at the crux of the cross is Cudi, who expertly embodied the gang's shared devotion to high fashion, pop sensibility, and artistic authenticity. In the story, the GOOD members talked about the process of making Cruel Summer and sung one another's praises. No one could've guessed Cudi's discontentment here, but the expanding roster may have been a warning sign that Kanye would no longer have the time to be as hands-on with Cudi.

Kid Cudi - "Creepers" (2012)

Everyone was shocked when they first listened to the wildly collaborative Cruel Summer and came across a song on which only one artist was featured. Even more surprising, that artist was Kid Cudi. On this contemplative, dark pop ballad produced by Dan Black (the UK crossover star behind "Symphonies"), Cudi dissects his defensive, fame-induced loneliness, while warning the creepers over there to take a few steps back.

Bonus: 

Jay-Z ft. Kid Cudi - "Already Home" (2009)

This isn't technically a GOOD Music moment, but this horn-laced banger from Jay's Blueprint 3 features production by Ye and No ID that reminds you of the original Blueprint. Cudi's assist here is essential, taking this from a b-level album cut to a potential crossover single (which unfortunately never quite took off) that'll make you feel on top of the world, no matter where you're coming from. Listening to "Home," you can't help but feel like Cudi could use more of this confident loftiness in his solo work.