Recast as the leading man

Kanye WEST didn’t knock down the bejeweled doors of hip-hop stardom, nor did he rap lightly and stroll in.

Instead, the 26-year-old Chicagoan slipped in through the back way, becoming one of the genre’s top producers and crafting some of the hottest rap and R&B; songs of the last few years. In 2003 alone, he earned production credits on Alicia Keys’ soulful “You Don’t Know My Name,” Twista’s seductive “Slow Jamz” and Ludacris’ forceful “Stand Up.”

This week he is stepping full into the limelight. His debut album, “The College Dropout,” released Tuesday, is expected to debut at No. 2 on the Billboard chart, behind only Norah Jones’ highly anticipated “Feels Like Home.” And West has a trio of marquee performances -- tonight (sold out) at the House of Blues Anaheim, Friday at the El Rey Theatre and Saturday at the Key Club -- on a weekend when some of the genre’s brightest luminaries are gathering for the NBA All-Star Game.

Not that anyone figured West for a leading man.

His career gathered steam through his relationship as a producer with Hip-Hop, an A&R; representative for Jay-Z’s Roc-A-Fella Records. After producing some of the imprint’s biggest records during the last few years, including Jay-Z’s “Izzo (H.O.V.A.),” “Girls Girls Girls” and “ ’03 Bonnie & Clyde,” West began rapping over some of his own beats and playing them for the decision-makers at the high-profile label.

Although Roc-A-Fella initially passed on signing West as an artist, the label used more and more of his beats. The imprint fell in love with West’s warm, soul-influenced sound, which often incorporated sped-up samples of classic vocalists. The more hits West supplied, the more determined he became to be respected as a rapper. The wait was difficult.

“I had no idea what it takes to get in this game,” West says during a phone interview from his New Jersey residence. “I was lucky enough to meet Hip-Hop and to make good decisions when it was time to make decisions. A lot of times, Chicago people will make decisions based on financial issues and will end up rolling with the wrong team.”

West finally inked a deal with Roc-A-Fella, which featured him on a number of tours, including 2002’s Sprite Liquid Mix Tour with Jay-Z, 311 and Talib Kweli, as well as last year’s Roc the Mic tour.

During a November concert with Obie Trice and Nappy Roots at the House of Blues in West Hollywood, West showcased his impressive rapping skills -- a charismatic mix of reflection, social commentary, comedy and braggadocio. Even as the opening act, West seemed giddy with his stage time.

“He’s a creative young guy who is hit capable,” says fellow Chicago rapper Twista, who is enjoying the first mainstream hit with “Slow Jamz.” “The man puts together whole moods and they all sound different.”

“I’m trying to touch people’s souls,” West says. “This is not a game to me. I want to make something for people to play in their cars and appreciate, something to make people laugh, make them think.”

For years, West had to think about whether he would ever make it. Options for emerging artists in Chicago were limited. Unlike L.A. and New York, where hopefuls can hop in the car or catch the subway to visit record companies, Chicago rappers had no direct access to the music industry. The city’s rap stars, such as Common, Da Brat, Do or Die and Crucial Conflict, did not start up their own record or production companies, as their counterparts in cities such as Miami, Atlanta, New Orleans and Memphis did.

Moreover, Chicago rappers on average remained independent in sound and purpose. Common was regarded for lyrical skill; Da Brat earned notice as a pop rapper thanks to her connection with Jermaine Dupri, the man behind such lighter fare as Kris Kross and later Bow Wow.

The sound typically associated with Chicago became the one popularized in 1996 and 1997 by Do or Die and Twista, both produced by Chicago beatsmith the Legendary Traxster, whose melodic yet edgy sound was immensely popular in the streets but did not break through to the mainstream. Crucial Conflict later enjoyed success with a similar style.

“When you think about Chicago, for the longest time what you would think about is Do or Die, Crucial Conflict and Twista,” West says. “That isn’t all it is, but that’s all somebody in Denver can pinpoint, the Twista sound and the soul sound. The only other sound that people look to Chicago for is the soul beat sound because I did the soul beat sound.”

West eventually decided to move to the New York area to have a better chance at fulfilling his musical dreams. He soon connected with Roc-A-Fella and his career as a producer took off.

During an October 2002 work trip to Los Angeles, West’s rap dream nearly got derailed. He was in a near-fatal car accident and had to have his jaw wired shut. The incident inspired his current hit single, “Through the Wire,” which he rapped while his jaw was wired shut.

Now that’s he’s among the biggest producers -- and rappers -- in music today, West is coming to grips with the fame he’s chased for years.

“The only difference between being famous and just being regular is that when you’re regular, people talk [trash] about you,” he says. “When you’re famous, people talk [trash] about you, but they just don’t know you.”

*

Kanye West

Where: El Rey Theatre, 5515 Wilshire Blvd., L.A.

When: Friday, 7 p.m.

Price: $27.50

Info: (323) 936-4790

NBA All-Star Weekend

at the Key Club

* Fabolous: Thursday and Friday, 9 p.m.

$50; VIP tickets start at $100

* Roc-A-Fella Records party featuring Young Gunz and Kanye West: Saturday, 9 p.m.

$50; VIP tickets start at $100

* Snoop Dogg’s Players Ball/All-Star Game After-Party: Sunday, 9 p.m. $75; VIP tickets start at $150

Where: Key Club, 9039 Sunset Blvd.,

West Hollywood

Info: (310) 274-5800; www.keyclub.com; www.icon-la.com.