kanye west all of the lights interlude sheet music

My Beautiful Dark Twisted Fantasy (Produced by Kanye West unless noted) [G.O.O.D. Music 4|All of the Lights (Interlude)|1:02 4.75 - 5. The song is about Kanye's qualms living as a celebrity with personal problems in the public eye. He conveys this through the image of lights and the story of a. Chords, melody, and music theory analysis of New Again by Kanye West. All Of The Lights (Interlude) · Believe What I Say. kanye west all of the lights interlude sheet music

: Kanye west all of the lights interlude sheet music

Kanye west all of the lights interlude sheet music
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Kanye west all of the lights interlude sheet music -

Jail by Kanye West Chords and Melody

About The Key Of E Major

Jail is written in the key of E Major. According to the Theorytab database, it is the 5th most popular key among Major keys and the 7th most popular among all keys. Major keys, along with minor keys, are a common choice for popular songs. The three most important chords, built off the 1st, 4th and 5th scale degrees are all major chords (E Major, A Major, and B Major). See the E Major Cheat Sheet for popular chords, chord progressions, downloadable midi files and more!

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About The Key Of A Lydian

New Again is written in the key of A Lydian. According to the Theorytab database, it is the 4th most popular key among Lydian keys and the 55th most popular among all keys. The A Lydian scale is similar to the A Major scale except that its 4th note (D♯) is a half step higher. Music written in Lydian often emphasizes this difference by creating melodies that feature this note. Due to the dissonant interval between the 1st and 4th scale degrees, Lydian is less common in popular music. See the A Lydian Cheat Sheet for popular chords, chord progressions, downloadable midi files and more!

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Источник: http://50.116.5.65/theorytab/view/kanye-west/new-again

My Beautiful Dark Twisted Fantasy

2010 studio album by Kanye West

2010 studio album by Kanye West

My Beautiful Dark Twisted Fantasy is the fifth studio album by American rapper and producer Kanye West. It was released on November 22, 2010, by Def Jam Recordings and Roc-A-Fella Records following a period of public and legal controversy for West. Retreating to a self-imposed exile in Hawaii in 2009, he recorded the album at Honolulu's Avex Studio in a communal environment involving numerous contributing musicians. Additional recording sessions took place at Glenwood Place Studios in Burbank, California, and at Electric Lady Studios and Platinum Sound Studios in New York City.

The album was produced primarily by West, alongside a variety of high-profile producers such as Mike Dean, No I.D., Jeff Bhasker, RZA, S1, Bink, and DJ Frank E. Critical commentaries note the resulting music's maximalist aesthetic and opulent production style that utilizes various elements from West's previous work, including soul, pop, baroque, electro, and symphonic sounds, as well as progressive rock influences. Thematically, My Beautiful Dark Twisted Fantasy explores West's status as a celebrity, consumer culture, race, and the idealism of the American Dream. Guest vocalists on the album include Nicki Minaj, Rihanna, Bon Iver, Jay-Z, Pusha T, Rick Ross, Kid Cudi, John Legend, Elton John and Raekwon.

To help market the album, West released free songs through his weekly GOOD Fridays series and four singles – "Power", "Runaway", "Monster", and "All of the Lights" – all of which were top 40 hits on the Billboard Hot 100. West also released a musicalshort film, Runaway (2010), set to music from the album. In its first week of release, My Beautiful Dark Twisted Fantasy debuted at number one on the US Billboard 200 and sold 496,000 copies, eventually registering three million units for a triple platinum certification from the Recording Industry Association of America (RIAA). It has also been played at least one billion times through the music streaming service Spotify.

My Beautiful Dark Twisted Fantasy was an immediate and widespread critical success, and was named the best album of 2010 in many publications' year-end lists, including the annual Pazz & Jop poll of American critics nationwide. The album also won Best Rap Album at the 2012 Grammy Awards but was not nominated for Album of the Year, which was viewed as a "snub" by several media outlets. The album's hit single "All of the Lights" won Best Rap Song and Best Rap/Sung Collaboration. Widely considered West's best album, My Beautiful Dark Twisted Fantasy has ranked in several professionally curated lists as the best album of the 2010s and among the greatest of all time according to NME and Rolling Stone. George Condo's accompanying artwork – illustrating West being straddled by an armless winged female (resembling a mythological figure) – has been ranked among the greatest album covers.

Background[edit]

Dark Fantasy was my long, backhanded apology. You know how people give a backhanded compliment? It was a backhanded apology. It was like, all these raps, all these sonic acrobatics. I was like: "Let me show you guys what I can do, and please accept me back. You want to have me on your shelves."

—Kanye West (2013)[2]

The album was conceived during Kanye West's self-imposed exile in Oahu, Hawaii, at Avex Honolulu Studio following a period of legal and public image controversy.[3] He said later that fatigue from overworking led to his controversial outburst after Taylor Swift was awarded Best Female Video at the 2009 MTV Video Music Awards. He was disgusted with the ensuing media response, which led to a hiatus from recording.[3] Amid the widespread negative response to his behavior,[4] his scheduled tour with recording artist Lady Gaga to promote his previous album, 808s & Heartbreak, was cancelled on October 1, 2009, without explanation.[5] The album's stylistic departure into downbeat and Auto-Tune sounds had also polarized audiences and diminished West's credibility in the mainstream.[6]

Recording and production[edit]

My Beautiful Dark Twisted Fantasy was recorded in sessions at Avex Recording Studio in Honolulu, Hawaii. Additional recording took place at Glenwood Place Studios in Burbank, California, and at Electric Lady Studios and Platinum Sound Recording Studios in New York City.[7] It was reported that West spent over $3 million provided by his record label Def Jam to record the album,[8] making it one of the most expensive albums ever made.[9][10] He later explained the initial recording process to Noah Callahan-Bever, Complex editor-in-chief and West's then-confidant, who said "he'd holed up in Hawaii and was importing his favorite producers and artists to work on and inspire his recording. Rap Camp!"[3] Artists who were reported to have participated in the sessions for My Beautiful Dark Twisted Fantasy included: Raekwon, RZA, Pusha T, Rick Ross, Charlie Wilson, Big Sean, Cyhi the Prynce, Swizz Beatz,[11]Dwele, Nicki Minaj,[12]T.I.,[13][14]Drake, Common, Jay-Z,[15]John Legend, Fergie, Rihanna, The-Dream, Ryan Leslie, Elton John,[16]M.I.A.,[17]Justin Vernon, Seal, Beyoncé,[18]Kid Cudi, Mos Def, Santigold, Alicia Keys and Elly Jackson.[19] Record producers who participated in the sessions with West included: Q-Tip, RZA, DJ Premier,[20]Madlib,[21]Statik Selektah,[22] and Pete Rock.[23][24] Madlib said he made five beats for the album,[21] while DJ Premier said his beats were ultimately discarded.[24]

West, who had previously recorded 808s & Heartbreak at Avex, block-booked the studio's three session rooms simultaneously for 24 hours a day to work on My Beautiful Dark Twisted Fantasy.[3] According to Callahan-Bever, who visited West during the recording sessions, "when he hits a creative wall ... he heads to another studio room to make progress on another song".[3] West never slept a full night at the "glass-enclosed mansion" he had rented, opting instead to take power naps in a studio chair or couch 90 minutes at a time. Engineers worked around the clock, as West bounced from room to room. This assiduous work ethic led to him employing two private chefs, one for hot and one for cold food.[25] Before recording in the afternoon, West and most of his crew played games of 21 against locals at the Honolulu YMCA for leisure.[3] Kid Cudi smoked marijuana in preparation and worked out on a treadmill, while RZA worked out in the weight room.[3][26] West held breakfast each morning at his Diamond Head residence for his crew.[3]

Control room (top) and tracking room (bottom) of Avex in Honolulu, where the album was recorded

Throughout the album's development, West solicited other producers and musicians to weigh in on its music with conversations and contributions at the studio.[3] Observing discussions among them during his visit, Callahan-Bever noted: "Despite the heavyweights assembled, the egos rarely clash; talks are sprawling, enlightening, and productive ... we are here to contribute, challenge, and inspire".[3] In an interview with Callahan-Bever, Q-Tip described the process as "music by committee" and elaborated on its significance to the sessions and West's work ethic:

He'll go, 'Check this out, tell me what you think.' Which speaks volumes about who he is and how he sees and views people. Every person has a voice and an idea, so he's sincerely looking to hear what you have to say—good, bad, or whatever ... When he has his beats or his rhymes, he offers them to the committee and we're all invited to dissect, strip, or add on to what he's already started. By the end of the sessions, you see how he integrates and transforms everyone's contributions, so the whole is greater than the sum of its parts. He's a real wizard at it. What he does is alchemy, really.[3]

Pete Rock said of his studio experience with West, "He's definitely hip-hop, his roots, I was testing him on joints ... He takes it to another level which is dope. He had these musicians and this song, they played around my little raggedy beat and made it real. I love the way he works – he goes from one room, writing rhymes then goes to another beat and goes to another room and does something else – I love what he's done".[27] Rapper Pusha T characterized the album as "a collage of sounds" and found West's recording methods unorthodox, saying that: "We could easily be working on one song, thinking we're in a mode, and he'll hear a sound from someone like [producer] Jeff Bhasker and immediately turn his whole attention to that sound and go through his mental Rolodex to where that sound belongs on his album, and then it goes straight to that song, immediately".[3] DJ Premier said of the production in comparison to West's previous work, "Well, first of all, if you look at all of Kanye West's output, he actually did a lot to bring back sampling and make it cool again, even though he's more of a mainstream artist ... but his new album is strictly hard beats and rhyme. He's totally done with electro. You're gonna be surprised what you hear".[28]

To prevent any of the material leaking onto the Internet, West made the album's recording as secretive as he could; he instituted a "No tweeting, no talking, no e-mailing" rule for others at the sessions.[3] Pusha T recalled West's attitude in an interview for Rolling Stone, saying that "then there happened to be a leak, and I remember Kanye ranting and raving, like, 'Fuck this! We're not going to ever work there again! We're going to work in hotel rooms!'"[29] West subsequently recorded in hotel rooms for Watch the Throne, his 2011 album with Jay-Z.[30]

Musical style[edit]

The music is described as maximalist by Jon Caramanica, who also notes East Coast hip hop elements,[31] and Rob Sheffield, who observes "hip-hop epics, R&B ballads, alien electronics, prog-rock samples".[32] Various writers also observe elements from West's previous four albums.[33][34][35]Entertainment Weekly's Simon Vozick-Levinson believes these elements "recur at various points", and include "the luxurious soul of 2004's The College Dropout, the symphonic pomp of Late Registration, the gloss of 2007's Graduation, and the emotionally exhausted electro of 2008's 808s & Heartbreak".[34] Sean Fennessey of The Village Voice writes that West had learned "the gifts of his handpicked collaborators" from previous studio albums and utilizes them here, sometimes to a heightened degree, "arranging orchestral majesty" (cf. Jon Brion on Late Registration) and "adapt[ing] DJ Toomp's oozing menace" (from Graduation) while "Cudi's moaning melodies became elemental" (cf. 808s & Heartbreak).[36]

The album is viewed as a culmination of West's past albums. Ryan Dombal of Pitchfork says, "Musically, [the album] largely continues where 2007's Graduation left off in its maximalist hip-hop bent, with flashes of The College Dropout's comfort-food sampling and Late Registration's baroque instrumentation weaved in seamlessly".[35] Andy Kellman echoes this sentiment, but adds that "it does not merely draw characteristics from each one of them. The 13 tracks ... sometimes fuse them together simultaneously. Consequently, the sonic and emotional layers are often difficult to pry apart and enumerate".[33] Kellman feels "All of the Lights" denotes the album's "contrasting elements and maniacal extravagance".[33] Conversely, Robert Christgau comments that the music abandons the "grace" of The College Dropout and Late Registration in favor of "grandiosity" and "sonic luxuries".[37]

The album is also described by music journalists as a work of prog-rap music, with Carl Williott of Idolator musing if it was "the world's first".[38]HotNewHipHop writer Samuel Allan regarded it as "a massive, paradigm-exploding piece of pop maximalism and prog-rap",[39] and Rolling Stone's Christopher R. Weingarten called it "a Pink Floyd–sized, King Crimson–sampling 68-minute prog-rap behemoth in the age of shrinking budgets".[40] Eric Sundermann of Noisey also referenced the album as prog rap,[41] and fellow contributor Phil Witmer regarded the album as "an unprecedented retreat by a hip-hop artist into the weird world" of 1970s progressive rock.[42] Al Horner from NME called it a rap opera.[43]

Lyrics and themes[edit]

[West is] the pop star for our morally implicated times; an instinctive consumer with a mouthful of diamonds and furtive bad conscience, a performer who lives the American Dream to its fullest with a creeping sense of the spiritual void at its heart. My Beautiful Dark Twisted Fantasy captures that essence in full. It's an utterly dazzling portrait of a 21st-century schizoid man that is by turns sickeningly egocentric, contrite, wise, stupid and self-mocking.

—Alex Denney (NME, 2010)[44]

Throughout the album, West's lyrics explore themes of excess, celebrity,[35][45][46] decadence, grandiosity, escapism, sex, wealth, romance, self-aggrandizement, and self-doubt.[35][37][47][48][49][50] Andrew Martin of Prefix Magazine notes the album's ethos as "more is more", describing it as "a meditation on fame" where West decries the burden that it entails.[45]My Beautiful Dark Twisted Fantasy also features more open references to drinking and drug use than on West's previous albums.[36] Nathan Rabin of The A.V. Club describes it as "darkly funny, boldly introspective, and characteristically fame-obsessed", noting "manic highs and depressive lows emotionally" on the album.[51] Christgau finds the album's themes of insecurity and uncertainty to be West's "heart, his message, the reason he's so major", noting the tracks "Hell of a Life" and "Runaway" as examples.[37]Greg Kot, writing in the Chicago Tribune, said West displays a transparency and "almost pathological allegiance to expressing his emotions, unfiltered".[52]

In the opinion of Pitchfork's Ryan Dombal, My Beautiful Dark Twisted Fantasy is "a hedonistic exploration into a rich and famous American id".[35] Chris Martins of Spin says it is an alternately grandiose and eloquent production that "owed as much to the artist's self-aggrandizing ego as to the voracious id that would destroy it publicly".[50] Music writer Ann Powers interprets the predominant theme on My Beautiful Dark Twisted Fantasy to be "the crisis of the jet-lagged cosmopolitan ... the exhausted cry of one who's always new in town, chasing whatever goal or girl is in the room, fueled by consumer culture's relentless buzz, but finally left unsatisfied".[47] Powers views the songs work "as pornographic boasts, romantic disaster stories, devil-haunted dark nights of the soul" and perceives West's "uncertainty about his own place in the world" to be connected to the subject of race, stating: "The rootlessness West celebrates and despairs of on Fantasy belongs to someone who feels unwelcome everywhere. This isn't just a personal problem. It's the curse of what the author Michael Eric Dyson has called 'the exceptional black man', embraced for his talents but singled out for the color of his skin".[47] According to Sheffield, "it's also a rock-star manifesto for a downsizing world."[32]

Songs[edit]

The album begins with "Dark Fantasy", opened by Nicki Minaj narrating in an English accent a retelling of Roald Dahl's poem Cinderella.[47] The song introduces themes of decadence and hedonism,[52] with West musing how "the plan was to drink until the pain was over / But what's worse, the pain or the hangover?".[44] The track's lyrics contain musical and popular culture references, including: the song "Mercy Mercy Me (The Ecology)", the Lamborghini Murciélago sports car, rapper Nas, fashion designer Phoebe Philo, the short story "The Legend of Sleepy Hollow", the song "Sex on Fire", singer Leona Lewis, and television character Steve Urkel.[53] "All of the Lights" incorporates drum 'n' bassbreaks and brass fanfare.[44][54] West's lyrics contain a reference to the death of Michael Jackson in the opening lines and present the narrative of a character who abuses his lover, does prison time, scuffles with her new boyfriend, and subsequently mourns his absence from his child's life.[54] West enlisted 11 guest vocalists, including Alicia Keys, John Legend, Elton John, Tony Williams, Elly Jackson for the song; Rihanna sings the song's hook.[55] In an interview with MTV, Jackson said of the song's vocal layering, "He got me to layer up all these vocals with other people, and he just basically wanted to use his favorite vocalists from around the world to create this really unique vocal texture on his record, but it's not the kind of thing where you can pick it out".[56]

"Devil in a New Dress" is built on a sample of Smokey Robinson's "Will You Love Me Tomorrow".[49] Its lyrics are about lust and heartache,[49] with sexual and religious imagery described by one critic as "part bedroom allure, part angelic prayer".[57] It is the only track without production by West[7] but features his characteristic style of manipulating the pitch and tempo of classic soul samples.[49][58] "Runaway" features a piano-based motif comprising a series of sustained descending half and whole notes,[59] with a coda that incorporates light strings and vocoder-singing by West.[49] The narrator's self-critical lyrics reflect on his personality and character flaws.[60][61] Sean Fennessey cites the song as the point in the album where "self-laceration overtakes chest-beating", noting West's sung-line: "I'm so gifted at finding what I don't like the most".[36] Inspired by his two-year relationship with model Amber Rose, "Hell of a Life" contains a psychedelic rock sample and a narrative about marrying a porn star.[35][36] According to critic Ryan Dombal, the song "attempts to bend its central credo—'no more drugs for me, pussy and religion is all I need'—into a noble pursuit ... The song blurs the line between fantasy and reality, sex and romance, love and religion, until no lines exist at all. It's a zonked nirvana with demons underneath; a fragile state that can't help but break apart on the very next song".[35] "Blame Game" is a low-key track about a painful domestic dispute.[62] It features a sample of the piano composition "Avril 14th" by Richard D. James,[63] additional vocals by John Legend,[7] and a profane skit by comedian Chris Rock.[64]

"Lost in the World" features tribal drums and samples Bon Iver's "Woods",[65] a song originally written about alienation, applied by West "as the centerpiece of a catchy, communal reverie."[49] It features several musical changes, beginning with Bon Iver frontman Justin Vernon's faint vocals, followed by 4/4 drums, gospel-styled chorus,[66] and increased tempo, and a final measured tempo.[67] "Lost in the World" transitions into the closing track "Who Will Survive in America".[48] It serves as the album's coda and is built on a sample of Gil Scott-Heron's "Comment No. 1",[44] a blunt, surrealist piece delivered by Scott-Heron in spoken word about the African-American experience and the fated idealism of the American dream.[47][50][59] Scott-Heron's original speech, which criticized the 1960s Revolutionary Youth Movement for failing to recognize the more basic needs of the African-American community, is edited to a reduced version on the track that, according to music writer Greg Kot, "retains its essence, that of an African-American male who feels cut off from his country and culture".[52] By contrast, Sean Fennessey interprets it as "a too-serious denouement for an album that is more about the self's little nightmares than some aching societal rejection".[36]

Title and packaging[edit]

Visual artist George Condo, who designed the album's artwork

My Beautiful Dark Twisted Fantasy was formerly known as Good Ass Job and then tentatively titled Dark Twisted Fantasy.[68][69][70]GOOD Music artist Big Sean was the second person to announce the album's title was Good Ass Job.[71] On July 24, 2010, a banner appeared on West's blog that read "My Dark Twisted Fantasy Trailer". On July 28, 2010, West announced on his new official Twitter account that: "The album is no longer called 'Good Ass Job' I'm bouncing a couple of titles around now."[72] The official title, My Beautiful Dark Twisted Fantasy, was announced on October 5, 2010;[73] the title Good Ass Job was planned to be used for a collaborative album with Chance the Rapper, which never materialized.[74]

The artwork, designed by George Condo, shows West being straddled on a bed by an armless winged female[75] with fearsome features and a long, spotted tail. Both are nude, and one of the phoenix's nipples and her buttocks are visible.[76] According to Vulture writer Dan Kois, the mythological figure straddling West is a "kind of fragment, between a sphinx, a phoenix, a haunting ghost, a harpy."[77] The artwork was done at Condo's New York studio, after West visited for several hours and they listened to tapes of the rapper's music. Over the next few days, the painter made eight or nine paintings for the album. Two of them were portraits of West, one in extreme closeup, with mismatched eyes and four sets of teeth. Another showed his head, crowned and decapitated, placed sideways on a white slab, impaled by a sword. There was also a painting of a dyspeptic ballerina in a black tutu, a painting of the crown and the sword by themselves in a grassy landscape.[76] Condo made five covers, all which were included with the album's purchase.[75] A second cover, with a painting of a ballerina, was posted on the Amazon.com pre-order page.[78] It was originally intended to be the artwork for "Runaway"'s single release, but West used a photograph of a ballerina instead.[78] Another painting, The Priest, was completed for the album by Condo, who described it as an attempt to bring depictions of religious figures into the modern world.[79]

According to Condo, West requested the original cover image be provocative enough to be banned by retailers, as a publicity stunt. In October 2010, a month before the album's release, West tweeted: "Yoooo they banned my album cover!!!!! Banned in the USA!!! They don't want me chilling on the couch with my Phoenix!" He also suggested Walmart had rejected the cover and cited the case of Nirvana's 1991 album Nevermind, which featured a photo of a naked baby. "So Nirvana can have a naked human being on their cover, but I can't have a PAINTING of a monster with no arms and a polka dot tail and wings," he said. In response, Walmart denied West's suggestion in a statement that read, "We're excited about Kanye West's new album and we look forward to carrying it in our stores … We did not reject the cover artwork and it was not presented to us."[80] Some retailers would not carry the album with its original cover, in which case Condo's ballerina artwork was used as a substitute.[81]

In 2011, the original album artwork was named one of the 50 greatest album covers of all time according to MusicRadar.[82] In 2015, Billboard named it as the 30th best album cover of all time.[83] In 2017, NME listed it as the seventh best album artwork of the 21st century so far.[84]

Marketing[edit]

Before the album's release, West initiated the free music program GOOD Fridays through his website on August 20, 2010, offering a free download of previously unreleased songs each Friday; some were included on the album.[85][86] Titled after his imprint label GOOD Music, the program generated considerable publicity in the months leading up to the album's release.[85] Online marketing coordinator Karen Civil said of the program in retrospect, "It's a genius idea. He did something no one had ever done before, and at a point when he was the most hated person in music, he brought excitement back with his Friday releases".[85] G.O.O.D. Fridays was originally intended to continue through December, but West extended it through January 2011.[87]

On September 12, 2010, West premiered "Runaway" in live performance at the 2010 MTV Video Music Awards.[88] Three weeks later, on October 2, he performed the song on Saturday Night Live, along with "Power".[89] Two days later, the album's release date was announced for November 22.[73][90]My Beautiful Dark Twisted Fantasy was released for digital download on Amazon at a list price of $3.99.[91] This coincided with the site's $3 discount promotional offer on MP3 purchases made valid through the release week.[92][93] Four singles were released from the album and became top 40 hits on the US Billboard Hot 100 – "Power" (released July 1, 2010,[94] charted No. 22),[95] "Runaway" (released October 4,[73][96] charted No. 12),[95] "Monster" (released October 23,[97] charted No. 18),[95] and "All of the Lights" (released January 18, 2011,[98] charted No. 18).[99]

A 35-minute film – Runaway, featuring the titular song's official music video – was directed by West and released on October 23, 2010.[100] Filmed in Prague over a period of four days during Summer 2010,[101] the film stars West and model Selita Ebanks and features a script written by Hype Williams with the story written by West.[102] West described the video as an "overall representation of what [he dreams]" and a parallel to his music career,[101][103] in that, "It's the story of a phoenix fallen to Earth, and I make her my girlfriend, and people discriminate against her and eventually she has to burn herself alive and go back to her world. I've been feeling the idea of the phoenix. It's been in my heart for a while. It's maybe parallel to my career. I threw a Molotov cocktail on my career last year, in a way, and I had to come back as a better person.[104] At one of his screenings in Paris, the film seemed to represent a lot emotionally for him as he broke down in tears. Later after another screening, West said his music and "art" and how it affects people is the reason he continues to create music.[105]

Following the release of the album, West performed headlining sets at several large festivals, including SXSW 2011, Lollapalooza,[106]Austin City Limits,[107] and Coachella 2011; the latter was described by The Hollywood Reporter as "one of the great hip-hop sets of all time."[108] To further promote the album, West performed at Macy's Thanksgiving Day Parade.[109][110]

Sales[edit]

In its first week of release, My Beautiful Dark Twisted Fantasy debuted at number one on the US Billboard 200 and sold 496,000 copies in the United States.[111] The entry blocked Nicki Minaj's debut studio album Pink Friday from the top spot with 375,000 sales, with the week marking the first time in two years that the Billboard 200 has seen two albums bow with more than 300,000 units.[111] This gave West his fourth consecutive US number-one album and was higher than the 450,000 first-week sales of his previous album 808s & Heartbreak, with the debut week becoming the fourth-best sales week of 2010.[111] The album's first-week digital sales of 224,000 units marked the fourth-highest sales week for a digitally-downloaded album.[112] The album was also a chart topper in Canada, standing as West's fourth number one album on the Canadian Albums Chart.[113] It sold at a smaller rate in Denmark, reaching number four on the Danish Albums chart.[114] Similarly, the album opened at number six on the ARIA Albums chart.[115]

In its second week on the Billboard 200, My Beautiful Dark Twisted Fantasy descended six places to number seven, while remaining above Pink Friday by one place, and sold 108,000 copies, marking a 78% sales decline.[116] The album ultimately spent 115 weeks on the Billboard 200,[117] and by July 2013, it had sold 1,351,000 copies in the US, as reported by Nielsen SoundScan.[118] By June 2011, the album was the second best-selling digital rap album ever, selling 483,000 digital copies.[119] On November 23, 2020, My Beautiful Dark Twisted Fantasy was certified triple platinum by the RIAA for three million shipments in the US.[120] That same year, it was reported that the album had been played one billion times on the streaming service Spotify.[121]

Critical reception[edit]

My Beautiful Dark Twisted Fantasy was met with widespread critical acclaim. At Metacritic, which assigns a normalized rating out of 100 to reviews from professional publications, the album received an average score of 94, based on 45 reviews.[123] Aggregator AnyDecentMusic? gave it 8.8 out of 10, based on their assessment of the critical consensus.[122]

Reviewing in November 2010, Andy Gill of The Independent hailed the album as "one of pop's gaudiest, most grandiose efforts of recent years, a no-holds-barred musical extravaganza in which any notion of good taste is abandoned at the door".[125] Ann Powers, writing for the Los Angeles Times, found the music "Picasso-like, fulfilling the Cubist mandate of rearranging form, texture, color and space to suggest new ways of viewing things".[47] It was also called West's most lavish record in a review by Time magazine's David Browne, who said it proved again that few other artists shared his ability to adeptly combine diverse elements.[127] Dan Vidal of Urb highlighted the rapper's ability to bring the best out of his collaborators, finding it comparable to the work of Miles Davis.[128] In Rolling Stone, Sheffield called the album West's best and most wildly inspired record to date, claiming that no other artist was recording music as dark or uncanny, and adding that West had transgressed the very conventions he established for rap and pop music of the past five years.[32]Sputnikmusic critic Channing Freeman regarded it as "the first album in which he's truly lived up to his potential in every way – as a rapper, as a lyricist, as a songwriter".[129]The Village Voice's Sean Fennessey found it overwhelming and skillfully produced because of the way each song transitions over "like some long night out into the hazy morning after".[36] Robert Christgau, in MSN Music, hailed it as a "world-beating return to form" for West.[37]Pitchfork awarded the album a 10/10, the first perfect score it had given to a new release since Wilco's Yankee Hotel Foxtrot in 2002.[130]

Some reviewers were more qualified in their praise. For The Guardian, Kitty Empire was critical of West's lyrics calling women "ruthless money-grabbers" on an otherwise "herculean" and "flawed near-masterpiece".[124] Andy Kellman, reviewing in AllMusic, found West's rapping inconsistent on what he nonetheless deemed "a deeply fascinating accomplishment" in West's catalogue and one of complicated merit: "As fatiguing as it is invigorating, as cold-blooded as it is heart-rending, as haphazardly splattered as it is meticulously sculpted, [the album] is an extraordinarily complex 70-minute set of songs ... As the ego and ambition swells, so does the appeal, the repulsiveness, and – most importantly – the ingenuity".[33]

Rankings[edit]

At the end of 2010, numerous critics and publications included My Beautiful Dark Twisted Fantasy on their year-end top albums lists.[131] Many named it the best album of 2010,[131] including Billboard,[132]Time,[133]Slant Magazine,[134]Pitchfork,[135]Rolling Stone,[136] and Spin.[137]My Beautiful Dark Twisted Fantasy was voted best album in The Village Voice's Pazz & Jop critics' poll for 2010,[138] winning by the largest margin in the poll's history.[139] The singles "Power", "Runaway", and "Monster" were voted in the top-10 of the Pazz & Jop's singles list.[139] Metacritic, which collates reviews of music albums, named it the best-reviewed album of 2010[140] and the sixth best of original albums from the 2010s to have at least 15 professional reviews.[141]

The logo of review aggregator Metacritic is shown
Review aggregate site Metacriticcalled My Beautiful Dark Twisted Fantasy"the runaway consensus pick of music critics for the best album of 2010".[140]

My Beautiful Dark Twisted Fantasy later appeared on decade-end and all-time lists of the best albums.[142] In 2012, Complex included it on their list of 25 Rap Albums From the Past Decade That Deserve Classic Status.[143] In October 2013, Complex named it the best hip hop album of the last five years.[144] The album was also included in the book 1001 Albums You Must Hear Before You Die.[145] In August 2014, Pitchfork named it the best album of the 2010s decade so far, and an accompanying essay said, "West broke the ground upon which the new decade's most brilliant architects built their masterworks; Bon Iver, Take Care, Channel Orange, and Good Kid, M.A.A.D City don't exist without the blueprint of My Beautiful Dark Twisted Fantasy. The list ends here because it's where the decade truly begins."[146] Christgau later ranked it as the decade's eighth-best album, saying it remains "perversely superb".[147]

Based on such rankings, Acclaimed Music lists My Beautiful Dark Twisted Fantasy as the 26th most critically acclaimed album in history,[142] the third-highest ranking for any hip hop album.[148] According to Chris Lambert of Forbes in 2019, the album "has maintained a consistency of recognition" as West's greatest work and one of the top albums from the 2010s, if not the decade's best album.[121] In 2020, Marc Hogan from Pitchfork considered it among the great art pop albums of the last 20 years to "have filled the void of full-length statements with both artistic seriousness and mass appeal that was formerly largely occupied by [rock] guitar bands".[149]

Industry awards[edit]

My Beautiful Dark Twisted Fantasy won awards for both Album of the Year and Reader's Choice: Best Album at the 2010 HipHopDX Awards.[166] For the 2011 NAACP Image Awards, the album was nominated for Outstanding Album,[167] and at the 2011 BET Hip Hop Awards, it was awarded CD of the Year.[168] The album earned a nomination for Top Rap Album, presented at the 2011 Billboard Music Awards, where it ultimately lost to Eminem's 2010 album Recovery.[169]

For the 54th Annual Grammy Awards in 2012, My Beautiful Dark Twisted Fantasy was nominated in the category of Best Rap Album, which it won,[170] while "All of the Lights" was nominated for Song of the Year, Best Rap Song, and Best Rap/Sung Collaboration, winning in the latter two categories.[170] However, The Recording Academy's decision not to nominate My Beautiful Dark Twisted Fantasy for Album of the Year was viewed by many media outlets as a snub, along with the rejection of Watch the Throne – West's collaborative album with Jay-Z – for that category.[171][172][173][174][175] Writing for the Los Angeles Times, Randall Roberts was critical of the nominations and noted the exclusion of My Beautiful Dark Twisted Fantasy – "the most critically acclaimed album of the year, a career-defining record" – as a snub in favor of nominating less substantial albums.[176]Time journalist Touré deemed West's nominations in minor Grammy categories "booby prizes", and stated, "MBDTF is by far the best reviewed album in many years: the critical community flipped out over it like nothing since Radiohead's zenith. And it sold well, over 1.2 million so far. So what happened? How is it Grammy overlooked Kanye's magnum opus and gave noms to four sonic widgets and Adele's 21?" He explored possible reasons for the Academy to snub West, including split votes between My Beautiful Dark Twisted Fantasy and Watch the Throne, concerns over West's past controversies, and more commercially appealing nominees, but ultimately perceived "a lack of respect for hip hop and its complexity from people who care about music but don't know much about hip hop ... now that he's released his most mature work, [West is] being ignored."[177]

Having been vocal about award show snubs in the past,[173] West responded to the Grammy results onstage during a concert on the Watch the Throne Tour, saying: "That's my fault for dropping Watch the Throne and Dark Fantasy the same year. I should've just spaced it out, just a little bit more."[174] Writing for Stereogum on the 10th anniversary of My Beautiful Dark Twisted Fantasy, Chris Deville notes West's subsequent indignation about the Grammys, but concluded of its legacy: "[T]he album is too cool to qualify as Grammy pandering. Spiritually it feels more like a Hollywood blockbuster that doubles as Oscar bait. Not only did it cement his reputation as an auteur and win over a vast spectrum of tastemakers, it also catered to the rap fans who wanted nothing to do with sad-robot Kanye." According to Deville, the album's success publicly redeemed West and sustained his esteem in the music industry for much of the ensuing decade as his work became progressively overshadowed by stories surrounding his celebrity family life, controversial public statements, mental health issues, and nonmusical ventures. While not a "universal consensus", Deville notes its standing among fans as West's best album.[6]

Track listing[edit]

Track notes

  • ^[a] signifies a co-producer
  • ^[b] signifies an additional producer
  • "Dark Fantasy" features background vocals by Nicki Minaj and Justin Vernon of Bon Iver, and additional vocals by Teyana Taylor and Amber Rose
  • "Gorgeous" features background vocals by Tony Williams
  • "Power" is stylized in uppercase letters and features additional vocals by Dwele
  • "All of the Lights" features additional vocals by Rihanna, Kid Cudi, Tony Williams, The-Dream, Charlie Wilson, John Legend, Elly Jackson of La Roux, Alicia Keys, Elton John, Fergie, Ryan Leslie, Drake, Alvin Fields and Ken Lewis
  • "Runaway" features background vocals by Tony Williams and additional vocals by The-Dream
  • "Hell of a Life" features additional vocals by Teyana Taylor and The-Dream
  • "Blame Game" features additional vocals by Chris Rock and Salma Kenas
  • "Lost in the World" and "Who Will Survive in America" feature additional vocals by Charlie Wilson, Kaye Fox, Tony Williams, Alicia Keys and Elly Jackson of La Roux

Sample credits

  • "Dark Fantasy" contains samples of "In High Places", written by Mike Oldfield and Jon Anderson, and performed by Anderson.
  • "Gorgeous" contains portions and elements of the composition "You Showed Me", written by Gene Clark and Roger McGuinn, and performed by The Turtles.
  • "Power" contains elements from "It's Your Thing", performed by Cold Grits; elements of "Afromerica", written by Francois Bernheim, Jean-Pierre Lang, and Boris Bergman, and performed by Continent Number 6; and material sampled from "21st Century Schizoid Man", composed by Robert Fripp, Michael Giles, Greg Lake, Ian McDonald, and Peter Sinfield, and performed by King Crimson.
  • "So Appalled" contains samples of "You Are – I Am", written by Manfred Mann, and performed by Manfred Mann's Earth Band.
  • "Devil in a New Dress" contains samples of "Will You Love Me Tomorrow", written by Carole King and Gerry Goffin, and performed by Smokey Robinson.
  • "Runaway" contains a sample of "Expo 83", written by J. Branch, and performed by Backyard Heavies; and excerpts from Rick James Live at Long Beach, CA, 1981.
  • "Hell of a Life" contains samples of "She's My Baby", written by Sylvester Stewart, and performed by The Mojo Men; samples of "Stud-Spider" by Tony Joe White; and portions of "Iron Man", written by Terence Butler, Anthony Iommi, John Osbourne, and William Ward, and performed by Black Sabbath.
  • "Blame Game" contains elements of "Avril 14th", written by Richard James, and performed by Aphex Twin.
  • "Lost in the World" contains portions of "Soul Makossa", written by Manu Dibango; a sample of "Think (About It)", written by James Brown, and performed by Lyn Collins; samples of "Woods", written by Justin Vernon, and performed by Bon Iver; and samples of "Comment No. 1", written and performed by Gil Scott-Heron.
  • "Who Will Survive in America" contains samples of "Comment No. 1" performed by Gil Scott-Heron.

Personnel[edit]

Credits adapted from the album's liner notes.[7]

Musicians[edit]

  • Jeff Bhasker – keyboards (tracks 1, 3, 5, 7, 9, 12, 13), piano (track 6), cello arrangement (track 1)
  • Mike Dean – keyboards (tracks 3, 5, 7, 10), piano (tracks 1, 8, 11), bass (tracks 3, 8, 11), guitars (tracks 3, 8), guitar solo (track 2), cello arrangement (tracks 1, 5, 7)
  • Ken Lewis – guitars (track 2), bass (track 2), organ (track 2), brass and woodwinds (track 5), tribal drum programming (track 12, 13), horn arrangement (track 5), chant vocals (tracks 3, 12, 13)
  • Brent Kolatalo – keyboards (track 2), drum programming (track 2)
  • Elton John – piano (track 5)
  • Anthony Kilhoffer – additional drum programming (tracks 10, 12, 13)
  • Danny Flam – brass and woodwinds (track 5)
  • Tony Gorruso – brass and woodwinds (track 5)
  • Rosie Danvers – orchestral arrangement and conducting (track 5), cello (track 5)
  • Chris "Hitchcock" Chorney – cello (tracks 1–3, 5, 7, 9, 11), cello arrangement (track 11)
  • Mike Lovatt – trumpet (tracks 4, 5)
  • Simon Finch – trumpet (tracks 4, 5)
  • Andy Gathercole – trumpet (track 5)
  • Tim Anderson – French horn (track 5)
  • Tom Rumsby – French horn (track 5)
  • Richard Ashton – French horn (track 5)
  • Mark Frost – trombone (track 5)
  • Philip Judge – trombone (track 5)
  • Chloe Vincent – flute (track 5)
  • Kotono Sato – violin (track 5)
  • Jenny Sacha – violin (track 5)
  • Rachel Robson – viola (track 5)
  • Chloe Mitchell – poem (track 11)
  • Alvin Fields – chant vocals (tracks 3, 12, 13)
  • Ian Allen – handclaps (track 3)
  • Wilson Christopher – handclaps (track 3)
  • Uri Djemal – handclaps (track 3)
  • Chris Soper – handclaps (track 3)

Production[edit]

  • Andrew Dawson – recording (tracks 1–3, 5–13), mixing (tracks 1, 10, 11)
  • Anthony Kilhoffer – recording (tracks 1–3, 5–10, 12, 13), mixing (tracks 2, 5, 9–13)
  • Mike Dean – recording (tracks 1–3, 5–10, 12, 13), mixing (tracks 1, 4, 6–8, 10, 11)
  • Noah Goldstein – recording (tracks 1, 2, 4, 5, 7, 8, 10–13)
  • Phil Joly – recording (tracks 2, 4), engineering assistance (tracks 1, 2, 5, 11)
  • Christian Mochizuki – recording (track 2), engineering assistance (tracks 1, 2, 5–10, 12, 13)
  • Pete Bischoff – recording (track 7), engineering assistance (tracks 2, 5–8, 10, 12, 13)
  • Ryan Gilligan – recording (track 11)
  • Marcos Tovar – recording (Rihanna vocals; track 5)
  • Manny Marroquin – mixing (track 3)
  • Gaylord Holomalia – engineering assistance (tracks 1, 6–8, 10)
  • Alex Graupera – engineering assistance (tracks 12, 13)
  • Christian Plata – mix engineering assistance (track 3)
  • Erik Madrid – mix engineering assistance (track 3)
  • Cary Clark – mix engineering assistance (track 9)
  • Ken Lewis – chant vocals engineering (track 3)
  • Brent Kolatalo – chant vocals engineering (tracks 3, 12, 13), horn engineering (track 5)
  • Tommy D – orchestra production (track 5)
  • Vlado Meller – mastering

Design[edit]

  • Kanye West – art direction
  • Virgil Abloh – art direction
  • George Condo – paintings
  • M/M (Paris) – handwritten titles and illustrations, package design
  • Fabien Montique – Kanye West photograph

Charts[edit]

Weekly charts[edit]

Year-end charts[edit]

Certifications[edit]

Release history[edit]

See also[edit]

References[edit]

  1. ^Sayles, Justin; Holmes, Charles (November 23, 2020). "The Rosewood Ranking: An Obsessive Rundown of Every 'My Beautiful Dark Twisted Fantasy' and G.O.O.D. Friday Kanye Song, Plus a Few Extras". The Ringer. Retrieved December 12, 2020.
  2. ^Caramanica, Jon. "Behind Kanye's Mask". The New York Times. Archived from the original on July 21, 2021. Retrieved July 21, 2021.
  3. ^ abcdefghijklmCallahan-Bever, Noah (November 2010). Kanye West: Project RunawayArchived December 28, 2010, at the Wayback Machine. Complex. Retrieved on November 30, 2010.
  4. ^Columnist (October 3, 2010). Kanye West Hiding Out in Milan!Archived March 3, 2012, at the Wayback Machine. Posh24. Retrieved on November 30, 2010.
  5. ^"Kanye West and Lady Gaga "Fame Kills" Tour Canceled". Rolling Stone. October 1, 2009. Archived from the original on June 28, 2011. Retrieved February 23, 2011.
  6. ^ abDeville, Chris (November 20, 2020). "Kanye West 'My Beautiful Dark Twisted Fantasy' 10th Anniversary Review". Stereogum. Retrieved March 1, 2021.
  7. ^ abcdMy Beautiful Dark Twisted Fantasy (Media notes). Kanye West. Roc-A-Fella Records. 2010.CS1 maint: others in cite AV media (notes) (link)
  8. ^Jacobs, Allen (September 17, 2010). Def Jam Records Has Reportedly Spent $3 Million On Kanye West's New AlbumArchived September 19, 2010, at the Wayback Machine. HipHopDX. Retrieved on November 28, 2010.
  9. ^Wilson, Brian (March 15, 2016). "10 Most Expensive Albums of All Time". WhatCulture. Archived from the original on April 19, 2016. Retrieved March 15, 2016.
  10. ^Anbar, Elyadeen (June 15, 2017). "11 Most Expensive Albums Ever Produced". Hypebot. Archived from the original on August 23, 2017. Retrieved June 15, 2017.
  11. ^Paine, Jake (September 30, 2010). Kanye West Calls Off This Week's G.O.O.D FridayArchived October 3, 2010, at the Wayback Machine. HipHopDX. Retrieved on November 28, 2010.
  12. ^"Exclusive: Kanye West Enlists Nicki Minaj for New Album". Rap-Up. June 30, 2010. Archived from the original on October 10, 2012. Retrieved July 14, 2010.
  13. ^Staff (July 27, 2010). DJ Toomp Praises Kanye’s New Album x T.I. Confirmed As GuestArchived August 1, 2010, at the Wayback Machine. DDotOmen.com. Retrieved on November 28, 2010.
  14. ^Big Homie (August 5, 2010). T.I. Recorded Six Tracks With KanyeArchived August 7, 2010, at the Wayback Machine. Rap Radar. Retrieved on November 28, 2010.
  15. ^Denise (October 11, 2010). Kanye West My Beautiful Dark Twisted Fantasy Album Download, Hip Hop CollabsArchived November 4, 2010, at the Wayback Machine. HipHop RX. Retrieved on November 28, 2010.
  16. ^Staff (October 18, 2010). Kanye West’s Biggest Collaboration YetArchived October 10, 2012, at the Wayback Machine. Rap-Up. Retrieved on November 28, 2010.
  17. ^Jacobs, Allen (September 20, 2010). M.I.A. The Latest Artist To Go Into The Studio With Kanye WestArchived September 22, 2010, at the Wayback Machine. HipHopDX. Retrieved on November 28, 2010.
  18. ^Staff (September 21, 2010). MIA announces collaboration for Kanye West album 'Dark Twisted Fantasy'Archived September 24, 2010, at the Wayback Machine. NME. Retrieved on November 28, 2010.
  19. ^Kaufman, Gil (October 7, 2010). Kanye West Adds M.I.A., La Roux And Alicia Keys To AlbumArchived October 10, 2010, at the Wayback Machine. MTV News. Retrieved on November 28, 2010.
  20. ^Kuperstein, Slava (April 8, 2010). Kanye West's Next Album To Drop In JuneArchived October 2, 2012, at the Wayback Machine. HipHopDX. Retrieved on April 8, 2010.
  21. ^ abHarling, Danielle (June 25, 2010). Madlib Says Kanye West Requested Beats For "Good Ass Job"Archived January 26, 2012, at the Wayback Machine. HipHopDX. Retrieved on July 14, 2010.
  22. ^Markman, Rob. "Kanye West Told Statik Selektah 'Jazz Was Dead,' So He Went And Made A Jazz Album". MTV News. Archived from the original on May 18, 2019. Retrieved May 18, 2019
Источник: https://en.wikipedia.org/wiki/My_Beautiful_Dark_Twisted_Fantasy

Kanye West’s Yeezus: what we know so far about 2013’s biggest hip-hop record

Elsewhere, Music Week claim that King Louie and Kid Cudi appear on the record, and we know that dubstep producer Skrillex has been in the studio with Kanye. Regular Kanye collaborator Mike Dean has been involved in the record, and told Huffington Postthis week that “It’s sort of a checks and balances for both of us…We have a dozen people working with us in the studio, we all do quality control. It’s the most intense production project you’ll ever see… It’s so many A-List people who would never work together unless Kanye put them together.” Chicago stalwart No I.D. has also been involved in the project, while Frank Ocean sings on ‘New Slaves’ and Travis Scott is present. Producer Young Chop is heavily rumoured to contribute, and don’t rule out Mike Will: the Future and Juicy J hitmaker quietly contributed to Cruel Summer, and it certainly wouldn’t be a surprise to see him lend his trademark low-end to Yeezus. 

Marilyn Manson’s ‘The Beautiful People’, C-Murder and Billie Holiday are all sampled on Yeezus, as, reportedly, is an “old vocal track from a Chicago church youth choir” on ‘On Site. “Def Jam lawyers were having difficulty tracking down the choir director and members of the Holy Name of Mary Church choir; producers re-recorded the vocals with a different choir just in case the rights couldn’t be secured in time.”

Update:a new video taken at the New York listening party appears to confirm that Arca, an up-and-coming producer who’s previously worked with Twigs and released on the UNO NYC label (and has previously been rumoured to have worked on Yeezus), is also on the album.

The Music

Audio is available online for five songs confirmed for Yeezus: ‘New Slaves’, ‘Black Skinhead’, ‘I Am A God’ (all embedded in this article), ‘On Site’ and ‘Send It Up’. As previously mentioned, there’s that live clip of Hudson Mohawke playing the Billie Holiday / TNGHT track, speculated to be called ‘Coulda Been Somebody’ (Mohawke has simply referred to as “new Ye” on Twitter), though we don’t know if that’s the version that has made the album. There’s also a track called ‘Bound’ streaming on Kanye’s website.

Yeezus has been widely reported as Kanye’s darkest album to date, and this is what we know so far about its running order. Update 2: Here is the tracklisting as of 14 June, via Hip Hop N More.

1. On Sight (Produced by Daft Punk) [Malik Yusef, Rhymefest]
2. Black Skinhead (Produced by Daft Punk) [CyHi The Prynce, Lupe Fiasco, Malik Yusef]
3. I Am A God (Featuring God) (Produced by Daft Punk) [Hudson Mohawke, Justin Vernon, Malik Yusef, Rhymefest]
4. New Slaves (Featuring Frank Ocean) (Malik Yusef, Rhymefest)
5. Hold My Liquor (Feat. Chief Keef & Justin Vernon) [Alejandro Ghersi, Malik Yusef, Rhymefest]
6. I’m In It (Feat. Travis Scott) [Justin Vernon, Malik Yusef]
7. Blood On The Leaves [Hudson Mohawke, Tony Williams]
8. Guilt Trip (Feat. Kid Cudi) (Produced by S1)
9. Send It Up (Feat. King L) [Alejandro Ghersi, Daft Punk, Gesaffelstein]
10. Bound 2 (Feat. Charlie Wilson) [John Legend]

The back cover of the record looks like this, and notes that the ‘Strange Fruit’ sample on ‘Blood On The Leaves’ is in fact Nina Simone’s version, not Billie Holiday’s, as previously speculated.

…and that title?

“Simply put, ‘West’ was my slave name and Yeezus is my god name.”

Update 2: More rumors about the American Psycho-inspired video that Kanye allegedly filmed over the weekend have surfaced.Page Six reports that a treatment for the video called for James Franco (and not reality TV star Scott Disick) to star in a scene that recreates the film’s famous “Huey Lewis” monologue, reworked with references to Kanye and Yeezus. In addition, sources say that a sponsor has underwritten a $100,000 budget for the viral clip.

Update 3: In an e-mail interview with The Wall Street Journal, executive producer Rick Rubin explained his role on Yeezus (key excerpts below), Kanye’s place in culture, and the promotional approach to the album.

When and why did you join the Yeezus project?

Kanye came over to play me what I assumed was going to be the finished album at three weeks before the last possible delivery date. We ended up listening to three hours of partially finished pieces. The raw material was very strong but hadn’t yet come into focus. Many of the vocals hadn’t been recorded yet, and many of those still didn’t have lyrics. From what he played me, it sounded like several months more work had to be done. I joined the project because after discussing what he had played for me, he asked if I would be open to taking all of the raw material on and help him finish it.

How would you describe the new sound he was driving for, and how you did you help him arrive there?

He wanted the music to take a stripped-down minimal direction. He was always examining what we could take out instead of put in. A good example would be the song that became ‘Bound.’ When he first played it for me, it was a more middle of the road R&B song, done in an adult contemporary style. Kanye had the idea of combining that track with a cool sample he had found and liked – I removed all of the R&B elements leaving only a single note baseline in the hook which we processed to have a punk edge in the Suicide tradition.

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Источник: https://www.factmag.com/2013/06/11/kanye-wests-yeezus-what-we-know-so-far-about-2013s-biggest-hip-hop-record/

'The Life of Pablo' vs. 'My Beautiful Dark Twisted Fantasy', track-by-track


Perry Kostidakis and Deion A. Sainvil    FSU News

Two weeks is enough time to compare a new album to a classic, right?

With all the hoopla around Kanye West’s new album, The Life of Pablo, people have started comparing it to his greatest work, My Beautiful Dark Twisted Fantasy, either by saying it comes nowhere close to the golden standard set by the 2010 album, or that it could possibly be equal to or better. If you 1) disagree that Kanye West has made a classic album or 2) disagree that MBDTF is a classic, this is probably not the article for you.

To determine if either claim holds up the FSView & Florida Flambeau has assembled a Kanye Committee (a Kanmmittee, if you will), consisting of staff writer Deion A. Sainvil and Managing & Digital Editor Perry Kostidakis, to go track-by-track* of each album, seeing which holds up.

Songs will get .5 points from each person, a total of one point. May the best tracklist win.

*Technically. MBDTF is only 12 songs long, with two being interludes, while TLOP is 18 songs long. To even it up MBDTF’s “Who Will Survive in America” was thrown out as well as TLOP’s “Freestyle 4” and “I Love Kanye”, and “All of the Lights (Interlude) and “Low Lights” were combined with “All of the Lights” and “Highlights” respectively. The 11 TLOP tracks chosen were all part of the original tracklist debuted at Madison Square Garden, with respect to ‘30 Hours”. If you think that’s stupid, well, you’re the one reading an article abstractly comparing two separate art pieces together, so jokes on you nerd.

Round One: Ultralight Beam vs. Dark Fantasy

Deion A. Sainvil: You know what I realized from this matchup? With exception of the second verse in “On Sight” Kanye’s opening tracks have always been stellar.

“Dark Fantasy” and “Ultralight Beam” do a great job at setting the scene for their respective albums. Having Nicki Minaj do the Roald Dahl inspired introduction in an English accent is genius.

Perry Kostidakis:  Listening to these two albums back to back is such a funny juxtaposition, this is a matchup between “can we get much higher?” vs. “this is a god dream.” On “Ultralight Beam,” we’re welcomed by the rousing words of a toddler preacher while “Dark Fantasy” gives us Nicki Minaj’s weird-ass alterego Roman reciting Ronald Dahl lyrics.

DS:  At first I thought North was the little girl in the beginning of “Ultralight Beam”, but I realized that if she was then Kanye would’ve tweeted about it.

PK: “Dark Fantasy” should win this, I know it should, but I can’t just shake the belief that in the end “Ultralight Beam” is bigger and better. Yes, Kanye says nine total line on his own in the song, deferring rap duties to a one Mr. Chancellor Bennett, but the overall emotion and composition of the song is just too beautiful. Both songs have choirs, but only one makes you feel like you actually just attended a church session.

DS: “Dark Fantasy” is at his peak asking if he can get much higher. “Ultralight Beam” is Kanye taking us to church. What puts “Ultralight Beam” over “Dark Fantasy” is Chance’s verse. Chance’s verse was brilliant and it showed his appreciation and fandom for his idol.

(Did you catch all of the Kanye references? He had at least three.)

If Chance the Rapper is a representation of your influence on an entire generation of artists, then you did a job well done. Or should I say a good ass job?

Score: TLOP 1, MBDTF 0

Round Two: Gorgeous vs. Father Stretch My Hands, Pt. 1

DS:Gorgeous.” No contest. Next matchup… What? Do I really have to explain why? Ugh, fine! “Gorgeous” has three verses from Kanye, “Father Stretch My Hands Pt. 1” has one and it doesn’t even start off well. “Gorgeous” features Raekwon.

PK: What a weird coincidence that Kid Cudi is on the second song to both albums though, right? (Considering the fact that Cudder’s been on every Kanye album since 808’s and Heartbreak, I guess maybe not.)

DS: Both songs use Kid Cudi well, but Cudi’s far more epic in “Gorgeous.” The lyrics in “Gorgeous” can have their own college course. Every line addresses a societal issue whether it be racism, sexism, conspiracy theory. The questions that Kanye asked can spark fiery debates “What’s a black Beatle anyway, a f****n Roach?” “Is hip hop just a euphemism for a new religion? The soul music of the slaves that the youth is missing?” In the end “Gorgeous” made statements “Father Stretch My Hands Pt. 1” made you dance. Next.

PK: Even though Kanye’s verses on “Gorgeous” sounded waaaaay cooler as a freestyle on Hot 97, the lyrics he comes with still ring as poignant today as they did back in 2010. “Pt. 1” sounds like an evolved track off 808’s, which isn’t a bad thing at all, it just really doesn’t hold up to the standard set by “Gorgeous.

Score: TLOP 1, MBDTF 1

Round Three: Power vs. Pt. 2

DS: C’mon now, “Power.” This one is all yours, Perry. That is unless you believe otherwise?

PK: If I could insert a rolling eye emoji, I would.

This matchup, for me, was decided the second I heard “Pt.2.” It’s not that it’s a bad song, it’s just one that I’m not necessarily sure should exist. The last 30 seconds of it, while still somehow sounding good, is an absolute mess. Plus, I feel insulted by the usage of faux-Future.

And then I listen to “Power” and it sounds so much better than I remember it, and it might just be because everything that Kanye’s saying in it serves as an explanation for everything he’s doing currently, even down to the Saturday Night Live diss. Easy win.

Score: TLOP 1, MBDTF 2

Round Four: Famous vs. All of the Lights

DS: This is the marquee matchup. Both songs feature Rihanna and discuss Kanye’s relationship with fame. All of the Lights is more metaphorical and Famous is more concrete. Kanye raps two verses on both songs. Famous doesn’t have any instruments or an orchestra that All of the Lights has. Let’s not forget to mention the star studded ensemble of backup vocalists. Both songs are a 10 on the Bump in the Whip meter. These songs are both so evenly matched. Famous has an edge in the OMG factor with the Taylor Swift line. It’s a hard fought battle, one that will be remembered for years to come.

PK: Both of these songs are spectacles. For “Famous” it’s the now-infamous Taylor Swift line and Swizz Beats gleefully yelling over that hot ass “Bam Bam” sample, while “All of the Lights” is built up as grand as it could possibly be.

DS:  Picture this year’s slam dunk contest. It all comes down to legacy. We’ll have to come back to this in five years but I’m giving this to “All of the Lights” because I believe the Taylor Swift controversy is fogging up the greatness of “Famous.” That and the Nina Simone sample at the end of “Famous” rubbed my ears the wrong way.

PK: I’d like to think that the “Famous” beat hits a little bit harder, but those first horns in “All of the Lights” resonate in way that can’t be overlooked. While Kanye broke his credited artist record on “All Day” (21), the 14 people credited on “All of the Lights” are all utilized to the fullest of their abilities. Fergie’s verse, Kid Cudi’s appearance and the MJ line are what solidify the “All of the Lights” win for me.

Score: TLOP 1, MBDTF 3

Round Five: Feedback vs. Monster

PK: How much do we weight Nicki Minaj’s verse in here? It’s the best verse of her career* but does Kanye get credit for that? On the flip side, does he get penalized for Jay Z’s whack verse?

*(side note: how many arists’ have had their best verse on a Kanye song? 2 Chainz (“Mercy”), Rick Ross (“Devil in a New Dress”), J. Cole (“Looking for Trouble”) Chance the Rapper and Nicki are the first to come to mind.)

DS: I honestly think of Monster as Nicki Minaj’s song. Might as well be. I have no idea why Rick Ross donated four bars in the beginning and Jay kinda slowed things down which ruined the vibe for a good minute.

Since “Monster” came out, this song has always made an appearance on my list of least favorite Kanye songs. “My eyes more red than the Devil is”? C’mon Kanye. There’s too many missteps for “Monster” to best “Feedback” which featured one of my favorite moments on TLOP, the Ghetto Oprah bit. “You get a fur! You get a fur! You get a jet! You get a jet! Big booty b***h for you! WOOOO!!”

PK: Both songs reek of bravado, “Monster” is more boasting while “Feedback” is more dismissing. It’s a big toss up for me on this one, but I think that in the end I give the edge to “Monster,” Jay Z verse and all. “Feedback” is one of the most fun songs on TLOP but when looking at both the individual Kanye verses and the overall songs, “Monster” comes out looking better.

Score: TLOP 1.5, MBDTF 3.5

Round Six: Lowlights/Highlights vs. So Appalled

DS: “Highlights” has become one of my favorite tracks on the album the more I listen to it. It all started with the first verse and then he went into the Ray J diss which I found to be long overdue and very apropos. A major improvement from calling him Brandy’s little sister on Late Night with Jimmy Fallon (which I also liked). Once he got to the Diddy line I was sold. It was a combination of the name dropping and the flow that kept me smiling ear to ear.

PK: “Highlights” isn’t my favorite TLOP cut, nor my second, or third, or fouth, but it is definitely a song I enjoy listening to. Kanye’s rapping with full-out effort here, and his double-time flow at the end is one of my favorite parts of the album.

DS: “You want a boss or an R&B n***a with a six pack?” Why hasn’t Rick Ross said that yet?! “Highlights” is too playful and fun for me not to favor it over its more serious competitor. While it’s amusing to hear Kanye gripe about not-so attractive hotel maids, I can’t give him a pass for getting bodied on his own track by his signees Pusha T and CyHi the Prynce. He does get points for having RZA on the track though.

PK: If we’re going to be honest, I hate “So Appalled,” and I always have. From how the obnoxious Swizz chorus and RZA yelling are to the fact that out of all the GOOD Friday posse cuts this is the one that made the album, it’s always been the one song I skipped on my listening sessions.

Score: TLOP 2.5, MBDTF 3.5

Round Seven: Waves vs. Devil in a New Dress

PK: “Devil in a New Dress” features Rick Ross, “Waves” features Chris Brown. You tell me which one wins.

DS: The instrumental interlude and Rick Ross’ verse alone put Devil in a New Dress over “Waves.” When I first heard “Waves,” I thought it sounded like a bonus track from the Graduation era. I like “Waves” but come on. “Devil in a New Dress” brought out the best in Rick Ross, everyone including Rozay knows this. Instrumentals, lyrics, placement on the album, “Devil in a New Dress” wins across the board.

PK: “Waves” is fun and all, but “Devil in a New Dress” serves as the climax of MBDTF. Like you said, the instrumental interlude playing into Ross’ verse easily gives it the edge, but I think even the Kanye verse sets it apart. Sorry Chance.

Score: TLOP 2.5, MBDTF 4.5

Round Eight: FML vs. Runaway

DS: This isn’t a fair matchup.

(Now that I think about it, this whole comparison is unfair. MBDTF is a confirmed classic with a legacy lasting five years. We don’t even know if TLOP is gonna achieve classic status yet. We’d be better off comparing it to Yeezus.

PK: I thought about that a few times when doing this too, that the MBDTF songs are almost always significantly better and that we might have been better off comparing TLOP to Graduation or 808’s, but I know that I would probably take most of TLOP against any Kanye album with exception to College Dropout and, of course, MBDTF. It’s not to say that I think that TLOP is Kanye’s third best album (though, with time, who knows). It’s just that track-by-track, TLOP holds up surprisingly well.

DS: Oh well, this is what it keeps the lights on, so let’s get on with it.

“Runaway” belongs in a definitive Kanye West compilation CD, “FML” does not. That piano riff, the four minute of harmonizing through auto-tune which is as majestic and captivating as a classic guitar solo. It’s hard for me to even hear this song and not think of the VMA performance. That ketchup colored suit and the ballerinas. Or sometimes I think of the performance in the Runaway film when ‘Ye stood on top of the piano. This song brings in too many memories for a newcomer to steal its shine.

PK: “FML” has emerged as a lot of people’s favorite songs off TLOP, and for a lot of valid reasons.  The song has a haunting quality to it, which only increases when The Weeknd joins the party. When Kanye first tweeted out the tracklist, I didn’t have high hopes for a song called FML since that phrase died out four years ago, but it’s definitely one of the best on the album.

But like you said, the problem is, that it’s going up against what I consider the best song that Kanye has made. Both songs deal with the subject of self-destruction and Kanye’s acknowledgement of its presence in him, but “Runaway” is an unabashed baring of the soul. His VMA performance of it, to me, is what his legacy will be.

DS: Let’s look at it lyrically: “Runaway” is Kanye at his most vulnerable and apologetic. He knows he has a problem and he’s admitting it. The bridge where he says “Run away from me, baby” and the third verse are so jaw droppingly emotional it’s all just so, wow. He was truly revealing the layers to his soul on this one.

It’s two Kanyes dealing with the same issues. One’s in the moment and the other is a work in progress. Runaway runs away with this one.

Score: TLOP 2.5, MBDTF 5.5

Round Nine: Real Friends vs. Hell of a Life

DS: It’s really apples and oranges with this one, but to be fair, there’s no song like “Real Friends” on MBDTF. Hell of a Life is a selfish prophecy featuring sex and splendor while Real Friends sounds like Kanye just watched Toy Story and got in his feelings.

PK: This, along with “Highlights,” is probably the easiest win for TLOP in my book. “Hell of a Life” is a good song in the context of an album, but the chorus has always been way too cheesy for me.

“Real Friends” is in the running for a top 10 Kanye song. Everything works perfectly throughout the whole song, from Ty Dolla $ singing his ass off to Kanye’s outing of his cousin’s thievery.

DS: Although the life described in “Hell of a Life” sounds nice, “Real Friends” makes me think. It has a Draking effect on me with my friends. Since that song came out I’ve sent so many sentimental paragraphs of appreciation to my friends and cousins. It’s also worth mentioning how mature “Real Friends” is. It’s lonely and Kanye doesn’t make himself out to be seen as an innocent victim. And that laptop story, wow. What a stark contrast from the warm and cuddly “Family Business.”

Score: TLOP 3.5, MBDTF 5.5

Round Ten: Wolves vs. Blame Game

PK: How can you make me choose between John Legend and Frank Ocean?

DS: This is an interesting one. One song is about a current relationship and pardoning past mistakes and the other’s about a relationship seeing its end.

PK: “Blame Game” is a twisted love letter, while “Wolves” is Kanye on his philosophical game. For me, it’s hard to judge a song that Kanye is still going to “fix” when it doesn’t appear to have any need for fixing.

DS: “Blame Game” wins. Hey, I said it was interesting, not tough. While the “unswallow” line is definitely something I wish I had the cojones to say to all my future girlfriends, it’s not nearly as telling and memorable as “Yeezy taught me.”

PK: The corny lines are so, for lack of a better word, corny. I didn’t need to hear it over and over, especially since we could’ve had had Sia in there doing here thing instead. “Blame Game” from the start to the end, at risk of being hyperbolic, is a work of art.

DS: “Blame Game” also wins on the relatability scale. Chances are, you and your significant other aren’t under the microscope of millions and surrounded by people who are out to get you. The two of you probably aren’t even the hottest topic on your block. But anyone who’s been in a relationship and that’s experienced a huge fight could relate to this song. Even if you’re like me and you’re just waiting for Molly Qerim to return your phone calls, you can still relate to this.

Score: TLOP 3.5, MBDTF 6.5

Round Eleven: Fade vs. Lost in the Word

DS: The two closers go head-to-head in this one. Both songs are upbeat and have this big build up and climax at the end. . “Fade” can be taken at face value while “Lost in the World” can be interpreted in a few ways. Kanye actually wrote the lyrics and sent them to Kim in an email long before they started dating.

PK: If you played these two songs back to back, I’d think they were on the same album. To me, even though one is definitely superior, TLOP and MBDTF are the perfect compliments to each other. Intermixing the songs paints a complete portrait of the man that’s been nonstop talked about since the beginning of 2016. They’ve both got this funky vibe going on. “Lost in the World” is more of a triumphant and defiant sound, while “Fade” is just a full-on dance party.

DS: This battle is decided by where these songs take you. “Fade” takes me to a hot nightclub. Big deal, I can drive to one of those. “Lost in the World” takes me to a Savanna with tribal dancers, a fiery phoenix and so much other things going on culminating in the apex of epic-ness. Can’t drive to that.

PK: I want to give this to “Fade” so bad, just because of how much I love listening to it.

And you know what? I’m going to.

The sound of victory emanates from “Lost in the World,” and that’s why overall MBDTF wins.

But “Fade” is one of the few happy songs on TLOP, and it sounds exactly like how an album should end. It sounds like a song that would come at the end of a feel-good romantic comedy, and that’s 100 percent a compliment.

Score: TLOP 4, MBDTF 7

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Источник: https://www.fsunews.com/story/opinion/2016/02/24/life-pablo-vs-my-beautiful-dark-twisted-fantasy-track--track/80858602/

Album Review

My Beautiful Dark Twisted Fantasy

2010 studio album by Kanye West

2010 studio album by Kanye West

My Beautiful Dark Twisted Fantasy is the fifth studio album by American rapper and producer Kanye West. It was released on November 22, 2010, by Def Jam Recordings and Roc-A-Fella Records following a period of public and legal controversy for West. Retreating to a self-imposed exile in Hawaii in 2009, he recorded the album at Honolulu's Avex Studio in a communal environment involving numerous contributing musicians. Additional recording sessions took place at Glenwood Place Studios in Burbank, California, and at Electric Lady Studios and Platinum Sound Studios in New York City.

The album was produced primarily by West, alongside a variety of high-profile producers such as Mike Dean, No I.D., Jeff Bhasker, RZA, S1, Bink, and DJ Frank E. Critical commentaries note the resulting music's maximalist aesthetic and opulent production style that utilizes various elements from West's previous work, including soul, pop, baroque, electro, and symphonic sounds, as well as progressive rock influences. Thematically, My Beautiful Dark Twisted Fantasy explores West's status as a celebrity, consumer culture, race, and the idealism of the American Dream. Guest vocalists on the album include Nicki Minaj, Rihanna, Bon Iver, Jay-Z, Pusha T, Rick Ross, Kid Cudi, John Legend, Elton John and Raekwon.

To help market the album, West released free songs through his weekly GOOD Fridays series and four singles – "Power", "Runaway", "Monster", and "All of the Lights" – all of which were top 40 hits on the Billboard Hot 100. West also released a musicalshort film, Runaway (2010), set to music from the album. In its first week of release, My Beautiful Dark Twisted Fantasy debuted at number one on the US Billboard 200 and sold 496,000 copies, eventually registering three million units for a triple platinum certification from the Recording Industry Association of America (RIAA). It has also been played at least one billion times through the music streaming service Spotify.

My Beautiful Dark Twisted Fantasy was an immediate and widespread critical success, and was named the best album of 2010 in many publications' year-end lists, including the annual Pazz & Jop poll of American critics nationwide. The album also won Best Rap Album at the 2012 Grammy Awards but was not nominated for Album of the Year, which was viewed as a "snub" by several media outlets. The album's hit single "All of the Lights" won Best Rap Song and Best Rap/Sung Collaboration. Widely considered West's best album, My Beautiful Dark Twisted Fantasy has ranked in several professionally curated lists as the best album of the 2010s and among the greatest of all time according to NME and Rolling Stone. George Condo's accompanying artwork – illustrating West being straddled by an armless winged female (resembling a mythological figure) – has been ranked among the greatest album covers.

Background[edit]

Dark Fantasy was my long, backhanded apology. You know how people give a backhanded compliment? It was a backhanded apology. It was like, all these raps, all these sonic acrobatics. I was like: "Let me show you guys what I can do, and please accept me back. You want to have me on your shelves."

—Kanye West (2013)[2]

The album was conceived during Kanye West's self-imposed exile in Oahu, Hawaii, at Avex Honolulu Studio following a period of legal and public image controversy.[3] He said later that fatigue from overworking led to his controversial outburst after Taylor Swift was awarded Best Female Video at the 2009 MTV Video Music Awards. He was disgusted with the ensuing media response, which led to a hiatus from recording.[3] Amid the widespread negative response to his behavior,[4] his scheduled tour with recording artist Lady Gaga to promote his previous album, 808s & Heartbreak, was cancelled on October 1, 2009, without explanation.[5] The album's stylistic departure into downbeat and Auto-Tune sounds had also polarized audiences and diminished West's credibility in the mainstream.[6]

Recording and production[edit]

My Beautiful Dark Twisted Fantasy was recorded in sessions at Avex Recording Studio in Honolulu, Hawaii. Additional recording took place at Glenwood Place Studios in Burbank, California, and at Electric Lady Studios and Platinum Sound Recording Studios in New York City.[7] It was reported that West spent over $3 million provided by his record label Def Jam to record the album,[8] making it one of the most expensive albums ever made.[9][10] He later explained the initial recording process to Noah Callahan-Bever, Complex editor-in-chief and West's then-confidant, who said "he'd holed up in Hawaii and was importing his favorite producers and artists to work on and inspire his recording. Rap Camp!"[3] Artists who were reported to have participated in the sessions for My Beautiful Dark Twisted Fantasy included: Raekwon, RZA, Pusha T, Rick Ross, Charlie Wilson, Big Sean, Cyhi the Prynce, Swizz Beatz,[11]Dwele, Nicki Minaj,[12]T.I.,[13][14]Drake, Common, Jay-Z,[15]John Legend, Fergie, Rihanna, The-Dream, Ryan Leslie, Elton John,[16]M.I.A.,[17]Justin Vernon, Seal, Beyoncé,[18]Kid Cudi, Mos Def, Santigold, Alicia Keys and Elly Jackson.[19] Record producers who participated in the sessions with West included: Q-Tip, RZA, DJ Premier,[20]Madlib,[21]Statik Selektah,[22] and Pete Rock.[23][24] Madlib said he made five beats for the album,[21] while DJ Premier said his beats were ultimately discarded.[24]

West, who had previously recorded 808s & Heartbreak at Avex, block-booked the studio's three session rooms simultaneously for 24 hours a day to work on My Beautiful Dark Twisted Fantasy.[3] According to Callahan-Bever, who visited West during the recording sessions, "when he hits a creative wall . he heads to another studio room to make progress on another song".[3] West never slept a full night at the "glass-enclosed mansion" he had rented, opting instead to take power naps in a studio chair or couch 90 minutes at a time. Engineers worked around the clock, as West bounced from room to room. This assiduous work ethic led to him employing two private chefs, one for hot and one for cold food.[25] Before recording in the afternoon, West and most of his crew played games of 21 against locals at the Honolulu YMCA for leisure.[3] Kid Cudi smoked marijuana in preparation and worked out on a treadmill, while RZA worked out in the weight room.[3][26] West held breakfast each morning at his Diamond Head kanye west all of the lights interlude sheet music for his crew.[3]

Control room (top) and tracking room (bottom) of Avex in Honolulu, where the album was recorded

Throughout the album's development, West solicited other producers and musicians to weigh in on its music with conversations and contributions at the studio.[3] Observing discussions among them during his visit, Callahan-Bever noted: "Despite the heavyweights assembled, the egos rarely clash; talks are sprawling, enlightening, and productive . we are here to contribute, challenge, and inspire".[3] In an interview with Callahan-Bever, Q-Tip described the process as "music by committee" and elaborated on its significance to the sessions and West's work ethic:

He'll go, 'Check this out, tell me what you think.' Which speaks volumes about who he is and how he sees and views people. Every person has a voice and an idea, so he's sincerely looking to hear what you have to say—good, bad, or whatever . When he has his beats or his rhymes, he offers them to the committee and we're all invited to dissect, strip, or add on to what he's already started. By the end of the sessions, you see how he integrates and transforms everyone's contributions, so the whole is greater than the sum of its parts. He's a real wizard at it. What he does is alchemy, really.[3]

Pete Rock said of his studio experience with West, "He's definitely hip-hop, his roots, I was testing him on joints . He takes it to another level which is dope. He had these musicians and this song, they played around my little raggedy beat and made it real. I love the way he works – he goes from one room, writing rhymes then goes to another beat and goes to another room and does something else – I love what he's done".[27] Rapper Pusha T characterized the album as "a collage of sounds" and found West's recording methods unorthodox, saying that: "We could easily be working on one song, thinking we're in a mode, and he'll hear a sound from someone like [producer] Jeff Bhasker and immediately turn his whole attention to that sound and go through his mental Rolodex to where that sound belongs on his album, and then it goes straight to that song, immediately".[3] DJ Premier said of the production in comparison to West's previous work, "Well, first of all, if you look at all of Kanye West's output, he actually did a lot to bring back sampling and make it cool again, even though he's more of a mainstream artist . but his new album is strictly hard beats and rhyme. He's totally done with electro. You're gonna be surprised what you hear".[28]

To prevent any of the material leaking onto the Internet, West made the album's recording as secretive as he could; he instituted a "No tweeting, no talking, no e-mailing" rule for others at the sessions.[3] Pusha T recalled West's attitude in an interview for Rolling Stone, saying that "then there happened to be a leak, and I remember Kanye ranting and raving, like, 'Fuck this! We're not going to ever work there again! We're going to work in hotel rooms!'"[29] West subsequently recorded in hotel rooms for Watch the Throne, his 2011 album with Jay-Z.[30]

Musical style[edit]

The music is described as maximalist by Jon Caramanica, who also notes East Coast hip hop elements,[31] and Rob Sheffield, who observes "hip-hop epics, R&B ballads, alien electronics, prog-rock samples".[32] Various writers also observe elements from West's previous four albums.[33][34][35]Entertainment Weekly's Simon Vozick-Levinson believes these elements "recur at various points", and include "the luxurious soul of 2004's The College Dropout, the symphonic pomp of Late Registration, the gloss of 2007's Graduation, and the emotionally exhausted electro of 2008's 808s & Heartbreak".[34] Sean Fennessey of The Village Voice writes that West had learned "the gifts of his handpicked collaborators" from previous studio albums and utilizes them here, sometimes to a heightened degree, "arranging orchestral majesty" (cf. Jon Brion on Late Registration) and "adapt[ing] DJ Toomp's oozing menace" (from Graduation) while "Cudi's moaning melodies became elemental" (cf. 808s & Heartbreak).[36]

The album is viewed as a culmination of West's past albums. Ryan Dombal of Pitchfork says, "Musically, [the album] largely continues where 2007's Graduation left off in its maximalist hip-hop bent, with flashes of The College Dropout's comfort-food sampling and Late Registration's baroque instrumentation weaved in seamlessly".[35] Andy Kellman echoes this sentiment, but adds that "it does not merely draw characteristics from each one of them. The 13 tracks . sometimes fuse them together simultaneously. Consequently, the sonic and emotional layers are often difficult to pry apart and enumerate".[33] Kellman feels "All of the Lights" denotes the album's "contrasting elements and maniacal extravagance".[33] Conversely, Robert Christgau comments that the music abandons the "grace" of The College Dropout and Late Registration in favor of "grandiosity" and "sonic luxuries".[37]

The album is also described by music journalists as a work of prog-rap music, with Carl Williott of Idolator musing if it was "the world's first".[38]HotNewHipHop writer Samuel Allan regarded it as "a massive, paradigm-exploding piece of pop maximalism and prog-rap",[39] and Rolling Stone's Christopher R. Weingarten called it "a Pink Floyd–sized, King Crimson–sampling 68-minute prog-rap behemoth in the age of shrinking budgets".[40] Eric Sundermann of Noisey also referenced the album as prog rap,[41] and fellow contributor Phil Witmer regarded the album as "an unprecedented retreat by a hip-hop artist into the weird world" of 1970s progressive rock.[42] Al Horner from NME called it a rap opera.[43]

Lyrics and themes[edit]

[West is] the pop star for our morally implicated times; an instinctive consumer with a mouthful of diamonds and furtive bad conscience, a performer who lives the American Dream to its fullest with a creeping sense of the spiritual void at its heart. My Beautiful Dark Twisted Fantasy captures that essence in full. It's an utterly dazzling portrait of bank america edd debit card sign 21st-century schizoid man that is by turns sickeningly egocentric, contrite, wise, stupid and self-mocking.

—Alex Denney (NME, 2010)[44]

Throughout the album, West's lyrics explore themes of excess, celebrity,[35][45][46] decadence, grandiosity, escapism, sex, wealth, romance, self-aggrandizement, and self-doubt.[35][37][47][48][49][50] Andrew Martin of Prefix Magazine notes the album's ethos as "more is more", describing it as "a meditation on fame" where West decries the burden that it entails.[45]My Beautiful Dark Twisted Fantasy also features more open references to drinking and drug use than on West's previous albums.[36] Nathan Rabin of The A.V. Club describes it as "darkly funny, boldly introspective, and characteristically fame-obsessed", noting "manic highs and depressive lows emotionally" on the album.[51] Christgau finds the album's themes of insecurity and uncertainty to be West's "heart, his message, the reason he's so major", noting the tracks "Hell of a Life" and "Runaway" as examples.[37]Greg Kot, writing in the Chicago Tribune, said West displays a transparency and "almost pathological allegiance to expressing his emotions, unfiltered".[52]

In the opinion of Pitchfork's Ryan Dombal, My Beautiful Dark Twisted Fantasy is "a hedonistic exploration into a rich and famous American id".[35] Chris Martins of Spin says it is an alternately grandiose and eloquent production that "owed as much to the artist's self-aggrandizing ego as to the voracious id that would destroy it publicly".[50] Music writer Ann Powers interprets the predominant theme on My Beautiful Dark Twisted Fantasy to be "the crisis of the jet-lagged cosmopolitan . the exhausted cry of one who's always new in town, chasing whatever goal or girl is in the room, fueled by consumer culture's relentless buzz, but finally left unsatisfied".[47] Powers views the songs work "as pornographic boasts, romantic disaster stories, devil-haunted dark nights of the soul" and perceives West's "uncertainty about his own place in the world" to be connected to the subject of race, stating: "The rootlessness West celebrates and despairs of on Fantasy belongs to someone who feels unwelcome everywhere. This isn't just a personal problem. It's the curse of what the author Michael Eric Dyson has called 'the exceptional black man', embraced for his talents but singled out for the color of his skin".[47] According to Sheffield, "it's also a rock-star manifesto for a downsizing world."[32]

Songs[edit]

The album begins with "Dark Fantasy", opened by Nicki Minaj narrating in an English accent a retelling of Roald Dahl's poem Cinderella.[47] The song introduces themes of decadence and hedonism,[52] with West musing how "the plan was to drink until the pain was over / But what's worse, the pain or the hangover?".[44] The track's lyrics contain musical and popular culture references, including: the song "Mercy Mercy Me (The Ecology)", the Lamborghini Murciélago sports car, rapper Nas, fashion designer Phoebe Philo, the short story "The Legend of Sleepy Hollow", the song "Sex on Fire", singer Leona Lewis, and television character Steve Urkel.[53] "All of the Lights" incorporates drum 'n' bassbreaks and brass fanfare.[44][54] West's lyrics contain a reference to the death of Michael Jackson in the opening lines and present the narrative of a character who abuses his lover, does prison time, scuffles with her new boyfriend, and subsequently mourns his absence from his child's life.[54] West enlisted 11 guest vocalists, including Alicia Keys, John Legend, Elton John, Tony Williams, Elly Jackson for the song; Rihanna sings the song's hook.[55] In an interview with MTV, Jackson said of the song's vocal layering, "He got me to layer up all these vocals with other people, and he just basically wanted to use his favorite vocalists from around the world to create this really unique vocal texture on his record, but it's not the kind of thing where you can pick it out".[56]

"Devil in a New Dress" is built on a sample of Smokey Robinson's "Will You Love Me Tomorrow".[49] Its lyrics are about lust and heartache,[49] with sexual and religious imagery described by one critic as "part bedroom allure, part angelic prayer".[57] It is the only track without production by West[7] but features his characteristic style of manipulating the pitch and tempo of classic soul samples.[49][58] "Runaway" features a piano-based motif comprising a series of sustained descending half and whole notes,[59] with a coda that incorporates light strings and vocoder-singing by West.[49] The narrator's self-critical lyrics reflect on his personality and character flaws.[60][61] Sean Fennessey cites the song as the point in the album where "self-laceration overtakes chest-beating", noting West's sung-line: "I'm so gifted at finding what I don't like the most".[36] Inspired by his two-year relationship with model Amber Rose, "Hell of a Life" contains a psychedelic rock sample and a narrative about marrying a porn star.[35][36] According to critic Ryan Dombal, the song "attempts to bend its central credo—'no more drugs for me, pussy and religion is all I need'—into a noble pursuit . The song blurs the line between fantasy and reality, sex and romance, love and religion, until no lines exist at all. It's a zonked nirvana with demons underneath; a fragile state that can't help but break apart on the very next song".[35] "Blame Game" is a low-key track about a painful domestic dispute.[62] It features a sample of the piano composition "Avril 14th" by Richard D. James,[63] additional vocals by John Legend,[7] and a profane skit by comedian Chris Rock.[64]

"Lost in the World" features tribal drums and samples Bon Iver's "Woods",[65] a song originally written about alienation, applied by West "as the centerpiece of a catchy, communal reverie."[49] It features several musical changes, beginning with Bon Iver frontman Justin Vernon's faint vocals, followed by 4/4 drums, gospel-styled chorus,[66] and increased tempo, and a final measured tempo.[67] "Lost in the World" transitions into the closing track "Who Will Survive in America".[48] It serves as the album's coda and is built on a sample of Gil Scott-Heron's "Comment No. 1",[44] a blunt, surrealist piece delivered by Scott-Heron in spoken word about the African-American experience and the fated idealism of the American dream.[47][50][59] Scott-Heron's original speech, which criticized the 1960s Revolutionary Youth Movement for failing to recognize the more basic needs of the African-American community, is edited to a reduced version on the track that, according to music writer Greg Kot, "retains its essence, that of an African-American male who feels cut off from his country and culture".[52] By contrast, Sean Fennessey interprets it as "a too-serious denouement for an album that is more about the self's little nightmares than some aching societal rejection".[36]

Title and packaging[edit]

Visual artist George Condo, who designed the album's artwork

My Beautiful Dark Twisted Fantasy was formerly known as Good Ass Job and then tentatively titled Dark Twisted Fantasy.[68][69][70]GOOD Music artist Big Sean was the second person to announce the album's title was Good Ass Job.[71] On July 24, 2010, a banner appeared on West's blog that read "My Dark Twisted Fantasy Trailer". On July 28, 2010, West announced on his new official Twitter account that: "The album is no longer called 'Good Ass Job' I'm bouncing a couple of titles around now."[72] The official title, My Beautiful Dark Twisted Fantasy, was announced on October 5, 2010;[73] the title Good Ass Job was planned to be used for a collaborative album with Chance the Rapper, which never materialized.[74]

The artwork, designed by George Condo, shows West being straddled on a bed by an armless winged female[75] with fearsome features and a long, spotted tail. Both are nude, and one of the phoenix's nipples and her buttocks are visible.[76] According to Vulture writer Dan Kois, the mythological figure straddling West is a "kind of fragment, between a sphinx, a phoenix, a haunting ghost, a harpy."[77] The artwork was done at Condo's New York studio, after West visited for several hours and they listened to tapes of the rapper's music. Over the next few days, the painter made eight or nine paintings for the album. Two of them were portraits of West, one in extreme closeup, with mismatched eyes and four sets of teeth. Another showed his head, crowned and decapitated, placed sideways on a white slab, impaled by a sword. There was also a painting of a dyspeptic ballerina in a black tutu, a painting of the crown and the sword by themselves in a grassy landscape.[76] Condo made five covers, all which were included with the album's purchase.[75] A second cover, with a painting of a ballerina, was posted on the Amazon.com pre-order page.[78] It was originally intended to be the artwork for "Runaway"'s single release, but West used a photograph of a ballerina instead.[78] Another painting, The Priest, was completed for the album by Condo, who described it as an attempt to bring depictions of religious figures into the modern world.[79]

According to Condo, West requested the original cover image be provocative enough to be banned by retailers, as a publicity stunt. In October 2010, a month before the album's release, West tweeted: "Yoooo they banned my album cover!!!!! Banned in the USA!!! They don't want me chilling on the couch with my Phoenix!" He also suggested Walmart had rejected the cover and cited the case of Nirvana's 1991 album Nevermind, which featured a photo of a naked baby. "So Nirvana can have a naked human being on their cover, but I can't have a PAINTING of a monster with no arms and a polka dot tail and wings," he said. In response, Walmart denied West's suggestion in a statement that read, "We're excited about Kanye West's new album and we look forward to carrying it in our stores … We did not reject the cover artwork and it was not presented to us."[80] Some retailers would not carry the album with its original cover, in which case Condo's ballerina artwork was used as a substitute.[81]

In 2011, the original album artwork was named one of the 50 greatest album covers of all time according to MusicRadar.[82] In 2015, Billboard named it as the 30th best album cover of all time.[83] In 2017, NME listed it as the seventh best album artwork of the 21st century so far.[84]

Marketing[edit]

Before the album's release, West initiated the free music program GOOD Fridays through his website on August 20, 2010, offering a free download of previously unreleased songs each Friday; some were included on the album.[85][86] Titled after his imprint label GOOD Music, the program generated considerable publicity in the months leading up to the album's release.[85] Online marketing coordinator Karen Civil said of the program in retrospect, "It's a genius idea. He did something no one had ever done before, and at a point when he was the most hated person in music, he brought excitement back with his Friday releases".[85] G.O.O.D. Fridays was originally intended to continue through December, but West extended it through January 2011.[87]

On September 12, 2010, West premiered "Runaway" in live performance at the 2010 MTV Video Music Awards.[88] Three weeks later, on October 2, he performed the song on Saturday Night Live, along with "Power".[89] Two days later, the album's release date was announced for November 22.[73][90]My Beautiful Dark Twisted Fantasy was released for digital download on Amazon at a list price of $3.99.[91] This coincided with the site's $3 discount promotional offer on MP3 purchases made valid through the release week.[92][93] Four singles were released from the album and became top 40 hits on the US Billboard Hot 100 – "Power" (released July 1, 2010,[94] charted No. 22),[95] "Runaway" (released October 4,[73][96] charted No. 12),[95] "Monster" (released October 23,[97] charted No. 18),[95] and "All of the Lights" (released January 18, 2011,[98] charted No. 18).[99]

A 35-minute film – Runaway, featuring the titular song's official music video – was directed by West and released on October 23, 2010.[100] Filmed in Prague over a period of four days during Summer 2010,[101] the film stars West and model Selita Ebanks and features a script written by Hype Williams with the story written by West.[102] West described the video as an "overall representation of what [he dreams]" and a parallel to his music career,[101][103] in that, "It's the story of a phoenix fallen to Earth, and I make her my girlfriend, and people discriminate against her and eventually she has to burn herself alive and go back to her world. I've been feeling the idea of the phoenix. It's been in my heart for a while. It's maybe parallel to my career. I threw a Molotov cocktail on my career last year, in a way, and I had to come back as a better person.[104] At one of his screenings in Paris, the film seemed to represent a lot emotionally for him as he broke down in tears. Later after another screening, West said his music and "art" and how it affects people is the reason he continues to create music.[105]

Following the release of the album, West performed headlining sets at several large festivals, including SXSW 2011, Lollapalooza,[106]Austin City Limits,[107] and Coachella 2011; the latter was described by The Hollywood Reporter as "one of the great hip-hop sets of all time."[108] To further promote the album, West performed at Macy's Thanksgiving Day Parade.[109][110]

Sales[edit]

In its first week of release, My Beautiful Dark Twisted Fantasy debuted at number one on the US Billboard 200 and sold 496,000 copies in the United States.[111] The entry blocked Nicki Minaj's debut studio album Pink Friday from the top spot with 375,000 sales, with the week marking the first time in two years that the Billboard 200 has seen two albums bow with more than 300,000 units.[111] This gave West his fourth consecutive US number-one album and was higher than the 450,000 first-week sales of his previous album 808s & Heartbreak, with the debut week becoming the fourth-best sales week of 2010.[111] The album's first-week digital sales of 224,000 units marked the fourth-highest sales week for a digitally-downloaded album.[112] The album was also a chart topper in Canada, standing as West's fourth number one album on the Canadian Albums Chart.[113] It sold at a smaller rate in Denmark, reaching number four on the Danish Albums chart.[114] Similarly, the album opened at number six on the ARIA Albums chart.[115]

In its second week on the Billboard 200, My Beautiful Dark Twisted Fantasy descended six places to number seven, while remaining above Pink Friday by one place, and sold 108,000 copies, marking a 78% sales decline.[116] The album ultimately spent 115 weeks on the Billboard 200,[117] and by July 2013, it had sold 1,351,000 copies in the US, as reported by Nielsen SoundScan.[118] By June 2011, the album was the second best-selling digital rap album ever, selling 483,000 digital copies.[119] On November 23, 2020, My Beautiful Dark Twisted Fantasy was certified triple platinum by the RIAA for three million shipments in the US.[120] That same year, it was reported that the album had been played one billion times on the streaming service Spotify.[121]

Critical reception[edit]

My Beautiful Dark Twisted Fantasy was met with widespread critical acclaim. At Metacritic, which assigns a normalized rating out of 100 to reviews from professional publications, the album received an average score of 94, based on 45 reviews.[123] Aggregator AnyDecentMusic? gave it 8.8 out of 10, based on their assessment of the critical consensus.[122]

Reviewing in November 2010, Andy Gill of The Independent hailed the album as "one of pop's gaudiest, most grandiose efforts of recent years, a no-holds-barred musical extravaganza in which any notion of good taste is abandoned at the door".[125] Ann Powers, writing for the Los Angeles Times, found the music "Picasso-like, fulfilling the Cubist mandate of rearranging form, texture, color and space to suggest new ways of viewing things".[47] It was also called West's most lavish record in a review by Time magazine's David Browne, who said it proved again that few other artists shared his ability to adeptly combine diverse elements.[127] Dan Vidal of Urb highlighted the rapper's ability to bring the best out of his collaborators, finding it comparable to the work of Miles Davis.[128] In Rolling Stone, Sheffield called the album West's best and most wildly inspired record to date, claiming that no other artist was recording music as dark or uncanny, and adding that West had transgressed the very conventions he established for rap and pop music of the past five years.[32]Sputnikmusic critic Channing Freeman regarded it as "the first album in which he's truly lived up to his potential in kanye west all of the lights interlude sheet music way – as a rapper, as a lyricist, as a songwriter".[129]The Village Voice's Sean Fennessey found it overwhelming and skillfully produced because of the way each song transitions over "like some long night out into the hazy morning after".[36] Robert Christgau, in MSN Music, hailed it as a "world-beating return to form" for West.[37]Pitchfork awarded the album a 10/10, the first perfect score it had given to a new release since Wilco's Yankee Hotel Foxtrot in 2002.[130]

Some reviewers were more qualified in their praise. For The Guardian, Kitty Empire was critical of West's lyrics calling women "ruthless money-grabbers" on an otherwise "herculean" and "flawed near-masterpiece".[124] Andy Kellman, reviewing in AllMusic, found West's rapping inconsistent on what he nonetheless deemed "a deeply fascinating accomplishment" in West's catalogue and one of complicated merit: "As fatiguing as it is invigorating, as cold-blooded as it is heart-rending, as haphazardly splattered as it is meticulously sculpted, [the album] is an extraordinarily complex 70-minute set of songs . As the ego and ambition swells, so does the appeal, the repulsiveness, and – most importantly – the ingenuity".[33]

Rankings[edit]

At the end of 2010, numerous critics and publications included My Beautiful Dark Twisted Fantasy on their year-end top albums lists.[131] Many named it the best album of 2010,[131] including Billboard,[132]Time,[133]Slant Magazine,[134]Pitchfork,[135]Rolling Stone,[136] and Spin.[137]My Beautiful Dark Twisted Fantasy was voted best album in The Village Voice's Pazz & Jop critics' poll for 2010,[138] winning by the largest margin in the poll's history.[139] The singles "Power", "Runaway", and "Monster" were voted in the top-10 of the Pazz & Jop's singles list.[139] Metacritic, which collates reviews of music albums, named it the best-reviewed album of 2010[140] and the sixth best of original albums from the 2010s to have at least 15 professional reviews.[141]

The logo of review aggregator Metacritic is shown
Review aggregate site Metacriticcalled My Beautiful Elgin state bank online login Twisted Fantasy"the runaway consensus pick of music critics for the best album of 2010".[140]

My Beautiful Dark Twisted Fantasy later appeared on decade-end and all-time lists of the best albums.[142] In 2012, Complex included it on their list of 25 Rap Albums From the Past Decade That Deserve Classic Status.[143] In October 2013, Complex named it the best hip hop album of the last five years.[144] The album was also included in the book 1001 Albums You Must Hear Before You Die.[145] In August 2014, Pitchfork named it the best album of the 2010s decade so far, and an accompanying essay said, "West broke the ground upon which the new decade's most brilliant architects built their masterworks; Bon Iver, Take Care, Channel Orange, and Good Kid, M.A.A.D City don't exist without the blueprint of My Beautiful Dark Twisted Fantasy. The list ends here because it's where the decade truly begins."[146] Christgau later ranked it as the decade's eighth-best album, saying it remains "perversely superb".[147]

Based on such rankings, Acclaimed Music lists My Beautiful Dark Twisted Fantasy as the 26th most critically acclaimed album in history,[142] the third-highest ranking for any hip hop album.[148] According to Chris Lambert of Forbes in 2019, the album "has maintained a consistency of recognition" as West's greatest work and one of the top albums from the 2010s, if not the decade's best album.[121] In 2020, Marc Hogan from Pitchfork considered it among the great art pop albums of the last 20 years to "have filled the void of full-length statements with both artistic seriousness and mass appeal that was formerly largely occupied by [rock] guitar bands".[149]

Industry awards[edit]

My Beautiful Dark Twisted Fantasy won awards for both Album of the Year and Reader's Choice: Best Album at the 2010 HipHopDX Awards.[166] For the 2011 NAACP Image Awards, the album was nominated for Outstanding Album,[167] and at the 2011 BET Hip Hop Awards, it was awarded CD of the Year.[168] The album earned a nomination for Top Rap Album, presented at the 2011 Billboard Music Awards, where it ultimately lost to Eminem's 2010 album Recovery.[169]

For the 54th Annual Grammy Awards in 2012, My Beautiful Dark Twisted Fantasy was nominated in the category of Best Rap Album, which it won,[170] while "All of the Lights" was nominated for Song of the Year, Best Rap Song, and Best Rap/Sung Collaboration, winning in the latter two categories.[170] However, The Recording Academy's decision not to nominate My Beautiful Dark Twisted Fantasy for Album of the Year was viewed by many media outlets as a snub, along with the rejection of Watch the Throne – West's collaborative album with Jay-Z – for that category.[171][172][173][174][175] Writing for the Los Angeles Times, Randall Roberts was critical of the nominations and noted the exclusion of My Beautiful Dark Twisted Fantasy – "the most critically acclaimed album of the year, a career-defining record" – as a snub in favor of nominating less substantial albums.[176]Time journalist Touré deemed West's nominations in minor Grammy categories "booby prizes", and stated, "MBDTF is by far the best reviewed album in many years: the critical community flipped out over it like nothing since Radiohead's zenith. And it sold well, over 1.2 million so far. So what happened? How is it Grammy overlooked Kanye's magnum opus and gave noms to four sonic widgets and Adele's 21?" He explored possible reasons for the Academy to snub West, including split votes between My Beautiful Dark Twisted Fantasy and Watch the Throne, concerns over West's past controversies, and more commercially appealing nominees, but ultimately perceived "a lack of respect for hip hop and its complexity from people who care about music but don't know much about hip hop . now that he's released his most mature work, [West is] being ignored."[177]

Having been vocal about award show snubs in the past,[173] West responded to the Grammy results onstage during a concert on the Watch the Throne Tour, saying: "That's my fault for dropping Watch the Throne and Dark Fantasy the same year. I should've just spaced it out, just a little bit more."[174] Writing for Stereogum on the 10th anniversary of My Beautiful Dark Twisted Fantasy, Chris Deville notes West's subsequent indignation about the Grammys, but concluded of its legacy: "[T]he album is too cool to qualify as Grammy pandering. Spiritually it feels more like a Hollywood blockbuster that doubles as Oscar bait. Not only did it cement his reputation as an auteur and win over a vast spectrum of tastemakers, it also catered to the rap fans who wanted nothing to do with sad-robot Kanye." According to Deville, the album's success publicly redeemed West and sustained his esteem in the music industry for much of the ensuing decade as his work became progressively overshadowed by stories surrounding his celebrity family life, controversial public statements, mental health issues, and nonmusical ventures. While not a "universal consensus", Deville notes its standing among fans as West's best album.[6]

Track listing[edit]

Track notes

  • ^[a] signifies a co-producer
  • ^[b] signifies an additional producer
  • "Dark Fantasy" features background vocals by Nicki Minaj and Justin Vernon of Bon Iver, and additional vocals by Teyana Taylor and Amber Rose
  • "Gorgeous" features background vocals by Tony Williams
  • "Power" is stylized in uppercase letters and features additional vocals by Dwele
  • "All of the Lights" features additional vocals by Rihanna, Kid Cudi, Tony Williams, The-Dream, Charlie Wilson, John Legend, Elly Jackson of La Roux, Alicia Keys, Elton John, Fergie, Ryan Leslie, Drake, Alvin Fields and Ken Lewis
  • "Runaway" features background vocals by Tony Williams and additional vocals by The-Dream
  • "Hell of a Life" features additional vocals by Teyana Taylor and The-Dream
  • "Blame Game" features additional vocals by Chris Rock and Salma Kenas
  • "Lost in the World" and "Who Will Survive in America" feature additional vocals by Charlie Wilson, Kaye Fox, Tony Williams, Alicia Keys and Elly Jackson of La Roux

Sample credits

  • "Dark Fantasy" contains samples of "In High Places", written by Mike Oldfield and Jon Anderson, and performed by Anderson.
  • "Gorgeous" contains portions and elements of the composition "You Showed Me", written by Gene Clark and Roger McGuinn, and performed by The Turtles.
  • "Power" contains elements from "It's Your Thing", performed by Cold Grits; elements of "Afromerica", written by Francois Bernheim, Jean-Pierre Lang, and Boris Bergman, and performed by Continent Number 6; and material sampled from "21st Century Schizoid Man", composed by Robert Fripp, Michael Giles, Greg Lake, Ian McDonald, and Peter Sinfield, and performed by King Crimson.
  • "So Appalled" contains samples of "You Are – I Am", written by Manfred Mann, and performed by Manfred Mann's Earth Band.
  • "Devil in a New Dress" contains samples of "Will You Love Me Tomorrow", written by Carole King and Gerry Goffin, and performed by Smokey Robinson.
  • "Runaway" contains a sample of "Expo 83", written by J. Branch, and performed by Backyard Heavies; and excerpts from Rick James Live at Long Beach, CA, 1981.
  • "Hell of a Life" contains samples of "She's My Baby", written by Sylvester Stewart, and performed by The Mojo Men; samples of "Stud-Spider" by Tony Joe White; and portions of "Iron Man", written by Terence Butler, Anthony Iommi, John Osbourne, and William Ward, and performed by Black Sabbath.
  • "Blame Game" contains elements of "Avril 14th", written by Richard James, and performed by Aphex Twin.
  • "Lost in the World" contains portions of "Soul Makossa", written by Manu Dibango; a sample of "Think (About It)", written by James Brown, and performed by Lyn Collins; samples of "Woods", written by Justin Vernon, and performed by Bon Iver; and samples of "Comment No. 1", written and performed by Gil Scott-Heron.
  • "Who Will Survive in America" contains samples of "Comment No. 1" performed by Gil Scott-Heron.

Personnel[edit]

Credits adapted from the album's liner notes.[7]

Musicians[edit]

  • Jeff Bhasker – keyboards (tracks 1, 3, 5, 7, 9, 12, 13), piano (track 6), cello arrangement (track 1)
  • Mike Dean – keyboards (tracks 3, 5, 7, 10), piano (tracks 1, 8, 11), bass (tracks 3, 8, 11), guitars (tracks 3, 8), guitar solo (track 2), cello arrangement (tracks 1, 5, 7)
  • Ken Lewis – guitars (track 2), bass (track 2), organ (track 2), brass and woodwinds (track 5), tribal drum programming (track 12, 13), horn arrangement (track 5), chant vocals (tracks 3, 12, 13)
  • Brent Kolatalo – keyboards (track 2), drum programming (track 2)
  • Elton John – piano (track 5)
  • Anthony Kilhoffer – additional drum programming (tracks 10, 12, 13)
  • Danny Flam – brass and woodwinds (track 5)
  • Tony Gorruso – brass and woodwinds (track 5)
  • Rosie Danvers – orchestral arrangement and conducting (track 5), cello (track 5)
  • Chris "Hitchcock" Chorney – cello (tracks 1–3, 5, 7, 9, 11), cello arrangement (track 11)
  • Mike Lovatt – trumpet (tracks 4, 5)
  • Simon Finch – trumpet (tracks 4, 5)
  • Andy Gathercole – trumpet (track 5)
  • Tim Anderson – French horn (track 5)
  • Tom Rumsby – French horn (track 5)
  • Richard Ashton – French horn (track 5)
  • Mark Frost – trombone (track 5)
  • Philip Judge – trombone (track 5)
  • Chloe Vincent – flute (track 5)
  • Kotono Sato – violin (track 5)
  • Jenny Sacha – violin (track 5)
  • Rachel Robson – viola (track 5)
  • Chloe Mitchell – poem (track 11)
  • Alvin Fields – chant vocals (tracks 3, 12, 13)
  • Ian Allen – handclaps (track 3)
  • Wilson Christopher – handclaps (track 3)
  • Uri Djemal – handclaps (track 3)
  • Chris Soper – handclaps (track 3)

Production[edit]

  • Andrew Dawson – recording (tracks 1–3, 5–13), mixing (tracks 1, 10, 11)
  • Anthony Kilhoffer – recording (tracks 1–3, 5–10, 12, 13), mixing (tracks 2, 5, 9–13)
  • Mike Dean – recording (tracks 1–3, 5–10, 12, 13), mixing (tracks 1, 4, 6–8, 10, 11)
  • Noah Goldstein – recording (tracks 1, 2, 4, 5, 7, 8, 10–13)
  • Phil Joly – recording (tracks 2, 4), engineering assistance (tracks 1, 2, 5, 11)
  • Christian Mochizuki – recording (track 2), engineering assistance (tracks 1, 2, 5–10, 12, 13)
  • Pete Bischoff – recording (track 7), engineering assistance (tracks 2, 5–8, 10, 12, 13)
  • Ryan Gilligan – recording (track 11)
  • Marcos Tovar – recording (Rihanna vocals; track 5)
  • Manny Marroquin – mixing (track 3)
  • Gaylord Holomalia – engineering assistance (tracks 1, 6–8, 10)
  • Alex Graupera – engineering assistance (tracks 12, 13)
  • Christian Plata – mix engineering assistance (track 3)
  • Erik Madrid – mix engineering assistance (track 3)
  • Cary Clark – mix engineering assistance (track 9)
  • Ken Lewis – chant vocals engineering (track 3)
  • Brent Kolatalo – chant vocals engineering (tracks 3, 12, 13), horn engineering (track 5)
  • Tommy D – orchestra production (track 5)
  • Vlado Meller – mastering

Design[edit]

  • Kanye West – art direction
  • Virgil Abloh – art direction
  • George Condo – paintings
  • M/M (Paris) – handwritten titles and illustrations, package design
  • Fabien Montique – Kanye West photograph

Charts[edit]

Weekly charts[edit]

Year-end charts[edit]

Certifications[edit]

Release history[edit]

See also[edit]

References[edit]

  1. ^Sayles, Justin; Holmes, Charles (November 23, 2020). "The Rosewood Ranking: An Obsessive Rundown of Every 'My Beautiful Dark Twisted Fantasy' and G.O.O.D. Friday Kanye Song, Plus a Few Extras". The Ringer. Retrieved December 12, 2020.
  2. ^Caramanica, Jon. "Behind Kanye's Mask". The New York Times. Archived from the original on July 21, 2021. Retrieved July 21, 2021.
  3. ^ abcdefghijklmCallahan-Bever, Noah (November 2010). Kanye West: Project RunawayArchived December 28, 2010, at the Wayback Machine. Complex. Retrieved on November 30, 2010.
  4. ^Columnist (October 3, 2010). Kanye West Hiding Out in Milan!Archived March 3, 2012, at the Wayback Machine. Posh24. Retrieved on November 30, 2010.
  5. ^"Kanye West and Lady Gaga "Fame Kills" Tour Canceled". Rolling Stone. October 1, 2009. Archived from the original on June 28, 2011. Retrieved February 23, 2011.
  6. ^ abDeville, Chris (November 20, 2020). "Kanye West 'My Beautiful Dark Twisted Fantasy' 10th Anniversary Review". Stereogum. Retrieved March 1, 2021.
  7. ^ abcdMy Beautiful Dark Twisted Fantasy (Media notes). Kanye West. Roc-A-Fella Records. 2010.CS1 maint: others in cite AV media (notes) (link)
  8. ^Jacobs, Allen (September 17, 2010). Def Jam Records Has Reportedly Spent $3 Million On Kanye West's New AlbumArchived September 19, 2010, at the Wayback Machine. HipHopDX. Retrieved on November 28, 2010.
  9. ^Wilson, Brian (March 15, 2016). "10 Most Expensive Albums of All Time". WhatCulture. Archived from the original on April 19, 2016. Retrieved March 15, 2016.
  10. ^Anbar, Elyadeen (June 15, 2017). "11 Most Expensive Albums Ever Produced". Hypebot. Archived from the original on August 23, 2017. Retrieved June 15, 2017.
  11. ^Paine, Jake (September 30, 2010). Kanye West Calls Off This Week's G.O.O.D FridayArchived October 3, 2010, at the Wayback Machine. HipHopDX. Retrieved on November 28, 2010.
  12. ^"Exclusive: Kanye West Enlists Nicki Minaj for New Album". Rap-Up. June 30, 2010. Archived from the original on October 10, 2012. Retrieved July 14, 2010.
  13. ^Staff (July 27, 2010). DJ Toomp Praises Kanye’s New Album x T.I. Confirmed As GuestArchived August 1, 2010, at the Wayback Machine. DDotOmen.com. Retrieved on November 28, 2010.
  14. ^Big Homie (August 5, 2010). T.I. Recorded Six Tracks With KanyeArchived August 7, 2010, at the Wayback Machine. Rap Radar. Retrieved on November 28, 2010.
  15. ^Denise (October 11, 2010). Kanye West My Beautiful Dark Twisted Fantasy Album Download, Hip Hop CollabsArchived November 4, 2010, at the Wayback Machine. HipHop RX. Retrieved on November 28, 2010.
  16. ^Staff (October 18, 2010). Kanye West’s Biggest Collaboration YetArchived October 10, 2012, at the Wayback Machine. Rap-Up. Retrieved on November 28, 2010.
  17. ^Jacobs, Allen (September 20, 2010). M.I.A. The Latest Artist To Go Into The Studio With Kanye WestArchived September 22, 2010, at the Wayback Machine. HipHopDX. Retrieved on November 28, 2010.
  18. ^Staff (September 21, 2010). MIA announces collaboration for Kanye West album 'Dark Twisted Fantasy'Archived September 24, 2010, at the Wayback Machine. NME. Retrieved on November 28, 2010.
  19. ^Kaufman, Gil (October 7, 2010). Kanye West Adds M.I.A., La Roux And Kanye west all of the lights interlude sheet music Keys To AlbumArchived October 10, 2010, at the Wayback Machine. MTV News. Retrieved on November 28, 2010.
  20. ^Kuperstein, Slava (April 8, 2010). Kanye West's Next Album To Drop In JuneArchived October 2, 2012, at the Wayback Machine. HipHopDX. Retrieved on April 8, 2010.
  21. ^ abHarling, Danielle (June 25, 2010). Madlib Says Kanye West Requested Beats For "Good Ass Job"Archived January 26, 2012, at the Wayback Machine. HipHopDX. Retrieved on July 14, 2010.
  22. ^Markman, Rob. "Kanye West Told Statik Selektah 'Jazz Was Dead,' So He Went And Made A Jazz Album". MTV News. Archived from the original on May 18, 2019. Retrieved May 18, 2019
Источник: https://en.wikipedia.org/wiki/My_Beautiful_Dark_Twisted_Fantasy

About The Key Of A Lydian

New Again is written in the key of A Lydian. According to the Theorytab database, it is the 4th most popular key among Lydian keys and the 55th most popular among all keys. The A Lydian scale is similar to the A Major scale except that its 4th note (D♯) is a half step higher. Music written in Lydian often emphasizes this difference by creating melodies that feature this note. Due to the dissonant interval between the 1st and 4th scale degrees, Lydian is less common in popular music. See the A Lydian Cheat Sheet for popular chords, chord progressions, downloadable midi files and more!

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Источник: http://50.116.5.65/theorytab/view/kanye-west/new-again

All Of The Lights

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Check out All Of The Lights Explicit by Kanye West on Amazon Music. Stream ad-free or purchase CD s and MP3s now on Amazon.com. Print and Download All Of The Lights - Snare Drum sheet music. Music notes for individual instrument part sheet music by Kanye West Kanye West: Hal Leonard - Digital Sheet Music at Sheet Music. Kanye West - All of the Lights Lyrics Meaning. Print and Download All Of The Lights - Flute/Piccolo sheet music. Music notes for individual instrument part sheet music by Kanye West Kanye West: Hal Leonard - Digital at Sheet Music. All Of The Lights - Snare Drum By Kanye West Kanye. Turn up the lights in here, baby. You know what I need. Want you to see everything. Want you to see all of the lights. Fast cars, shooting stars. (All of the lights, all of the lights) Until it s Vegas everywhere we are. (All of the lights) How Did the Light Bulb Change the World. Kanye West – All of the Lights (Remix) Lyrics Genius Lyrics. Stream All Of The Lights by Kanye West on desktop and mobile. Play over 265 million kanye west all of the lights interlude sheet music for free on SoundCloud. About Press Copyright Contact us Creators Advertise Developers Terms Privacy Policy Safety How YouTube works Test new features Press Copyright Contact us Creators. Description. Afraid of the dark? Let s hope not! All of the Lights is all about turning out all of the lights. Turn off a light by tapping on it, but watch out! When you tap on one, it s neighbors will also switch. You must cleverly determine which switches, both on and off, to tap. Good luck! Once you ve mastered the game, try Insane.

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Artist: Kanye West Song: All of the Lights Album: My Beautiful Dark Twisted Fantasy.

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Want you to see all of the lights Verse 2 – Big Sean Okay now ready, set, go, go, go, go, go Go ’til you can’t go no more I’m ill times ill, dope plus dope Westside bitch, quote, unquote Woah there boy, don’t go there hoe If you cross that line I might overload I swear these lights-lights-lights be talking to me But I can’t.

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All of the Lights arr. Tim Waters - Hal Leonard Corporation This familiar pop anthem recorded by Kanye West feels natural for marching band. The powerful cascading opening and driving pulse make this an exciting tune for the stands or field.

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All of the lights Spanish Translator. Whether you're looking to reduce your impact on the environment, or just the impact on your wallet, light timers are an effective way to control energy consumption. Knowing how to program a light timer makes it possible to set lighting. Talk:All of the Lights - Wikipedia. Provided to YouTube by Universal Music GroupAll Of The Lights (Interlude) · Kanye WestMy Beautiful Dark Twisted Fantasy℗ 2010 UMG Recordings, Inc.Released. Provided to YouTube by Universal Music GroupAll Of The Lights · Kanye WestMy Beautiful Dark Twisted Fantasy℗ 2010 UMG Recordings, Inc.Released on: 2010-01-01. The lights I feel are representing ones that bring into the vision to be seen (cop lights, flash lights, strobe light, street light {also these lights can be seen as different shades of life you can be seen in criminal, paparazzi, party, drug…which all someway somehow creat attention}) The lifes are styles that rappers portray and people imitate.

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Kanye West – All Of The Lights (Extended Version) Lyrics. Rihanna told MTV News just prior to the album s release that she jumped at the chance of appearing on this track. Kanye actually played his album to me, like, three months ago, and All of the Lights, that was one of my favorite songs, she recalled. Curious about how to wire a LED light? It's an exact, precise process but doable as a do-it-yourself project. This beginner's guide to LED lighting provides the basics you need whether tyra moore doggystyle thinking of creating your own LED marquee signs. ‎All of the Lights on the App Store - Apple. All Of The Lights - Flute/Piccolo By Kanye West Kanye. All Of The Lights Piano Tutorial OnlinePianist. Stream All Of The Lights by Kanye West Listen online. Hook: Rihanna All of the lights, all of the lights Turn up the lights in here, baby Extra bright, I want y all to see this Turn up the lights in here, baby You know what I need Want you to see everything Want you to see all of the lights. I don’t own the rights to this music. Who sings what parts in All of the Lights by Kanye. 4:59. All of the Lights is a song by American rapper Kanye West, as the fourth single from his fifth studio album, My Beautiful Dark Twisted Fantasy (2010). It was produced by West and features additional vocals from several other recording artists, including John Legend, The-Dream, Elly Jackson, Alicia Keys, Fergie, Elton John, Drake Kanye West - All Of The Lights Lyrics AZLyrics.com. Dusk To Dawn Solar Light - High Brightness Solar Light.

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Two weeks is enough time to compare a new album to a classic, right?

With all the hoopla around Kanye West’s new album, The Life of Pablo, people have started comparing it to his greatest work, My Beautiful Dark Twisted Fantasy, either by saying it comes nowhere close to the golden standard set by the 2010 album, or that it could possibly be equal to or better. If you 1) disagree that Kanye West has made a classic album or 2) disagree that MBDTF is a classic, this is probably not the article for you.

To determine if either claim holds up the FSView & Florida Flambeau has assembled a Kanye Committee (a Kanmmittee, if you will), consisting of staff writer Deion A. Sainvil and Managing & Digital Editor Perry Kostidakis, to go track-by-track* of each album, seeing which holds up.

Songs will get .5 points from each person, a total of one point. May the best tracklist win.

*Technically. MBDTF is only 12 songs long, with two being interludes, while TLOP is 18 songs long. To even it up MBDTF’s “Who Will Survive in America” was thrown out as well as TLOP’s “Freestyle 4” and “I Love Kanye”, and “All of the Lights (Interlude) and “Low Lights” were combined with “All of the Lights” and “Highlights” respectively. The 11 TLOP tracks chosen were all part of the original tracklist debuted at Madison Square Garden, with respect to ‘30 Hours”. If you think that’s stupid, well, you’re the one reading an article abstractly comparing two separate art pieces together, so jokes on you nerd.

Round One: Ultralight Beam vs. Dark Fantasy

Deion A. Sainvil: You know what I realized from this matchup? With exception of the second verse in “On Sight” Kanye’s opening tracks have always been stellar.

“Dark Fantasy” and “Ultralight Beam” do a great job at setting the scene for their respective albums. Having Nicki Minaj do the Roald Dahl inspired introduction in an English accent is genius.

Perry Kostidakis:  Listening to these two albums back to back is such a funny juxtaposition, this is a matchup between “can we get much higher?” vs. “this is a god dream.” On “Ultralight Beam,” we’re welcomed by the rousing words of a toddler preacher while “Dark Fantasy” gives us Nicki Minaj’s weird-ass alterego Roman reciting Ronald Dahl lyrics.

DS:  At first I thought North was the little girl in the beginning of “Ultralight Beam”, but I realized that if she was then Kanye would’ve tweeted about it.

PK: “Dark Fantasy” should win this, I know it should, but I can’t just shake the belief that in the end “Ultralight Beam” is bigger and better. Yes, Kanye says nine total line on his own in the song, deferring rap duties to a one Mr. Chancellor Bennett, but the overall emotion and composition of the song is just too beautiful. Both songs have choirs, but only one makes you feel like you actually just attended a church session.

DS: “Dark Fantasy” is at his peak asking if he can get much higher. “Ultralight Beam” is Kanye taking us to church. What puts “Ultralight Beam” over “Dark Fantasy” is Chance’s verse. Chance’s verse was brilliant and it showed his appreciation and fandom for his idol.

(Did you catch all of the Kanye references? He had at least three.)

If Chance the Rapper is a representation of your influence on an entire generation of artists, then you did a job well done. Or should I say a good ass job?

Score: TLOP 1, MBDTF 0

Round Two: Gorgeous vs. Father Stretch My Hands, Pt. 1

DS:Gorgeous.” No contest. Next matchup… What? Do I really have to explain why? Ugh, fine! “Gorgeous” has three verses from Kanye, “Father Stretch My Hands Pt. 1” has one and it doesn’t even start off well. “Gorgeous” features Raekwon.

PK: What a weird coincidence that Kid Cudi is on the second song to both albums though, right? (Considering the fact that Cudder’s been on every Kanye album since 808’s and Heartbreak, I guess maybe not.)

DS: Both songs use Kid Cudi well, but Cudi’s far more epic in “Gorgeous.” The kanye west all of the lights interlude sheet music in “Gorgeous” can have their own college course. Every line addresses a societal issue whether it be racism, sexism, conspiracy theory. The questions that Kanye asked can spark fiery debates “What’s a black Beatle anyway, a f****n Roach?” “Is hip hop just a euphemism for a new religion? The kanye west all of the lights interlude sheet music music of the slaves that the youth is missing?” In the end “Gorgeous” made statements “Father Stretch My Hands Pt. 1” made you dance. Next.

PK: Even though Kanye’s verses on “Gorgeous” sounded waaaaay cooler as a freestyle on Hot 97, the lyrics he comes with still ring as poignant today as they did back in 2010. “Pt. 1” sounds like an evolved track off 808’s, which isn’t a bad thing at all, it just really doesn’t hold up to the standard set by “Gorgeous.

Score: TLOP 1, MBDTF 1

Round Three: Power vs. Pt. 2

DS: C’mon now, “Power.” This one is all yours, Perry. That is unless you believe otherwise?

PK: If I could insert a rolling eye emoji, I would.

This matchup, for me, was decided the second I heard “Pt.2.” It’s not that it’s a bad song, it’s just one that I’m not necessarily sure should exist. The last 30 seconds of it, while still somehow sounding good, is an absolute mess. Plus, I feel insulted by the usage of faux-Future.

And then I listen to “Power” and it sounds so much better than I remember it, and it might just be because everything that Kanye’s saying in it serves as an explanation for everything he’s doing currently, even down to the Saturday Night Live diss. Easy win.

Score: TLOP 1, MBDTF 2

Round Four: Famous vs. All of the Lights

DS: This is the marquee matchup. Both songs feature Rihanna and discuss Kanye’s relationship with fame. All of the Lights is more metaphorical and Famous is more concrete. Kanye raps two verses on both songs. Famous doesn’t have any instruments or an orchestra that All of the Lights has. Let’s not forget to mention the star studded ensemble of backup vocalists. Both songs are a 10 on the Bump in the Whip meter. These songs are both so evenly matched. Famous has an edge in the OMG factor with the Taylor Swift line. It’s a hard fought battle, one that will be remembered for years to come.

PK: Both of these songs are spectacles. For “Famous” it’s the now-infamous Taylor Kanye west all of the lights interlude sheet music line and Swizz Beats gleefully yelling over that hot ass “Bam Bam” sample, while “All of the Lights” is built up as grand as it could possibly be.

DS:  Picture this year’s slam dunk contest. It all comes down to legacy. We’ll have to come back to this in five years but I’m giving this to “All of the Lights” because I believe the Taylor Swift controversy is fogging up the greatness of “Famous.” That and the Nina Simone sample at the end of “Famous” rubbed my ears the wrong way.

PK: I’d like to think that the “Famous” beat hits a little bit harder, but those first horns in “All of the Lights” resonate in way that can’t be overlooked. While Kanye broke his credited artist record on “All Day” (21), the 14 people credited on “All of the Lights” are all utilized to the fullest of their abilities. Fergie’s verse, Kid Cudi’s appearance and the MJ line are what solidify the “All of the Lights” win for me.

Score: TLOP 1, MBDTF 3

Round Five: Feedback vs. Monster

PK: How much do we weight Nicki Minaj’s verse in here? It’s the best verse of her career* but does Kanye get credit for that? On the flip side, does he get penalized for Jay Z’s whack verse?

*(side note: how many arists’ have had their best verse on a Kanye song? 2 Chainz (“Mercy”), Rick Ross (“Devil in a New Dress”), J. Cole (“Looking for Trouble”) Chance the Rapper and Nicki are the first to come to mind.)

DS: I honestly think of Monster as Nicki Minaj’s song. Might as well be. I have no idea why Rick Ross donated four bars in the beginning and Jay kinda slowed things down which ruined the vibe for a good minute.

Since “Monster” came out, this song has always made an appearance on my list of least favorite Kanye songs. “My eyes more red than the Devil is”? C’mon Kanye. There’s too many missteps for “Monster” to best “Feedback” which featured one of my favorite moments on TLOP, the Ghetto Oprah bit. “You get a fur! You get a fur! You get a jet! You get a jet! Big booty b***h for you! WOOOO!!”

PK: Both songs reek of bravado, “Monster” is more boasting while “Feedback” is more dismissing. It’s a big toss up for me on this one, but I think that in the end I give the edge to “Monster,” Jay Z verse and all. “Feedback” is one of the most fun songs on TLOP but when looking at both the individual Kanye verses and the overall songs, “Monster” comes out looking better.

Score: TLOP 1.5, MBDTF 3.5

Round Six: Lowlights/Highlights vs. So Appalled

DS: “Highlights” has become one of my favorite tracks on the album the more I listen to it. It all started with the first verse and then he went into the Ray J diss which I found to be long overdue and very apropos. A major improvement from calling him Brandy’s little sister on Late Night with Jimmy Fallon (which I also liked). Once he got to the Diddy line I was sold. It was a combination of the name dropping and the flow that kept me smiling ear to ear.

PK: “Highlights” isn’t my favorite TLOP cut, nor my second, or third, or fouth, but it is definitely a song I enjoy listening to. Kanye’s rapping with full-out effort here, and his double-time flow at the end is one of my favorite parts of the album.

DS: “You want a boss or an R&B n***a with a six pack?” Why hasn’t Rick Ross said that yet?! “Highlights” is too playful and fun for me not to favor it over its more serious competitor. While it’s amusing to hear Kanye gripe about not-so attractive hotel maids, I can’t give him a pass for getting bodied on his own track by his signees Pusha T and CyHi the Prynce. He does get points for having RZA on the track though.

PK: If we’re going to be honest, I hate “So Appalled,” and I always have. From how cash back debit card obnoxious Swizz chorus and RZA yelling are to the fact that out of all the GOOD Friday posse cuts this is the one that made the album, it’s always been the one song I skipped on my listening sessions.

Score: TLOP 2.5, MBDTF 3.5

Round Seven: Waves vs. Devil in a New Dress

PK: “Devil in a New Dress” features Rick Ross, “Waves” features Chris Brown. You tell me which one wins.

DS: The instrumental interlude and Rick Ross’ verse alone put Devil in a New Dress over “Waves.” When I first heard “Waves,” I thought it sounded like a bonus track from the Graduation era. I like “Waves” but come on. “Devil in a New Dress” brought out the best in Rick Ross, everyone including Rozay knows this. Instrumentals, lyrics, placement on the album, “Devil in a New Dress” wins across the board.

PK: “Waves” is fun and all, but “Devil in a New Dress” serves as the climax of MBDTF. Like you said, the instrumental interlude playing into Ross’ verse easily gives it the edge, but I think even the Kanye verse sets it apart. Sorry Chance.

Score: TLOP 2.5, MBDTF 4.5

Round Eight: FML vs. Runaway

DS: This isn’t a fair matchup.

(Now that I think about it, this whole comparison is unfair. MBDTF is a confirmed classic with a legacy lasting five years. We don’t even know if TLOP is gonna achieve classic status yet. We’d be better off comparing it to Yeezus.

PK: I thought about that a few times when doing this too, that the MBDTF songs are almost always significantly better and that we might have been better off comparing TLOP to Graduation or 808’s, but I know that I would probably take most of TLOP against any Kanye album with exception to College Dropout and, of course, MBDTF. It’s not to say that I think that TLOP is Kanye’s third best album (though, with time, who knows). It’s just that track-by-track, TLOP holds up surprisingly well.

DS: Oh well, this is what it keeps the lights on, so let’s get on with it.

“Runaway” belongs in a definitive Kanye West compilation CD, “FML” does not. That piano riff, the four minute of harmonizing through auto-tune which is as majestic and captivating as a classic guitar solo. It’s hard for me to even hear this song and not think of the VMA performance. That ketchup colored suit and the ballerinas. Or sometimes I think of the performance in the Runaway film when ‘Ye stood on top of the piano. This song brings in too many memories for a newcomer to steal its shine.

PK: “FML” has emerged as a lot of people’s favorite songs off TLOP, and for a lot of valid reasons.  The song has a haunting quality to it, which only increases when The Weeknd joins the party. When Kanye first tweeted out the tracklist, I didn’t have high hopes for a song called FML since that phrase died out four years ago, but it’s definitely one of the best on the album.

But like you said, the problem is, that it’s going up against what I consider the best song that Kanye has made. Both songs deal with the subject of self-destruction and Kanye’s acknowledgement of its presence in him, but “Runaway” is an unabashed baring of the soul. His VMA performance of it, to me, is what his legacy will be.

DS: Let’s look at it lyrically: “Runaway” is Kanye at his most vulnerable and apologetic. He knows he has a problem and he’s admitting it. The bridge where he says “Run away from me, baby” and the third verse are so jaw droppingly emotional it’s all just so, wow. He was truly revealing the layers to his soul on this one.

It’s two Kanyes dealing with the same issues. One’s in the moment and the other is a work in progress. Runaway runs away with this one.

Score: TLOP 2.5, MBDTF 5.5

Round Nine: Real Friends vs. Hell of a Life

DS: It’s really apples and oranges with this one, but to be fair, there’s no song like “Real Friends” on MBDTF. Hell of a Life is a selfish prophecy featuring sex and splendor while Real Friends sounds like Kanye just watched Toy Story and got in his feelings.

PK: This, along with “Highlights,” is probably the easiest win for TLOP in my book. “Hell of a Life” is a good song in the context of an album, but the chorus has always been way too cheesy for me.

“Real Friends” is in the running for a top 10 Kanye song. Everything works perfectly throughout the whole song, from Ty Dolla $ singing his ass off to Kanye’s outing of his cousin’s thievery.

DS: Although the life described in “Hell of a Life” sounds nice, “Real Friends” makes me think. It has a Draking effect on me with my friends. Since that song came out I’ve sent so many sentimental paragraphs of appreciation to my friends and cousins. It’s also worth mentioning how mature “Real Friends” is. It’s lonely and Kanye doesn’t make himself out to be seen as an innocent victim. And that laptop story, wow. What a stark contrast from the warm and cuddly “Family Business.”

Score: TLOP 3.5, MBDTF 5.5

Round Ten: Wolves vs. Blame Game

PK: How can you make me choose between John Legend and Frank Ocean?

DS: This is an interesting one. One song is about a current relationship and pardoning past mistakes and the other’s about a relationship seeing its end.

PK: “Blame Game” is a twisted love letter, while “Wolves” is Kanye on his philosophical game. For me, it’s hard to judge a song that Kanye is still going to “fix” when it doesn’t appear to have any need for fixing.

DS: “Blame Game” wins. Hey, I said it was interesting, not tough. While the “unswallow” line is definitely something I wish I had the cojones to say to all my future girlfriends, it’s not nearly as telling and memorable as “Yeezy taught me.”

PK: The corny lines are so, for lack of a better word, corny. I didn’t need to hear it over and over, especially since we could’ve had had Sia in there doing here thing instead. “Blame Game” from the start to the end, at risk of being hyperbolic, is a work of art.

DS: “Blame Game” also wins on the relatability scale. Chances are, you and your significant other aren’t under the microscope of millions and surrounded by people who are out to get you. The two of you probably aren’t even the hottest topic on your block. But anyone who’s been in a relationship and that’s experienced a huge fight could relate to this song. Even if you’re like me and you’re just waiting for Molly Qerim to return your phone calls, you can still relate to this.

Score: TLOP 3.5, MBDTF 6.5

Round Eleven: Fade vs. Lost in the Word

DS: The two closers go head-to-head in this one. Both songs are upbeat and have this big build up and climax at the end. “Fade” can be taken at face value while “Lost in the World” can be interpreted in a few ways. Kanye actually wrote the lyrics and sent them to Kim in an email long before they started dating.

PK: If you played these two songs back to back, I’d think they were on the same album. To me, even though one is definitely superior, TLOP and MBDTF are the perfect compliments to each other. Intermixing the songs paints a complete portrait of the man that’s been nonstop talked about since the beginning of 2016. They’ve both got this funky vibe going on. “Lost in the World” is more of a triumphant and defiant sound, while “Fade” is just a full-on dance party.

DS: This battle is decided by where these songs take you. “Fade” takes me to a hot nightclub. Big deal, I can drive to one of those. “Lost in the World” takes me to a Savanna with tribal dancers, a fiery phoenix and so much other things going on culminating in the apex of epic-ness. Can’t drive to that.

PK: I want to give this to “Fade” so bad, just because of how much I love listening to it.

And you know what? I’m going to.

The sound of victory emanates from “Lost in the World,” and that’s why overall MBDTF wins.

But “Fade” is one of the few happy songs on TLOP, and it sounds exactly like how an album should end. It sounds like a song that would come at the end of a feel-good romantic comedy, and that’s 100 percent a compliment.

Score: TLOP 4, MBDTF 7

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Источник: https://www.fsunews.com/story/opinion/2016/02/24/life-pablo-vs-my-beautiful-dark-twisted-fantasy-track--track/80858602/

Jail by Kanye West Chords and Melody

About The Key Of E Major

Jail is written in the key of E Major. According to the Theorytab database, it is the 5th most popular key among Major keys and the 7th most popular among all keys. Major keys, along with minor keys, are a common choice for popular songs. The three most important chords, built off the 1st, 4th and 5th scale degrees are all major chords (E Major, A Major, and B Major). See the E Major Cheat Sheet for popular chords, chord progressions, downloadable midi files and more!

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Источник: http://45.56.86.29/theorytab/view/kanye-west/jail

'The Life of Pablo' vs. 'My Beautiful Dark Twisted Fantasy', track-by-track


Perry Kostidakis and Deion A. Sainvil 

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3 Replies to “Kanye west all of the lights interlude sheet music”

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