Rihanna Snags a Major Feature on "All of the Lights" Kanye West Featuring Rihanna and Kid Cudi Lastly, we almost got this gem of a song without one of the best guest rap interludes of all time, credited to Chris Rock’s voicemail that ends with the profession from a woman that Yeezy "taught me." The presence of Auto-Tune adds more life to the foundation as well, as it was quieter in the first go ’round.
For example, in ’Ye’s second verse, there’s a distorted conscious-like voice that creates the ad-libs and doubles back in the third verse for a back-and-forth trade-off. On the final, there are a few little lyrical changes in the verses, but most notably there’s a difference in vocal effects. This track feels hesitant and unfinished, which works to the advantage of the song, but it still thrives in its whole form. On the song, Kanye West croons over the chorus himself, prior to drafting John Legend and his gentle vocals to take over hook duty. The original version of “Blame Game” enacts a much heavier feeling of distress upon listening. John Legend and Chris Rock Are Recruited for "Blame Game" Kanye West Featuring John Legend On the song, the phrase “Can we get much higher?,” sung by Teyana Taylor, not only set the tone for the rest of the track, but for the entire project by declaring an imaginative ascension into the depths of Yeezy's musical mind.
Eventually, it served as an angelic prelude to the “bring the ruckus”-type beat drop, brought to you by the legend RZA. Additionally, in the old reference, it sounds as if there's a double layer of Nicki's voice, and the chorus of the song isn’t heard until after ’Ye’s first verse. But as you’ll notice from comparing the OG iteration to what became the final song, the monologue gets a worthwhile extension. For both versions, Nicki Minaj, in a full English accent, gives a rewrapped narrative of Roald Dahl's Cinderella. As a record that was previously offered to Drake and Jay-Z, “Dark Fantasy” proved Kanye's ability to execute in doing so. The intro to a classic album has an important role in setting the tone.
The sole use of autotune here comes on the lovely, poignant "Lost In The World", and that comes from the sample of Bon Iver's "Woods" around which the track is built."Dark Fantasy" Intro Gets Reworked Kanye West Featuring Nicki Minaj, Teyana Taylor and Justin Vernon Certainly no more of a surprise than finding he's now completely abandoned the wholesale electro/autotune approach of 808s & Heartbreak in favour of a return to the beats, band'n'samples style of his earlier albums, albeit in a grotesquely magnified manner. Kanye has never been short on ambition or ego, so it's no surprise he should have his guests (including such hip-hop luminaries as Jay-Z, Swizz Beats and RZA) queue up on "So Appalled" to confirm in turn how "this shit is/fucking ridiculous". Echoes and samples of everything from Gil Scott-Heron to King Crimson are littered amongst these tracks, along with myriad vaunting string and choral arrangements. Recorded in Hawaii at a rumoured cost of some $3 million, My Beautiful Dark Twisted Fantasy is 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.
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