But in the final iteration, he contributes a bit more, more so with his energy. On the OG version, he follows CyHi’s verse by repeating the chorus once. Finally, in another small yet obvious example, RZA’s vocals are extended. It goes, “One hand in the air if you don't really care/Two hands in the air if you don't really care/It's like that sometimes, I mean ridiculous/It's like that sometimes, this shit ridiculous,” twice, as it was nonexistent before. Another inclusion you’ll notice after bumping the two tracks is the added Swizz Beatz refrain at the top of the record. For the album’s seventh song, “So Appalled,” Jigga secured another placement and dropped off his better verse featured on MBDTF. “Monster” wasn’t the only song Jay-Z was late to the party on. Hov Has a Verse on "So Appalled" Kanye West Featuring Jay-Z, Pusha-T, Swizz Beatz, RZA and CyHi But as you can hear, the credit has to be split nearly 15 ways when you give a nod to this hit. The platinum-selling song took home two out of three of those awards, winning Best Rap/Sung Collaboration and Best Rap Song. “All of the Lights," originally titled "Ghetto University," went on to become one of the best songs of 2011, and got three Grammy nominations for Best Rap Song, Best Rap/Sung Collaboration and Song of the Year at the 2012 Grammy Awards.
After not being included prior, Rih ended up taking more of a lead role on the final product and added a strong emphasis to the already cinematic feel of the track. Among those artists were Drake, Fergie, La Roux, Charlie Wilson, Kid Cudi and Rihanna, who sent her vocals in from Cali, among many more. During his album recording sessions in Hawaii, he scouted fourteen artists to add vocals onto a song that took nearly two years to complete. Kanye West has always tapped into other musical geniuses to create some of rap’s most premier collaborations. 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. "Dark Fantasy" Intro Gets Reworked Kanye West Featuring Nicki Minaj, Teyana Taylor and Justin Vernon
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