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Now, for his fourth studio album, he enlists more assistance than ever, trapping the talents of No I.D., Rza, Mike Dean, Jeff Bhasker, Pete Rock, Q-Tip, DJ Premier, Pusha T, Rick Ross and then some in his Hawaiian hideaway, honing in on the sound of his most ambitious LP yet, My Beautiful Dark Twisted Fantasy. He dismissed it on Graduation by bringing on producers Mike Dean and DJ Toomp and on 808s & Heartbreak by bringing on producer/song writer Jeff Bhasker (along with Auto-Tune lessons from T-Pain) to fulfill his visions.
#KANYE WEST DARK FANTASY YOUTUBE FULL#
He dismissed it on Late Registration by bringing on legendary composer Jon Brion as co-producer, elevating The College Dropout’s Hip Hop violins to full orchestral arrangements. Not when he poured out his usual careless singing, not even during a fuzzy and repetitive outro, such is the depth of meaning and level of control.Say what you will about his between album antics - the Brittney Spears outbursts, the Grammy tantrums, the Taylor Swift incident - but when it matters most, when it comes to his music, all self-centeredness is dismissed for the greater mission. The tongue-in-cheek refrain then upends any seriousness as he says, “Let’s have a toast for the douchebags/ Let’s have a toast for the assholes/ Let’s have a toast for the scumbags/ Every one of them that I know/ Let’s have a toast for the jerk-offs.” It runs for nine minutes but never tires the listener.
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West unravels some of his most personal and honest lyrics atop it: “And I always find, yeah I always find somethin’ wrong / You been puttin’ up wit’ my shit just way too long,” are the aching first lines. It opens with a sparse and stunning piano line that continues to melancholically run through the song. Thickened with atmospheric horns and group vocals, it’s a timeless hip-hop classic. ‘All of the Lights’ can still claim to be one of his finest career moment of production. There was his powerhouse comeback single ‘POWER’ with its instantly memorable choral chanting. The opener ‘Dark Fantasy’ offered immediate impact. The critics lapped it up ( Pitchfork gave it a perfect 10 score, the last album to achieve this until Fiona Apple a decade later). For all its overwrought auto-tune issues, 808s & Heartbreak still sold well. Here was the megalomaniac of music acknowledging his reputation and reckoning with it. It was a personal rather than a musical comeback though.
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The album was a mea culpa, a necessitated apology after all that 2009 brought. It was hip-hop capable of being treasured by both the mainstream and the underground, a tremendously difficult feat that few have truly managed (perhaps Kendrick Lamar is the only other example in the last decade).
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The days were long and the breaks were few, West frequently sleeping for mere 90-minute intervals. The result, though, was a hugely ambitious and powerful work. The album encapsulated – as close as it possibly could – the complexities of West the person: fragile and fractious, maddening and ingenious. What followed was a time of inspired creativity. West relocated to Hawaii, inviting along several noteworthy producers and artists as varied as Bon Iver’s Justin Vernon, Rihanna, Drake, and Elton John. His fifth album, then, offered solace. He underwent a much-required self-imposed exile from the fame and infamy.