Perry Kostidakis and Deion A. Sainvil

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 10 17 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