Kanye West-Late Registration: Original Samples

And then, in a flash, Kanye was everywhere, transformed from respected producer to big-name producer/MC, throwing a fit at the American Music Awards, performing "Jesus Walks" at the Grammys, wearing his diamond-studded Jesus piece, appearing on the cover of Time, running his mouth 24/7. One thing that remains unchanged is Kanye's hunger, even though his head has swollen to the point where it could be separated from his body, shot into space, and considered a planet. Raised middle class, Kanye didn't have to hustle his way out of poverty, the number one key to credibility for many hip-hop fans, whether it comes to rapper turned rapping label presidents or suburban teens. And now that he has proved himself in another way, through his stratospheric success — which also won him a gaggle of haters as passionate as his followers — he doesn't want to be seen as a novelty whose ambitions have been fulfilled. On Late Registration, he finds himself backed into a corner, albeit as king of the mountain. It's a paradox, which is exactly what he thrives on. His follow-up to The College Dropout isn't likely to change the minds of the resistant. As an MC, Kanye remains limited, with all-too-familiar flows that weren't exceptional to begin with (you could place a number of these rhymes over College Dropout beats). He uses the same lyrical strategies as well. Take lead single "Diamonds from Sierra Leone," in which he switches from boastful to rueful; more importantly, the conflict felt in owning blood diamonds will be lost on those who couldn't afford one with years of combined income. Even so, he can be tremendous as a pure writer, whether digging up uncovered topics (as on "Diamonds") or spinning a clever line ("Before anybody wanted K. West's beats, me and my girl split the buffet at KFC"). The production approach, however, is rather different from the debut. Crude beats and drastically tempo-shifted samples are replaced with a more traditionally musical touch from Jon Brion (Fiona Apple, Aimee Mann), who co-produces with West on most of the tracks. (Ironically, the Just Blaze-helmed "Touch the Sky" tops everything laid down by the pair, despite its heavy reliance on Curtis Mayfield's "Move on Up.") West and Brion are a good, if unlikely, match. Brion's string arrangements and brass flecks add a new dimension to West's beats without overshadowing them, and the results are neither too adventurous nor too conservative. While KRS-One was the first to proclaim, "I am hip-hop," Kanye West might as well be the first MC to boldly state, "I am pop."
from allmusic

“Someone That I Used To Love” by Natalie Cole
Sampled in “Wake Up Mr. West” & “Heard Em Say”
Produced by Kanye West & Jon Brion
“Candy Maker” by Tommy James & The Shondells
Sampled in “Heard Em Say”
Produced by Kanye West & Jon Brion
“Move On Up” by Curits Mayfield
Sampled in “Touch The Sky”
Produced by Just Blaze
“I Got A Woman” by Ray Charles
Sampled in “Gold Digger”
Produced by Kanye West & Jon Brion
“Wildflower” by Hank Crawford
Sampled in “Drive Slow”
Produced by Kanye West
“Home Is Where The Hatred Is” by Gil Scott Heron
Sampled in “My Way Home”
Produced by Kanye West
“Since You Came Into My Life” by The New York Community Choir
Sampled in “Crack Music”
Produced by Kanye West & Jon Brion
“It’s Your Thing” by Cold Grits
Sampled in “Crack Music”
Produced by Kanye West & Jon Brion
“Rosie” by Bill Withers
Sampled in “Roses”
Produced by Kanye West & Jon Brion
“My Life Is Loving You” by Rose Banks
Sampled in “Bring Me Down”
Produced by Kanye West & Jon Brion
“My Funny Valentine” by Etta James
Sampled in “Addiction”
Produced by Kanye West & Jon Brion
“Diamonds Are Forever” by Shirley Bassey
Sampled in “Diamonds From Sierra Leone”
Produced by Kanye West, Jon Brion & Devo Springsteen
“Action” by Orange Krush
Sampled in “We Major”
Produced by Kanye West, Jon Brion & Warryn “Baby Dubb” Campbell
“Superwoman (Where Were You When I Needed You)” by Stevie Wonder
Sampled in “We Major”
Produced by Kanye West, Jon Brion, Warryn “Baby Dubb” Campbell
“Today Won’t Come Again” by Donal Leace
Sampled in “Hey Mama”
Produced by Kanye West & Jon Brion
“Heavenly Dream” by The Kay-Gees
Sampled in “Celebration”
Produced by Kanye West & Jon Brion
“It’s Too Late” by Otis Redding
Sampled in “Gone”
Produced by Kanye West & Jon Brion
“Upon This Rock” by Joe Farrell
Sampled in “Gone”
Produced by Kanye West & Jon Brion
“The Show” by Doug E. Fresh & Slick Rick
Interpolated in “Gone”
Produced by Kanye West & Jon Brion
“I’ll Erase Your Pain” by The Whatnauts
Sampled in “Late”
Produced by Kanye West
“Make It Easy On Yourself” by The Three Degrees
Sampled in “We Can Make It Better”
Produced by Kanye West