No, this is not a gospel album. No, this album is not titled “So Help Me God,” “SWISH” or “Waves.” No, this is not the album of the life. Truth be told, I believe the only relevant tweet to all of America from Kanye West’s Twitter is the fact, not opinion, that he IS an artist. Put your prejudices aside, your preconceptions in the trash and your headphones in your ears. It doesn’t matter if you’re Mark Twain or Mark Zuckerberg, anyone who listens to “The Life of Pablo” (TLOP) and actually concentrates on the lyrical genius that is put on by Kanye West will be nothing less than speechless.

Frank Ocean. Chance the Rapper. Kid Cudi. The Weeknd. Rihanna. André 3000. Kendrick Lamar. Young Thug. And I’m not even halfway done. One of the best parts about this album is something that almost nobody else in the music industry could ever do. Kanye, with his elaborate string of connections and roots, was able to assemble an absolutely dreamlike and unimaginable cast to be featured in these already stellar songs.

In his first full album since “Yeezus” in 2013, Kanye scaled down the aggressive undertones and beats that received harsh criticism years ago. He has totally transformed the image of his music while retaining the more electronic and laid back feel of songs like “Bound 2” showed in “Yeezus”. At the same time, “TLOP” retains intensity and immense power in “Highlights,” “Facts,” “Famous” and “Freestyle 4” that some listeners, such as myself, may not enjoy as much due to the abrupt change in tempo that the album presents song to song.

However, as with nearly all other works of his, when you take a minute to concentrate on the lyrics and points that he makes, you have to respect the ideas he brings up and how he presents them. Whether it’s about society’s problem with violence or his personal issues of people trying to take advantage of him, his references to a modern day Mary and Joseph from the Bible in a club and his beginnings as a producer and rapper on the South Side of Chicago bring up things bigger than himself, believe it or not.

Chance, a fellow Chicagoan, is simply put brilliant in “Ultralight Beam.” This opening song which, fittingly enough, opens with a small child preaching; yelling out to a higher power, begging to exchange the doubters with the lord comes later to be accompanied by a church choir angelically reiterating Kanye in a tender and divine, to say the least, tone which sets the stage for listeners. Preaching to God? Preaching to Kanye? Preaching to greatness? Regardless, it stands as a universal baptism of both Kanye and his listeners as “TLOP” starts and positions itself as a true God dream: something so surreal to even the Christian God which Kanye centers a lot of his work around that even God himself cannot believe it and is stuck on this ultralight beam that Kanye looks up to.

Unlike anything else that he has ever done before is “Waves,” “Wolves” and “Facts.” These songs standout unlike any other seen before with their entrancing tempo and more-addicting-than-Portillo’s cheese fries beat that they keep up.

The thing that people have to understand about “TLOP” is that it is not “Graduation” or “Late Registration” or “College Dropout” or whatever past version of Kanye that the listener enjoys. If you’re looking for that, take a look at “I Love Kanye” and the thoughts that have run through thousands upon thousands of fans protesting that they “hate the new Kanye, the bad mood Kanye” and that they “miss the sweet Kanye, chop up the beats Kanye” will be satirically laughed in your face from the always uncaring musical mastermind.

Bottom Line: After three long years, Kanye is back. The first time through, “TLOP” might not overwhelm you, but if you give it the time, attention and focus that it deserves, just about anyone will love this album like Kanye loves Kanye.