Stuntin' Like My Daddy Neck of the Woods Get Your Shine On Priceless Pop Bottles Promo Only clean edit Lollipop - Album Version Edited Lollipop Carter III official single Lollipop - Main Let Us Pray With One Arm Does What She Does Can't Feel My Face Skull Gang Leanin Low Black Out High as a Kite Knockout remix Promo Only clean edit Roman Reloaded Sunshine Twerk Season I Know the Future Try Me Remix Bitch Get Off Me John Edited Version Got Money - Album Version Edited Boom boom pow pow I Got Money Cant Believe It Got Money explicit Which brings us back to s and Heartbreak.
There was even a song with Lil Wayne, "See You in My Nightmares," where Wayne embraced the howling, pitch-corrected chaos of the album to nearly unintelligible effect while I love Wayne, I'd argue he continued his tradition, started the year before on "Barry Bonds," of showing up on the worst Kanye singles. While the popular narrative now is that s and Heartbreak was widely hated and later discovered as an influential stealth classic, as far as I remember it got pretty positive reviews while spawning two of Kanye's biggest singles ever, and everyone at the time basically agreed it was obviously going to be incredibly influential.
That's because it capitalized upon a zeitgeist that was clearly already underway, courtesy of Lil Wayne. You know what I mean, yeah? If you don't then I'll explain. In the midst of the whole s frenzy for those complaining about the Life of Pablo rollout, Kanye has never been one to shy away from maddeningly overextended hype cycles , another Lil Wayne leak quietly surfaced on the rap blogs, soon to be swept away into the category of minor Wayne leaks to which nobody paid attention.
But, dear reader, I paid attention. The song was a more carefully mastered and fully imagined rework of "Prostitute Flange" that the blogs dubbed "Prostitute 2. It had the emotional vulnerability that came from using the effect that the original and "Lollipop"—and "Put On" and s —hinted at, but it was also just a better song. He pushed the traces of the filter that were in the original to a more extreme endpoint, finding forgotten pockets of emotion in the curlicues of his syllables as they bent and contorted in unexpected directions.
He found sounds that no human had previously uttered. And he didn't sound like he was noodling around on an idea anymore; it was an actual, structured song. There's a part in the original "Prostitute Flange," right after the jersey in the rafters part, where Wayne sings "every time I see you I get asthma baby" and then acts it out. But in the follow-up, he sings slower, and the pause is longer. That's my baby. It's one of those places where, much like when Wayne chomps to act out eating his opponents on "Stuntin' Like My Daddy," Wayne's total control of a track as a playground for sounds shines through.
Hearing that gasp for the first time opened up a whole new dimension of my understanding of Wayne. In that gasp and its pillowy Auto-Tuned surroundings was basically everything I'd ever wanted from music. Since it was a leaked throwaway track for Wayne, I had to wait another four years, until the release of Future's Pluto , to find much more like it.
But at least that point I knew it existed. I've realized the more that I've researched this post that "Prostitute 2" never made the splash I assumed, by virtue of my thinking it was the greatest song ever, it had.
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