Lil Wayne is silent, like so much of the pasta he admires
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Okay, that's just
annoying.
Musically, this is
just an endless repetition of two Harry Belafonte loops, thin and
drained of all low end, just sort of chirping away. The Belafonte
bedrock is assisted by low and large kick/sub/notes, and a single
“ssh” sound and hand clap... set that up and just keep it going
for four minutes.
Now marry that with
a really monotonous freestyle from Lil Wayne... no chorus, no
refrain, no nuthin-- it's just his unchanging, mid-paced flow until
Cory Gunz shows up at the end. Somewhere after two minutes of Lil
Wayne, he starts to sound like Chris Tucker in The Fifth Element
to me (he's kinda squeaky), but I'm just beat until I'm numb by Wayne's nonstop barrage of
syllables: at first, it seems like the sampled loop (“six foot,
seven foot, eight foot bunch!”) would serve as a refrain, but after
a little bit, Wayne just raps over that, too... and to what end? The
guy just keeps blasting away over his own song's chorus to
pontificate the aural qualities of lasagna.
Paper
tracer, tell that paper, look I'm right behind ya
Bitch, real G's move in silence like lasagna
People say I'm borderline crazy sorta kinda
Woman of my dreams, I don't sleep so I can't find her
You n***a's are gelatin, peanuts to an elephant
I got through that sentence like a subject and a predicate
Bitch, real G's move in silence like lasagna
People say I'm borderline crazy sorta kinda
Woman of my dreams, I don't sleep so I can't find her
You n***a's are gelatin, peanuts to an elephant
I got through that sentence like a subject and a predicate
Wait,
what?
Dude,
think about what you're going to say before you say it. There are an
amazing number of things that fail to make sense in that verse, even
without the silent lasagna.
No
matter how many ways I approach that, I can't find a way to make it
less weird. At its most clever (and this might be a stretch), he's insinuating that the"g" in lasagna is silent (it isn't-- that's like saying the "z"s in pizza are silent)... and that's the best possible interpretation. Outside of that, I guess it might mean that noodles don't make noise.
When Cory Gunz takes his verse, he starts with a weird, almost flutey monotone that threatens to be more annoying than Lil Wayne, but not only does he ditch that tone after a few seconds, he also doubletimes some of his lines, giving the song some much needed varaiation in the vocal rhythm... the best flourish coming when, in the middle of rapid-fire lyrics, he says “pause” instead of pausing. It's almost like he was going so fast through the script, he read the stage directions aloud.
When Cory Gunz takes his verse, he starts with a weird, almost flutey monotone that threatens to be more annoying than Lil Wayne, but not only does he ditch that tone after a few seconds, he also doubletimes some of his lines, giving the song some much needed varaiation in the vocal rhythm... the best flourish coming when, in the middle of rapid-fire lyrics, he says “pause” instead of pausing. It's almost like he was going so fast through the script, he read the stage directions aloud.
For
as annoying as this song is, I've got to admit: it's different...
so my annoyance is tempered by a grudging respect for anyone who
thought this was a good idea (I never would have thought of that) and
actually turned the annoying fucking thing into a hit.
How
the hell did that happen? Can Lil Wayne make this sort of thing work
with sheer force of will?
Stay with the song, walk away, or run like hell:
I think the song is great because lil wayne just goes off and i know you dont like rap very much by how you are writing, but thats more respectable than anything. he doesnt hide behind a catchy hook, or autotune, he just goes in and offers substance
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