Lupe Fiasco

Released: January 20, 2015

Featuring: Nikki Jean

Songwriter: Vohn Beatz S1 Nikki Jean Lupe Fiasco

Producer: S1 Vohn Beatz

[Verse 1: Lupe Fiasco]
Now bring it out like a finger in the back of your mouth
Cherubs and cerebellum
Terror at Sarah's wedding, Sam marrying Sam
Band pushed upon the finger of Sam's hairiest hand (OOOH!)
If that sickens you, you a bigot
If it doesn't, well then you're wicked
Such is life, odd as Egg McMuffins at night
No answers, so let us watch these dancers
Structure reformed gracefully being born
On the pallet of dark grays, concaves and spirals
Kaleidoscope into a Eiffel
It ripples then it tidals, vacillates then it virals
Babylons then it Bibles and others
And tell me of the spinning mothers
And today's mathematics for beloved
And beasts' bellies covered like the cummerbunds of butlers

[Hook: Nikki Jean]
How was your day?
Can I make what you say what I wanna hear?
Cause I want you here
The hell that we raised
To the heavens do anything for
La petite mort, la petite mort

[Verse 2: Lupe Fiasco]
They keep the bottles just to make glass houses
Then climb up to the second floors and throw rocks out it
Then expect not a volley in reply
Some place vulnerable like probably in the eye
What of the chicken? What is it missin'? Is it dry?
Did it die in some inhumane conditions so it didn't go relaxed
And the tension from its demise
Pulled all of the flavor from the fat and made it flat
And rather lifeless, well there's a place
That has a stunning turbot and more mercifully murdered Pisces
But barbaric are still the prices
It's rather niceless, apricot in dices and fromage slices
My son will call risotto rices
If and when he's left to his own devices, well
How is your memory? Is it returning like a lemon tree
To bear bitter fruit of what you meant to me?
Or was it slippin' like permission? Am I trippin' like field
I feel I'm grippin' but maybe the transmission
Still left out the life, also left out the will, grief
Will cheese never touch your teeth
Maybe like kosher beef
Is it real? Is it real? Is it real? Ha, hah!

[Hook: Nikki Jean]
Howl at the day
Can I make you my prey?
Cause I want you dear, ooh, I want you dear
The hell that we raised
To the heavens make symmetries for
Our petite mort, our petite mort

[Verse 3: Lupe Fiasco]
So glad you're back
But not glad at that you're glatt
Where is the glamour in collapse?
Where in the shatter of the facts shoves one back to a pattern of stab wounds?
Swoon ridden goons consumed and driven mad soon
The atelier slowly fills with baboons
And other monkey business
Where killers go free cause the junkie's a funky witness
Runny mascaras from the cunning mask wearers of death
Bygone errors, sittin' like two oil derricks
Separated by a sea of cooling num nums
Reminiscing of an every day playing hum drum
Where recognition went unnoticed
And then solidified till it was stoic
We should've been poets
Somewhere between amateurs and grandmasters of iambic pentameter

[Hook: Nikki Jean]
How are your chains?
Do they make you behave?
Keep you over here, by your overseer
Fallen from grace
Down from Heaven to memories' floor
La petite mort, la petite mort

The Chicago born Wasalu Muhammad Jaco first tasted success when he featured on Kanye West’s hit “Touch the Sky”, a track that shortly preceded his real breakout, his 2006 debut album Lupe Fiasco’s Food & Liquor, and he never looked back. He has established himself as one of the greatest urban wordsmiths of all time, with Genius even dubbing him the ‘Proust of Rap’.

While he’s now regarded of one of the 21st Century’s Hip-Hop greats, he wasn’t always a fan of the genre, initially disliking it due to the prominence of vulgarity and misogyny within it. In his late teens, he aspired to make it as a lyricist. In his early twenty’s, he met Jay-Z, who helped him sign with Atlantic Records in 2005. The following year, he released his debut album (Lupe Fiasco’s Food & Liquor), which was met with acclaim from fans and critics alike, as did his sophomore effort, Lupe Fiasco’s The Cool.

The following eight years of his career saw far less output than many would’ve anticipated. This can be partly attributed to his struggles with Atlantic Records. The executives wanted him to sign a 360 deal; however, as he refused to do so they instead shelved his already completed 3rd album, Lasers, and wouldn’t promote him as they had previously. The overseers at the label also interfered with his music (as they had tried to do with his fan-favorite track “Dumb it Down”); subsequently effecting the quality and sound of his third and fourth albums.

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