As if 23 tracks weren’t enough, Lil Wayne just added a few more songs to Tha Carter V. “In This House” features Gucci Mane and samples Frank Ski’s “Whores in This House”; we get a new version of “What About Me,” now featuring Post Malone; and Tay Keith fucks these niggas up on “Hasta La Vista.” Listen to all three tracks below.

“In This House” (featuring Gucci Mane)

“What about Me” (featuring Post Malone)

“Hasta La Vista”

Sade is back with “The Big Unknown,” which is off the Widows soundtrack. It is classic Sade. I’m not opposed to it at all, but it kinda got me thinking: How many musical acts do we allow to stick to the same sound for 35 years without accusations of “playing it safe?” Not many, but we seem to make that concession for artists that give us “earthy” vibes. It’s Sunday, so I’ll leave it at that for now.

Listen to “The Big Unknown” below.

I have a love/hate relationship with U2. On one end, they have quite a few songs that I love, but on the other, they’re the holders of countless Grammys that they don’t deserve. Ah well. I guess my anger is better directed at the trash-ass voting members of the Recording Academy.

“Stuck in a Moment” was written as a fictional conversation between lead singer Bono and Michael Hutchence of INXS, who committed suicide in 1997. I was today years old when I learned that little factoid, but now that I know, it makes the song that much more special.

The song peaked at No. 52 on the Billboard Hot 100, but it was a lot more successful outside of the US. It also won a Grammy for Best Pop Performance by a Duo or Group with Vocal. Check it out below.

Still relatively fresh off her break up with Pete Davidson, Ariana Grande released an ode to all of her exes — Big Sean, Ricky Alvarez, Mac Miller and Pete Davidson — thanking them for what they taught her.

One taught me love
One taught me patience
And one taught me pain

She name-checks all of them in the opening verse, calling Mac Miller an angel. If the title of the song sounds familiar, it’s because she had tweeted the same words in what was deemed a subtweet at Pete Davidson, who can’t seem to stop talking about Ariana. However, just hours before she was being released, she tweeted that there was “no shade” at all. She also revealed that she let her exes hear the song before it was released.

In any case, the song’s dope. Something about it reminds me of Beyoncé’s “Love Drought”; their tempos are different and “Thank U, Next” has a lot more bass, but there are similarities. If you’re interested in testing my theory, sing “Love Drought” (at a sped up pace) over this beat.

Listen to “Thank U, Next” below.

Twenty years ago today, the world got to hear two of the greatest vocalists of all time on one song: “When You Believe,” a duet between Whitney Houston and Mariah Carey, hit the airwaves. The song was special not just because they were two of the most popular artists of all time — it was special because the two artists were believed to be feuding. For eight years leading up to that collaboration, the two had been pit against each other in the press, and for a while in the early ’90s, Whitney routinely shaded the fuck out of Mariah.

(Sidebar: It was a respectful kind of shade, if you will. The kind of shade you throw at a formidable opponent — unlike the way she shaded Paula Abdul. Mariah, on the other hand, never retaliated because she respects Whitney. Madonna wasn’t as lucky.)

In order to make the collaboration happen, Babyface — who co-wrote and produced the song — is said to have told both artists that the other had agreed to collaborate (before this was actually true). His plan worked, and the rest history. And unlike Nicki Minaj and Cardi B, whose relationship worsened after their collabo, Whitney and Mariah ended up becoming friends.

“When You Believe” peaked at No. 15 on the Billboard Hot 100; considering the two artists involved, this was far below expectation. However, it performed much better across the world, reaching the top 5 in the UK and France. The song, which was on the soundtrack of The Prince of Egypt, won the Academy Award for Best Original Song, which is a songwriter’s award. Babyface, who co-wrote the Nippy and Mimi version, didn’t share in the glory because bitch-ass Stephen Schwartz, who wrote the initial version of the song (which appears in the movie), left Babyface’s name off the submission to the Academy. Stephen’s a hater.

Anyway, join me in this beautiful walk down memory lane.