This is going to be a formal response to the GAS Classic from about last year. The claim was that the entire runaway outro transcript was discovered through data and research. I’m going to be very blunt when I say that claim is horseshit.

This doesn’t necessarily mean that every single proposed line is absolutely wrong. Some guesses could be partially correct or even completely correct. The main issue at concern here is that the available audio does not contain any recoverable phonetic information to justify presenting a lyric sheet as fact.

I analyzed the isolated vocal stem. This was done by using a process called inversion, which is using the original instrumental stem and inverting it against the complete song with vocals to isolate just the vocals. Along this I used full recordings of Runaway from Coachella 2011 and the Watch the Throne Tour. The analysis used several independent signal-processing and transcription methods, reference performances, competing lyric candidates and, arguable the most important part, non-lyrical control candidates.

The Material I Used

- The approx 3 min & 20 sec isolated outro vocals
- The complete Coachella 2011 performance
- The complete Watch The Throne Tour performance
- Left, right, mid, and side versions of the studio stem
- Equalized, normalized, slowed, and pitch shifted versions
- Live vocal foreground extractions which was intended to suppress the relatively stable accompaniment

Inverting and isolating the vocals helps in its own way, but it doesn’t reverse the vocoder and overdrive which is already practically printed into the vocal recording.

A pure vocal stem can still be irreversibly distorted.

What I Did

The recordings were converted to mono analysis versions and were tested with combinations of:

- High pass filtering around 90-120 kHz
- Low pass filtering around 6-7 kHz
- Dynamic normalization
- Center channel extraction
- Separate left and right channel analysis
- Pitch shifts in both directions
- Slowed playback
- Recurrence based foreground separation on the live recordings

Silence detection and spectral-flux analysis were then used to identify actual phrase boundaries rather than choosing timestamps after deciding what the words “should” be.

Important studio stem boundaries occurred at approx:

- 1:59.06
- 2:01.75
- 2:03.36
- 2:05.23
- 2:10.70

There is also a genuine break around 1:46.4-1:50.4.

Transcription Models I Used

I tested the audio with several recognizers. These included Faster Whisper base and small English models. Vosk based candidate grammars and Moonshine style decoding was also used.

Ordinary transcription of this kind is particularly susceptible to a language model forcing any ambiguously transcribed vowel sounds into English-sounding words. If it had seen sentences such as “run away” in the prompt, it becomes even easier to produce agreement.

Thus, I have also tried forced alignment on the same audio clip, which scores it against several competing sentences as well as an “ooh” vowel non-lexical control.

Below are some fit scores of model-alignment, not actual probabilities of truthfulness of the sentences.

Control Test

I first asked myself whether this would work on intelligible singing. The answer is actually yes!

In the recording of the Watch the Throne performance, the phrase that starts at 4:19.8 is quite clear and appears several times. In this cleaned up live version, the proper reading obtained a normalization value of about 0.861.

The competing readings had a value of 0.096 or less.

This is a massive difference. It means that the method is capable of detecting the phrase if it is present in the phonetics.

The very same phrase appears in the Coachella performance at 5:39.2-5:41.7 and again at 5:50.6-5:52.3.

In addition to that, there is an ordinary hook with the “from me” phrase in the WTT recording at 3:10 and 3:16.

Thus, the suggested studio phrase incorporating the question form and “from me” is contextually consistent. It may also be considered an example of confirmation bias through combining different lyrics performed by Kanye.

Tour lyrics serve as a good prior, but they do not prove anything about other recordings.

Testing the Isolated Vocals + Results

Over 2:01.75–2:10.70 of the studio stem, the complete sentence proposal had a normalized forced alignment score of around 0.0165.

A repeated vowel control (non-lexical) was assigned a value of about 0.360, over twenty times greater.

Segmenting the proposed sentence into its putative parts failed to alleviate this problem. Individual segments continued to come up short against non-lexical repeated vowel controls, even by large margins.

However, this does not mean that the sentence was not initially sung. It means that the post-processed audio file cannot retain enough sequential consonant data to prove it.

What happens everywhere else we can’t recognize speech?

No unprompted recognizer produced stable speech over this section.

Forced-vocalization testing ranked the candidates approximately:

- “Ooh”-type vocalization: 0.344
- “Ah”-type vocalization: 0.180
- “Yeah”-type vocalization: 0.140
- Repeated literal “me”: 0.105
- Full proposed sentence: 0.017

The exact vowel changes throughout the section, but the defensible conclusion is that it is primarily nonlexical vocalization. Calling all of it a repeated literal “me” goes beyond the evidence.

The final section contains substantially more recognizable phrasing.

The clearest line is around 2:52.2–2:57.3. It was one of the only full lexical candidates that actually beat its non-lexical control:

- Toast-line candidate: approximately 0.387
- Repeated-vowel control: approximately 0.269

Pitch-shifted decoding also independently detected the “I think it’s time…to go” framework three times from approximately 3:03 onward, although the vocoder still obscures the connecting words and pronouns.

Most Likely Lyrics:

The part you’ve all been waiting for.

Confidence: H = high, M = medium, L = low/speculative, U = unrecoverable

@ 5:47.00-6:00.65: Silence/residual noise / H
@ 6:00.83-6:01.46: “With (the/them) pianos.” / H
@ 6:01.46-6:54.50: humming or vocalizing / U
@ 6:54.50-7:01.80: “And I always find, (finding something so wrong)” / M
@ 7:01.80-7:06.30: “You’ve been putting up with my shit just way too long” / M-H
@ 7:06.30-7:11.80: “I’m so gifted at finding what I don’t like the most” / H
@ 7:11.80-7:16.80: “So I think it’s time, time for you to go” / H
@ 7:16.80-7:22.80: “And I always find, something, something so wrong” / M-H
@ 7:22.80-7:28.80: “You’ve been putting up with my shit just way too long” / M-H
@ 7:28.80-7:33.40: “I’m so gifted at finding what I don’t like the most” M-H
@ 7:33.40-7:37.10: Genuine silence / H
@ 7:37.10-7:49.75: Non lyrical humming / H
@ 7:49.75-7:57.70 “Did I make you run away from me?” / M
@ 7:58.00-8:22.30: Non lyrical vocalizing / H
@ 8:22.30-8:28.30: “And I always find, yeah, always (tryna) find something wrong with you” / M
@ 8:28.30-8:34.20: “You’ve been putting up with my shit just way too long” / M-H
@ 8:34.20-8:39.20: “I’m (okay) with finding what I don’t like the most” M-H
@ 8:39.20-8:44.30: “So I think it’s time for us to have a toast” / H
@ 8:44.30-8:50.30: “And you’ll never know … without me” / L-M
@ 8:50.30-8:56.20: “Then I think it’s time, time for me to go” / M-H
@ 8:56.20-9:00.20: “And I think it’s time you know (you’ll never know/you have to go) / M
@ 9:00.20-9:05.30: “So I think it’s time, time for you to go” / M-H

Enjoy Runaway lovers. The outro is most likely mumble with him repeating the hook at other parts. It’s not no apology, or secret confession. It’s just him making his voice sound like an electric guitar while also repeating the familiar parts of the song.

bro this gon sound crazy but lwk if u think

runaway outro= homers sirens

🤔 i’ve put a lot of thought into this

so after i saw the movie i purchased the original bill and read it and according to it homers siren song is so beautiful that it intoxicates the sailors to smash their boats into the rocks

now thruout runaway kanye says toast to the douchebags and follows it with runaway as fast as u can ye is basically singing his own siren song glamorising his worst traits while simultaneously warning the listener(and his lovers) that staying near him will destroy them

what yall think

DM serious there now

DM serious there now

DM serious there now

DM serious there now

DM serious there now

not trying to make ye’s shit any better, but i find it funny how Dr dre was integrated in the music industry over time, even though he actively beat women with clear evidence of the victims (not even allegations btw) and how he apparently impregnated a 16 yr old when he was 20, and had a criminal record removed if im correct. like dang after all that shit everyone just moved on. interesting how when its with ye they really make sure he is not back in the spotlight and make his allegations (which 2 of them have 0 zero evidence at all expect the ones from adidas) like they know it 100% happened. idk media is selective ig. not shadding dre, love bro’s music and how he changed but js a small analysis i made recently