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Giant meets giant when Jay-Z stops by for the velvet-smooth hangout session 'Mr. Carter,' when the football reference 'And you ain't Vince Young/So don't clash with the Titan' dances on a David Axelrod sample and an unexpected jazzy production from Swizz Beatz. It wouldn't be the electro-bumpin' 'Lollipop,' an infectious track that contains the wonderfully Wayne line 'I told her to back it up/Like burp, burp.' You certainly wouldn't want to lose key cut 'Phone Home,' where the maverick adopts an alien voice and drops 'I could get your brains for a bargain/Like I bought it from Target.' Another Weezy special from way outside the hip-hop universe comes in the striking 'Dr. 5 - the 'classic' argument could be considered, but figuring out what to sacrifice from this high-grade jumble is difficult.
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4 - just one of his mixtape series that made it to a Pt. Had he included another easy-access single like 'Rider' from The Drought Is Over, Pt. Tha Carter III is instead a surprisingly casual album that takes numerous listens to sort out, and only part of a puzzle that is scattered across mixtapes, guest shots, and Internet leaks. His 'best rapper alive' quote is discussed to death, but if that claim includes creating perfectly crafted full-lengths in a 2Pac style, the evidence won't be found here.
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There's his complete annihilation of the mixtape game, the ridiculous amount of guest shots he granted since Tha Carter II made him a hip-hop superstar, that photograph of him kissing his mentor, Birdman, rumors of addiction to the sizzurp, plus the gargantuan ego and aggravating aloofness (Wayne will ignore all incoming beefs and infuriate challengers even further by offering the lethal 'I don't listen to your records'). Album DescriptionHow Tha Carter III came to be 'the most anticipated rap album of 2008' is a story that involves the usual delays and promises of a masterpiece, plus a whole lot of bullet points that could only exist in the absurd world of Lil Wayne. See More Your browser does not support the audio element. For all the excess and buildup, this exhibits Wayne on an upswing, lucid and invigorated. He's also still inspired enough to match wits with Kendrick Lamar (on the suspenseful, bewildering "Mona Lisa") and dash off cunning wordplay like "You a roughneck, I'm a cutthroat" (over a Swizz Beatz recycling of the Ez Elpee news-flash beat he joked about disliking the first time he used it).
Alternately, there are touching rhymes regarding parenthood, and the moments of romantic heartache and inner conflict - especially the cathartic last verse of "Let It All Work Out," concerning his attempted childhood suicide - have instant and lasting resonance. Moreover, Wayne is often in a mode of mechanical recklessness, dropping to the lowest point on "Open Safe," a felonious fantasy wherein the protagonist boasts of coaxing information from a woman by "stick her hands in the fan blades." Derogatory terms fly there and elsewhere, contradicting Wayne's proclamation of growth, whether he was referring to artistic or human development. A greater portion forms a sluggish, indistinct mass. Almost 90 minutes in length, it's pieced together with material recorded from years to weeks ahead of release, and one cut goes back to resemble an early-2000s crossover bid, from its smoothly melodic Mannie Fresh production to its Ashanti hook. The series finale nonetheless arrives with an undue weight of expectation - its maker already has a proven and immense catalog that includes ten Top Ten solo LPs - and has some burdensome qualities itself.
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A multitude of personal and professional obstacles, occasionally poignant featured appearances, and mixtapes and intervening albums of diminishing quality, were packed into the six years that passed since the fifth Carter volume was promised. Wayne's mother sets the tone with a spoken intro that verges on eulogistic, and through her tears somehow leaves the impression that even she is ever so slightly exasperated about the setbacks and protracted delays that plagued the fifth Carter after her son publicized its imminence in 2012. Claiming supremacy while considering mortality has long been as natural as walking while chewing gum for Dwayne Carter, but there's a greater, grimmer sense across the long-anticipated Carter V that life is just a moment. "Still the motherfuckin' best rapper a-live," Lil Wayne offhandedly declares on "Dope New Gospel," a coasting track on which the unmistakable MC also insists that he's irreplaceable, even in death.
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Purchase and download this album in a wide variety of formats depending on your needs.