“Took His Time” features a gospel-feeling hook from Wayne in which he nasally harmonizes about God carefully crafting him - an infectious assertion if you sing along. The creative peaks and hints at optimism are what ultimately makes Tha Carter V a victorious step into the future for Lil Wayne, though.
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“Famous,” in particular, is an outdated, nearly cringeworthy attempt at a pop rap record, a la Eminem “Used 2” sounds painfully uninspired, the omission of Drake on a song like “What About Me” is a head-scratcher, and Nicki Minaj’s contribution to “Dark Side of the Moon” is underwhelming. The album runs over an hour-and-a-half, and a good chunk of those songs sound like they were a part of the album’s first draft back in 2014. There’s also “Mona Lisa,” a dream joining of Wayne and his greatest lyrical successor, Kendrick Lamar.īut where Tha Carter V starts to veer off path is its continuation of Young Money artists’ irrational love for excess. Dre’s 2001 standout “XXXplosive.” Both songs awaken the glee of witnessing Wayne’s extended period of outdoing artists on their own beats. On Tha Carter V, that’s most evident on “Uproar,” Swizz Beatz’s flip of G Dep’s “Special Delivery” and the Snoop Dogg-featuring “Dope Niggaz,” which interpolates Dr. That was what established him as one of the greatest entertainers music has ever seen the real delight of listening to Lil Wayne was that he was having a considerable amount of fun while recording. The most detectable difference in much of Dwayne Carter’s twelfth studio album is the contagious sense of joy, which he hasn’t succeeded at harnessing for some time.
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The song is a reassertion of his influence (face tattoos, gang affiliations turning into a bizarre fad) and at times, it feels like he barely pauses for air: I started this shit, they borrowed this shit / I thought of this shit, they thought it was it / I'm doggin' this shit, they bark and they sit. “Dedicate,” which samples 2Chainz’s Wayne-honoring “Dedication,” sounds like keys are being forcefully mashed down on and it’s peak “I’m just a much better rapper than the rest of you” Wayne. Anything better than the inconsistencies that he’d been releasing since 2011’s Tha Carter IV would have inspired relieved brow wipes, but the sharpness of an inspired Wayne was more refreshing than most probably anticipated. Since the album’s release date started being teased out last week, the consensus hope from fans was that Wayne would just do a good enough job to stay out of his own way. What goes on to happen for the first third of Tha Carter V is much more exhilarating than anything Lil Wayne has put out in recent memory. Carter went ahead and dropped Tha Carter V, an album that finds him at his most detectably motivated state since the top of this decade. The plea for a new chapter of Wayne, both musically and personally, wasn’t unwarranted in the least but on the night of his 36th birthday, the younger Mr. Flashing that level of transparency brought on wishes for Wayne’s own version of JAY-Z’s 4:44, which came out nearly a year after the “Mad” verse and framed Jay as an artist not afraid to shed his too-cool exterior in the interest of opening himself up to listeners. Offerings like his verse on Solange’s 2016-released “Mad,” in which he talked about a failed suicide attempt and bearing the weight of taking care of relatives, hinted at an older, more vulnerable version of an artist best known for rapping - exceptionally well - about being a better rapper than other rappers. There were rumblings online about whether or not Wayne should carry on with releasing an album that was four years behind schedule.