Lil Wayne, at this point, needs no introduction: the prolific rap superstar from Hollygrove, New Orleans is finally here with what is his TWELFTH studio album, and his first since 2015’s “Free Weezy Album” (Weezy, by the way, is one of Wayne’s nicknames, and I will be using it at several points in this review). The man’s been making music since the late 90s with his “Tha Block Is Hot” album, and he ended up rising to prominence with the first in his series of “Tha Carter” albums, growing and growing until he hit his peak with “Tha Carter III,” a wildly popular album that’s essentially his most successful one to date. Since then, he’s had some up and down times, with his “Rebirth” album receiving scathing reviews, and his “Tha Carter IV” album receiving more mixed reviews, despite being home to several huge singles like “6 Foot 7 Foot,” “How To Love,” and “She Will,” songs that helped introduce me personally to Wayne (I know what you’re thinking, and no, I wasn’t introduced with “Tha Carter III” because I was 9 when the album came out and didn’t listen to rap at the time, naturally). It was with “Tha Carter IV” that, even if I didn’t jump on the Wayne bandwagon, I started to understand and see his influence on mainstream hip-hop, and I saw him as one of the most popular, in-demand rappers at the time.
Now, while I understood said influence, I never really considered myself a Weezy "fan.” Yes, I enjoyed “She Will” back in the day, and I’ve enjoyed him quite a bit as a feature on songs like “Let It Rock,” “I Made It (Cash Money Heroes),” “Down,” “Forever,” “I’m Goin’ In,” “No Love,” “The Motto,” “I’m The One,” and “No Problem,” among others, but I’ve never been all that big on his own music. In fact, I’m sure I’m not the first to say this, and I know I won’t be the last, but a lot of what made this project so intriguing to me was the much-publicized delays and legal battling with Cash Money Records that kept this thing from being released four years ago. I won’t speak much of it because it’s been spoken about already, but the album was supposed to drop as early as May of 2014. It only just released now as a result of Cash Money Records boss Birdman not wanting to release the album even though it had been completed, a topic that was also alluded to in Drake’s “If You’re Reading This, It’s Too Late” mixtape, with many critics speculating that Drake, with that project, was achieving solidarity with Wayne and planning to leave Cash Money as well. He's even continued to hint at this in songs and live performances, even up to his latest project “Scorpion,” where he indicated that once said album dropped, he would be out of his deal with Cash Money.
So, all of this legal business was in my head going into this thing, and it’s what made me most interested in listening because it raised so many questions: this thing was delayed so many times, does that show? If it was finished in 2014, will it sound that way? Has Wayne’s sound evolved to any degree with this project? Will Weezy shoot subliminals at Birdman and Cash Money after all of that? I was definitely fascinated to know at first, but then my stomach fell entirely on the floor when I saw that this thing was gonna be an HOUR AND A HALF of music, spread across TWENTY-THREE tracks. I get it, long albums are frustratingly “in” right now, and it’s better than what Wayne had before (apparently, the album was gonna have 31 tracks at one point), but just because others are doing it, that doesn’t make it okay. An hour alone is pushing things, an hour and a half is just ridiculous. And when it comes to long albums, you’ve gotta be really conceptual or have a crazy good story to make an album of this length work. Does Wayne have any worthwhile stories to tell that could make an hour and a half of music all that enticing? Well, let’s find out, I guess:
I Love You Dwayne: Kicking things off, we have a spoken-word track from the perspective of Wayne’s mother, Jacida Carter. Jacida talks about how proud she is of Wayne, and I know Wayne was so excited to have her on the album, so I’m glad he was able to get that. As it is, the spoken-word song serves its purpose and is a nice gesture to include her. It’s got emotional appeal to it, and while it’s not something I’m gonna throw on my playlist (since it’s a spoken-word song), I do think it’s an interesting and overall solid way to start the album.
Don’t Cry (feat. XXXTentacion): Okay, so this album has an XXXTentacion feature…because, you know, regardless of what you thought about him when alive, money-hungry executives can’t give him a few seconds to actually rest in peace before they start digging through his grave. Either way, this one sees Wayne talk about his emotions and the difficult situations in his life over a moodier, slow-paced instrumental. The production on this one is actually very smooth and emotional, and I like Wayne’s lyrics and more vulnerable performance. I wasn’t crazy about X’s hook at first, but it’s definitely a grower. I think his vocals are, again, very emotional and vulnerable, and the melody of it actually becomes a pretty good earworm after a while. I actually really dig this, it’s a good start!
Dedicate: A song where Wayne acknowledges his influence as a rapper while shooting some subliminal shots at Birdman, I LOVE Wayne’s flow on this one. It seems to take a few cues from newer rappers like Migos, but it also sees Wayne in top form as confident as ever, and his charisma throughout the song is also brilliant, as it honestly shows me once again just how much of an influence Wayne has had on new-school rappers in regards to energy of performance and vocal inflections. At one point, I was thinking to myself “man, his vocal inflection reminds me a bit of Uzi,” and then I remembered, “wait, Uzi wouldn’t be Uzi without Wayne!” I also love the very pounding keys on this one that mesh well with the trap drums, and the 2 Chainz-sampled hook (specifically hailing from 2 Chainz's song "Dedication") is pretty damn fun as well. Definitely one of the stronger tracks on the album.
Uproar (feat. Swizz Beats): Here, Wayne warns any of his enemies not to play with his name, noting that regardless of how old he is or how long he’s been around, he’s not playing any games now. Subliminals at Pusha T for the “Infrared” disses? Who’s to say, but regardless, Wayne samples G-Dep’s “Special Delivery” on this one, a vibrant and very grand track with very loud bells and trap percussion. I like said production, Wayne has a lot of fun on his performance with good flows and great energy and inflections on his vocals, and the hook is one of the most compelling choruses on the album. By the way, there are no lines that seem to be aimed at Pusha T, so it doesn’t look like Weezy’s trying to reignite any fire and let the “Surgical Summer” continue into the Fall, but that doesn’t take away from what’s a very enjoyable cut.
Dedicate: A song where Wayne acknowledges his influence as a rapper while shooting some subliminal shots at Birdman, I LOVE Wayne’s flow on this one. It seems to take a few cues from newer rappers like Migos, but it also sees Wayne in top form as confident as ever, and his charisma throughout the song is also brilliant, as it honestly shows me once again just how much of an influence Wayne has had on new-school rappers in regards to energy of performance and vocal inflections. At one point, I was thinking to myself “man, his vocal inflection reminds me a bit of Uzi,” and then I remembered, “wait, Uzi wouldn’t be Uzi without Wayne!” I also love the very pounding keys on this one that mesh well with the trap drums, and the 2 Chainz-sampled hook (specifically hailing from 2 Chainz's song "Dedication") is pretty damn fun as well. Definitely one of the stronger tracks on the album.
Uproar (feat. Swizz Beats): Here, Wayne warns any of his enemies not to play with his name, noting that regardless of how old he is or how long he’s been around, he’s not playing any games now. Subliminals at Pusha T for the “Infrared” disses? Who’s to say, but regardless, Wayne samples G-Dep’s “Special Delivery” on this one, a vibrant and very grand track with very loud bells and trap percussion. I like said production, Wayne has a lot of fun on his performance with good flows and great energy and inflections on his vocals, and the hook is one of the most compelling choruses on the album. By the way, there are no lines that seem to be aimed at Pusha T, so it doesn’t look like Weezy’s trying to reignite any fire and let the “Surgical Summer” continue into the Fall, but that doesn’t take away from what’s a very enjoyable cut.
Let It Fly (feat. Travis Scott): A collaboration with “Mr. Astroworld” himself Travis Scott, this turn-up jam features another upbeat trap drum beat, but it also has some more nocturnal and moody production, akin to the kind of instrumentals that Travis usually has on his albums. I like the filters on his vocals, I think they mesh well with said nocturnal and eerie instrumentals, and I think Travis comes through with a pretty sweet hook as well. Wayne’s verse features some really strong flow as well, though I do wish that, for all the “rhyme flexing” that he does, he didn’t spend so much time rhyming some of the same words together. It just tends to feel a bit dull at points. Even so, the track still has plenty of charm to spare thanks to Weezy’s assured performance, and the song is a lot of fun overall.
Can’t Be Broken: With this cut, Weezy takes some time to be thankful, speaking on some of the “unbreakable” accomplishments he has achieved throughout his career, such as his massive sales and accolades, as well as the bonds he has created with his family and friends. I like the very emotional piano riffs, and Thomas Troelsen’s vocals on the hook, though given the “Alvin and the Chipmunk” treatment, are interesting as he sings what is one of the best choruses on the album. Wayne’s flows and technicality on his verse are, as always, on point, as he manages to flex and fire back at haters with confidence, while also having a performance that feels downbeat enough to have some emotional edge to it. Really dig this!
Dark Side Of The Moon (feat. Nicki Minaj): Yet another in a long line of collaborations with Ms. Nicki “Somehow Is On The Same Album as Travis Scott” Minaj, the two discuss a metaphorical apocalypse and interweave this with themes of loyalty, where they discuss how they will stay with their significant others no matter the situation. The production is much slower on this one, with lighter pianos and a more downbeat performance from Wayne. I wasn’t all that crazy about the hook at first, but it definitely grew on me as the song progressed, and Wayne’s performance has some good emotional weight to it thanks to the sadder vocals and somewhat slower flows. Nicki Minaj’s performance and very smooth, beautiful vocals also add to that emotional weight. Didn't think it would be one of my favorites on the album, but I really like this one a lot!
Mona Lisa (feat. Kendrick Lamar): The track that has thus far gained the most traction, Lil Wayne teams up with none other than “Kung Fu Kenny” himself Kendrick Lamar to talk about a deceptive woman who essentially sets her boyfriend up to be “robbed,” playing this into the ambiguity of the smile in the Mona Lisa painting. The two play cat-and-mouse and tell the two different sides of the tale, all over another more emotional, piano-driven instrumental. Wayne’s performance sees him rapping a bit in his higher register, but he sounds good in it, and his flow is very varied throughout the song. And naturally, Kendrick’s verse (which apparently was from the era of “To Pimp A Butterfly”) features the same great rapid-fire flow and charismatic vocal performances that he’s always given us. I see why this is the song from the album that’s blown up the most, it’s really great!
What About Me (feat. Sosamann): A track that sees Wayne talking about a woman that’s paying more attention to another man, thus causing him to question if she really loves him, I kinda like that this song has some R&B vibes, with Wayne’s performance being more melodic and romantic and the production being a bit more spacey and moody. I love Wayne’s vocals on here, and I think the hook is insanely catchy and ear-wormy. I wasn’t really entirely crazy about Sosamann’s performance at first, because he did just sound like another auto-crooner, but his vocals are nice and they do mesh well with the moody instrumentals on here. Pretty good track.
Open Letter: Exactly as the title suggests, this song is an actual open letter to many people around Weezy, be it his fans, his friends, his family, it’s got everyone in it, and it sees Wayne get a bit personal with us, notably even letting us know about his struggles with self-hatred and contemplations of suicide. I do like a lot of his bars on this one, though I don’t think his flow is quite as sticky or attention-grabbing as some of the previous songs on the album. Still, I do like the very woozy and hazy production, and I think it’s interesting seeing Wayne bearing his soul to some degree on this track. Not one of my favorites on the album, but I do think it’s a good track with some potential to grow on me.
Famous (feat. Reginae Carter): Lovingly, Wayne actually features his firstborn daughter, Reginae Carter, on this track, one where he talks about how his rise to the luxurious life he is living now has had positive and negative effects on him. Unfortunately, while his daughter’s vocals are not bad (her vocals are very light and pretty), I think she’s drowned in just a little too much autotune. And while I do again like quite a few of Wayne’s bars (I actually particularly like the “you can’t spell fame without me” line), I feel like some of the piano-driven production does feel just a little contrived. It’s not a terrible track, I can see the appeal of it and it’s definitely listenable, but it doesn’t grab me like some of the other cuts on here.
Problems: Wayne gets braggadocious as he talks about the fame, the wealth, and the pros and cons of millionaire status over some Zaytoven production. I definitely think Zay’s beat is really hard-hitting, and the somewhat nocturnal production is really bright and lovely. Unfortunately, while Wayne’s vocal inflections are really interesting as usual, I don’t find his flows to be quite as interesting, and I think the hook is one of the weakest on the album. Still, I think the really sweet production saves this from being one of the album’s worst. I just wish Weezy’s presence on the song was a bit better.
Dope N***az (feat. Snoop Dogg): Yes, I’m censoring that word. We went through this in my review of Chris Brown’s “Heartbreak on a Full Moon,” as a white male I’m not in a position to use it in any context, so it's gonna get censored. Anyway, Wayne is joined by another legend in Snoop Dogg to talk about how he reacts to the actions of the people he knows. I like Wayne’s very varied flows on this one, and there are some really cool guitars as well (the song samples “Xxplosive” by Dr. Dre, and the sample is used very nicely here). And while I wish he had a verse, I think Snoop’s hook is immediately catchy, and his performance has that trademark Snoop charisma that makes him such a compelling performer. Really good song!
Hittas: Another track that sees Weezy in full braggadocious mode, lavishing in the party-going, wealthy high life, this song actually features a single lyric from Drake. Speaking of which, where was Drizzy on this album? Seemed like a lock to be on it (I know the actual reason he’s not here, just play along). I like the very hazy and ethereal production, with a simple beat and very dreamy synths that work wonderfully together. Wayne’s flows, once again, are smooth and really fun (even when he spits goofy bars like “I’m an ass with that semi, call me semicolon”), though I do think the song could’ve used a better chorus. Still, it’s definitely a pretty good track and it’s got the potential to grow on me with a few more listens.
Can’t Be Broken: With this cut, Weezy takes some time to be thankful, speaking on some of the “unbreakable” accomplishments he has achieved throughout his career, such as his massive sales and accolades, as well as the bonds he has created with his family and friends. I like the very emotional piano riffs, and Thomas Troelsen’s vocals on the hook, though given the “Alvin and the Chipmunk” treatment, are interesting as he sings what is one of the best choruses on the album. Wayne’s flows and technicality on his verse are, as always, on point, as he manages to flex and fire back at haters with confidence, while also having a performance that feels downbeat enough to have some emotional edge to it. Really dig this!
Dark Side Of The Moon (feat. Nicki Minaj): Yet another in a long line of collaborations with Ms. Nicki “Somehow Is On The Same Album as Travis Scott” Minaj, the two discuss a metaphorical apocalypse and interweave this with themes of loyalty, where they discuss how they will stay with their significant others no matter the situation. The production is much slower on this one, with lighter pianos and a more downbeat performance from Wayne. I wasn’t all that crazy about the hook at first, but it definitely grew on me as the song progressed, and Wayne’s performance has some good emotional weight to it thanks to the sadder vocals and somewhat slower flows. Nicki Minaj’s performance and very smooth, beautiful vocals also add to that emotional weight. Didn't think it would be one of my favorites on the album, but I really like this one a lot!
Mona Lisa (feat. Kendrick Lamar): The track that has thus far gained the most traction, Lil Wayne teams up with none other than “Kung Fu Kenny” himself Kendrick Lamar to talk about a deceptive woman who essentially sets her boyfriend up to be “robbed,” playing this into the ambiguity of the smile in the Mona Lisa painting. The two play cat-and-mouse and tell the two different sides of the tale, all over another more emotional, piano-driven instrumental. Wayne’s performance sees him rapping a bit in his higher register, but he sounds good in it, and his flow is very varied throughout the song. And naturally, Kendrick’s verse (which apparently was from the era of “To Pimp A Butterfly”) features the same great rapid-fire flow and charismatic vocal performances that he’s always given us. I see why this is the song from the album that’s blown up the most, it’s really great!
What About Me (feat. Sosamann): A track that sees Wayne talking about a woman that’s paying more attention to another man, thus causing him to question if she really loves him, I kinda like that this song has some R&B vibes, with Wayne’s performance being more melodic and romantic and the production being a bit more spacey and moody. I love Wayne’s vocals on here, and I think the hook is insanely catchy and ear-wormy. I wasn’t really entirely crazy about Sosamann’s performance at first, because he did just sound like another auto-crooner, but his vocals are nice and they do mesh well with the moody instrumentals on here. Pretty good track.
Open Letter: Exactly as the title suggests, this song is an actual open letter to many people around Weezy, be it his fans, his friends, his family, it’s got everyone in it, and it sees Wayne get a bit personal with us, notably even letting us know about his struggles with self-hatred and contemplations of suicide. I do like a lot of his bars on this one, though I don’t think his flow is quite as sticky or attention-grabbing as some of the previous songs on the album. Still, I do like the very woozy and hazy production, and I think it’s interesting seeing Wayne bearing his soul to some degree on this track. Not one of my favorites on the album, but I do think it’s a good track with some potential to grow on me.
Famous (feat. Reginae Carter): Lovingly, Wayne actually features his firstborn daughter, Reginae Carter, on this track, one where he talks about how his rise to the luxurious life he is living now has had positive and negative effects on him. Unfortunately, while his daughter’s vocals are not bad (her vocals are very light and pretty), I think she’s drowned in just a little too much autotune. And while I do again like quite a few of Wayne’s bars (I actually particularly like the “you can’t spell fame without me” line), I feel like some of the piano-driven production does feel just a little contrived. It’s not a terrible track, I can see the appeal of it and it’s definitely listenable, but it doesn’t grab me like some of the other cuts on here.
Problems: Wayne gets braggadocious as he talks about the fame, the wealth, and the pros and cons of millionaire status over some Zaytoven production. I definitely think Zay’s beat is really hard-hitting, and the somewhat nocturnal production is really bright and lovely. Unfortunately, while Wayne’s vocal inflections are really interesting as usual, I don’t find his flows to be quite as interesting, and I think the hook is one of the weakest on the album. Still, I think the really sweet production saves this from being one of the album’s worst. I just wish Weezy’s presence on the song was a bit better.
Dope N***az (feat. Snoop Dogg): Yes, I’m censoring that word. We went through this in my review of Chris Brown’s “Heartbreak on a Full Moon,” as a white male I’m not in a position to use it in any context, so it's gonna get censored. Anyway, Wayne is joined by another legend in Snoop Dogg to talk about how he reacts to the actions of the people he knows. I like Wayne’s very varied flows on this one, and there are some really cool guitars as well (the song samples “Xxplosive” by Dr. Dre, and the sample is used very nicely here). And while I wish he had a verse, I think Snoop’s hook is immediately catchy, and his performance has that trademark Snoop charisma that makes him such a compelling performer. Really good song!
Hittas: Another track that sees Weezy in full braggadocious mode, lavishing in the party-going, wealthy high life, this song actually features a single lyric from Drake. Speaking of which, where was Drizzy on this album? Seemed like a lock to be on it (I know the actual reason he’s not here, just play along). I like the very hazy and ethereal production, with a simple beat and very dreamy synths that work wonderfully together. Wayne’s flows, once again, are smooth and really fun (even when he spits goofy bars like “I’m an ass with that semi, call me semicolon”), though I do think the song could’ve used a better chorus. Still, it’s definitely a pretty good track and it’s got the potential to grow on me with a few more listens.
Took His Time: Ohhhhh, he SURE did. But no, this song isn’t about how Wayne took his time with the album, or how Birdman took his time working out the legal issues, but the song is about how God took his time trying to create Wayne. Hmm…interesting. But anyway, this is another track with very moody, somewhat soulful production that has some very pretty background vocals to it. And once again, I really like Wayne’s variations to his flow, switching up often from cadences that are faster, slower, and sometimes more slanted, and pulling them all off really solidly. And while I wasn’t really all that crazy about the hook at first, I think Wayne’s vocals and melodies on it are catchy and nicely ear-wormy. Pretty good track, I like it.
Open Safe: A DJ Mustard-produced banger, this bouncy track sees Lil Wayne rapping relentlessly and confidently, although I must note that he uses the n-word for the sake of a rhyme 62 times on this one. Totally not repetitive at all, nope. But regardless, DJ Mustard’s production is cutthroat and very hard-hitting, with really sweet, nocturnal synths and the trademark bouncy percussion he's known for. I’d actually say the instrumentals on this track are some of the best on the album. I’m not quite as crazy about Wayne’s performance, though: yes, his vocals are charismatic and exciting, but I just kinda feel like his flow gets a bit monotonous after a while, which doesn’t help that repetitive rhyming I mentioned earlier. Still, I can see this being a song that grows on me with a few more listens, it’s a pretty good listen despite the repetitiveness of it.
Start This Shit Off Right (feat. Ashanti & Mack Maine): But…but this is track #17. How is this “starting shit off?” I’m confused. Anyway, this feature-filled song is once again braggadocious, feeling more like something you’d hear at a party compared to some of the other tracks on the album. And the production, once again, is pretty damn strong, with really funky synths, bright keys, and a really catchy drum beat. I do think that Mack Maine’s hook is a bit repetitive, but fortunately, his presence throughout the song is kept to enough of a minimum that it doesn’t sour too quick. Wayne’s verses once again feature some fun bars and great flows, and Ashanti is a show-stealer with her very angelic vocals. Really dig this one, easily one of my favorites on the album.
Demon: Should be obvious with the title, but Weezy talks here about the demons he has faced over his life: past flames, money, himself, everything, it’s all here. Taking things a bit slower as well, Wayne nonetheless gives us some faster-paced flows, some of which feel a bit unconsciously slanted and off-time. I like some of the more moody, lowkey production, and the hook has some charm to it, but I feel like this is another overly repetitive cut, given that it’s just one verse (which gets repeated as well) and the rest of the song is just choruses, bridges, and hooks. It has a few good ideas going for it, but this is one of the more inessential tracks on the record.
Mess: Keeping things going in a more introspective direction, Wayne talks about the messiness of his love life on this song. He talks about this over another more moody instrumental that features some very sad guitar plucking, as Wayne gets a bit more melodic on us. And I do like his singing here, it actually feels like it carries some emotional weight to it. I don’t think the lyrics are all that interesting for what Wayne is going for, and the hook isn’t one of the album’s best, but I can see how people would like a song like this, and it’s definitely far from the album’s worst. Not something I’ll come back to much, but it’s got good things going for it.
Dope New Gospel (feat. Nivea): Essentially Wayne’s version of Michael Jackson’s “Man in the Mirror,” here we see Weezy talking more about his ups and downs, while also featuring Nivea, his ex-fiancé. Again, very nice move by Wayne, respect. And I like some of the very subtle gospel nods on the production, which is at points angelic and at others very gorgeous. Wayne’s vocal inflection, which leans more on crooning, is smooth and very nice, as is his typical exuberant and entertaining flows, and Nivea’s vocals sound very pretty as well. Definitely one of the sweeter cuts on the album, I really dig it.
Perfect Strangers: Another love song, Wayne talks here about how he is in love with so many different women, and how he doesn’t even know who they really are, giving him the feeling that they are more like strangers, even if they talk often. Rough times, sorry Weezy. Anyway, I once again love the production here: the synths and pianos kinda have a tiny bit of a throwback vibe. I’m not sure what it is, but it kinda feels nostalgic to me for some reason (and I mean that in a good way). I again love Wayne’s more moody and emotional vocals, and the song feels like it mixes in some pretty nice R&B feels that help make it one of the more fun tracks on the album.
Used 2: With some help from Metro Boomin, Wayne talks here about how he’s grown up and changed some of the habits he had in the past. I use the term “grown up” a bit lightly, though, because with lines like “I used to fuck and get tired, now I fuck her ten times” in the hook…yeah, that’s something. But either way, this one also has some super deep, dark, cutting production that features very sinister keys and somewhat more minimal percussion. I also love how Wayne has some more sad, what sounds to be tear-filled vocals throughout parts of the song, but juxtaposes them with more fast-paced flows, and still shows confidence in himself all throughout. The hook is also one of the catchier ones on the album, and it helps round out this really intense, damn good track.
Let It All Work Out: The outro track to this VERY LONG album, Wayne gets a bit personal with us by detailing a suicide attempt of his past, and telling us about he was saved from said attempt. And while he’s not credited, Weezy enlists the help of Sampha, whose song “Indecision” gets sampled, and his song “Let It All Work Out” that he did with Young Thug gets interpolated. Wayne’s flow here doesn’t really grab my attention right away, but I think some of the bars are pretty interesting and his confidence is definitely on full display here. The production takes some very neat twists and turns as well, though I feel like Sampha’s “let it all work out” passage just gets a bit too repetitive for me. It’s not the strongest song on the album, but I do think it’s an appropriate closer. Could it have been improved? Sure, but I see why Wayne chose this one to close with.
So, now that it’s finally out and I’ve finally gotten through all of it, what do I think of Lil Wayne’s long-awaited “Tha Carter V?” Well, to my surprise after all the legal battles and delays, I actually really enjoyed the album! I was worried that Wayne wouldn’t have enough interesting subject matters to make a 23-song album interesting and…well, a lot of this is flexing, so I guess that wasn’t extremely far enough, but that doesn’t really matter because Wayne and his producers for much of this album are in top form. The instrumentals are sticky and memorable, as Wayne has an ear for a lot of different styles and sounds, some nocturnal, some banging, some moody, but all pretty enticing. And Wayne remains an interesting performer after all these years: his performances throughout the songs feature some extremely varied flows, sweet filtered vocals, and charismatic inflections as well.
I am a bit conflicted with my rating, though, because the album does have a few flaws. For starters, while there are plenty of really enticing and great hooks on this album, there are quite a few times where those hooks are just “in one ear and out the other,” which makes quite a few songs feel a little less attention-grabbing. And the other big issue is that, while Wayne and the producers are often in top form here, this 23-song album does have a decent helping of filler to it. I understand Wayne’s desire to give his fans a longer album, especially since they’ve been waiting for such a long time, but I do think he could have cut down on the number of tracks just a little bit. Given that much of the album doesn’t really see him tackling a bunch of hard-hitting themes, there’s a lot of turn-up flavored filler that could’ve been cut entirely from the record.
You know what, though, I think this is a case where I’m willing to be nice with my rating, and forgive some of those flaws because, at the end of the day, I did like 14 out of the 23 songs on here, and the songs I liked, I REALLY liked. And the few songs I didn’t like still had some good ideas going for them. Sometimes, it’s not just about how many songs you liked and disliked on the album, it’s about the extent to which you liked or disliked said songs, and I definitely loved a good majority of the album. The love outweighs the very slight dislike. It’s a wonder that Wayne even got this thing out, and it’s even more of a wonder that I walked away from the album loving so damn much of it. So overall, I’m happy to say that I definitely recommend giving “Tha Carter V” a listen. Weezy fans, I’m glad you guys have gotten what you’ve been waiting for, I’m glad it’s everything that you hoped it could be, and I’m glad that I can totally see why.
Wayne, you proved me wrong. The wait was worth it. Way to go.
Favorite tracks: Don’t Cry, Dedicate, Uproar, Let It Fly, Can’t Be Broken, Dark Side Of The Moon, Mona Lisa, What About Me, Dope N***az, Took His Time, Start This Shit Off Right, Dope New Gospel, Perfect Strangers, Used 2
Least favorite tracks: Famous, Demon
Rating: Excellent
Open Safe: A DJ Mustard-produced banger, this bouncy track sees Lil Wayne rapping relentlessly and confidently, although I must note that he uses the n-word for the sake of a rhyme 62 times on this one. Totally not repetitive at all, nope. But regardless, DJ Mustard’s production is cutthroat and very hard-hitting, with really sweet, nocturnal synths and the trademark bouncy percussion he's known for. I’d actually say the instrumentals on this track are some of the best on the album. I’m not quite as crazy about Wayne’s performance, though: yes, his vocals are charismatic and exciting, but I just kinda feel like his flow gets a bit monotonous after a while, which doesn’t help that repetitive rhyming I mentioned earlier. Still, I can see this being a song that grows on me with a few more listens, it’s a pretty good listen despite the repetitiveness of it.
Start This Shit Off Right (feat. Ashanti & Mack Maine): But…but this is track #17. How is this “starting shit off?” I’m confused. Anyway, this feature-filled song is once again braggadocious, feeling more like something you’d hear at a party compared to some of the other tracks on the album. And the production, once again, is pretty damn strong, with really funky synths, bright keys, and a really catchy drum beat. I do think that Mack Maine’s hook is a bit repetitive, but fortunately, his presence throughout the song is kept to enough of a minimum that it doesn’t sour too quick. Wayne’s verses once again feature some fun bars and great flows, and Ashanti is a show-stealer with her very angelic vocals. Really dig this one, easily one of my favorites on the album.
Demon: Should be obvious with the title, but Weezy talks here about the demons he has faced over his life: past flames, money, himself, everything, it’s all here. Taking things a bit slower as well, Wayne nonetheless gives us some faster-paced flows, some of which feel a bit unconsciously slanted and off-time. I like some of the more moody, lowkey production, and the hook has some charm to it, but I feel like this is another overly repetitive cut, given that it’s just one verse (which gets repeated as well) and the rest of the song is just choruses, bridges, and hooks. It has a few good ideas going for it, but this is one of the more inessential tracks on the record.
Mess: Keeping things going in a more introspective direction, Wayne talks about the messiness of his love life on this song. He talks about this over another more moody instrumental that features some very sad guitar plucking, as Wayne gets a bit more melodic on us. And I do like his singing here, it actually feels like it carries some emotional weight to it. I don’t think the lyrics are all that interesting for what Wayne is going for, and the hook isn’t one of the album’s best, but I can see how people would like a song like this, and it’s definitely far from the album’s worst. Not something I’ll come back to much, but it’s got good things going for it.
Dope New Gospel (feat. Nivea): Essentially Wayne’s version of Michael Jackson’s “Man in the Mirror,” here we see Weezy talking more about his ups and downs, while also featuring Nivea, his ex-fiancé. Again, very nice move by Wayne, respect. And I like some of the very subtle gospel nods on the production, which is at points angelic and at others very gorgeous. Wayne’s vocal inflection, which leans more on crooning, is smooth and very nice, as is his typical exuberant and entertaining flows, and Nivea’s vocals sound very pretty as well. Definitely one of the sweeter cuts on the album, I really dig it.
Perfect Strangers: Another love song, Wayne talks here about how he is in love with so many different women, and how he doesn’t even know who they really are, giving him the feeling that they are more like strangers, even if they talk often. Rough times, sorry Weezy. Anyway, I once again love the production here: the synths and pianos kinda have a tiny bit of a throwback vibe. I’m not sure what it is, but it kinda feels nostalgic to me for some reason (and I mean that in a good way). I again love Wayne’s more moody and emotional vocals, and the song feels like it mixes in some pretty nice R&B feels that help make it one of the more fun tracks on the album.
Used 2: With some help from Metro Boomin, Wayne talks here about how he’s grown up and changed some of the habits he had in the past. I use the term “grown up” a bit lightly, though, because with lines like “I used to fuck and get tired, now I fuck her ten times” in the hook…yeah, that’s something. But either way, this one also has some super deep, dark, cutting production that features very sinister keys and somewhat more minimal percussion. I also love how Wayne has some more sad, what sounds to be tear-filled vocals throughout parts of the song, but juxtaposes them with more fast-paced flows, and still shows confidence in himself all throughout. The hook is also one of the catchier ones on the album, and it helps round out this really intense, damn good track.
Let It All Work Out: The outro track to this VERY LONG album, Wayne gets a bit personal with us by detailing a suicide attempt of his past, and telling us about he was saved from said attempt. And while he’s not credited, Weezy enlists the help of Sampha, whose song “Indecision” gets sampled, and his song “Let It All Work Out” that he did with Young Thug gets interpolated. Wayne’s flow here doesn’t really grab my attention right away, but I think some of the bars are pretty interesting and his confidence is definitely on full display here. The production takes some very neat twists and turns as well, though I feel like Sampha’s “let it all work out” passage just gets a bit too repetitive for me. It’s not the strongest song on the album, but I do think it’s an appropriate closer. Could it have been improved? Sure, but I see why Wayne chose this one to close with.
So, now that it’s finally out and I’ve finally gotten through all of it, what do I think of Lil Wayne’s long-awaited “Tha Carter V?” Well, to my surprise after all the legal battles and delays, I actually really enjoyed the album! I was worried that Wayne wouldn’t have enough interesting subject matters to make a 23-song album interesting and…well, a lot of this is flexing, so I guess that wasn’t extremely far enough, but that doesn’t really matter because Wayne and his producers for much of this album are in top form. The instrumentals are sticky and memorable, as Wayne has an ear for a lot of different styles and sounds, some nocturnal, some banging, some moody, but all pretty enticing. And Wayne remains an interesting performer after all these years: his performances throughout the songs feature some extremely varied flows, sweet filtered vocals, and charismatic inflections as well.
I am a bit conflicted with my rating, though, because the album does have a few flaws. For starters, while there are plenty of really enticing and great hooks on this album, there are quite a few times where those hooks are just “in one ear and out the other,” which makes quite a few songs feel a little less attention-grabbing. And the other big issue is that, while Wayne and the producers are often in top form here, this 23-song album does have a decent helping of filler to it. I understand Wayne’s desire to give his fans a longer album, especially since they’ve been waiting for such a long time, but I do think he could have cut down on the number of tracks just a little bit. Given that much of the album doesn’t really see him tackling a bunch of hard-hitting themes, there’s a lot of turn-up flavored filler that could’ve been cut entirely from the record.
You know what, though, I think this is a case where I’m willing to be nice with my rating, and forgive some of those flaws because, at the end of the day, I did like 14 out of the 23 songs on here, and the songs I liked, I REALLY liked. And the few songs I didn’t like still had some good ideas going for them. Sometimes, it’s not just about how many songs you liked and disliked on the album, it’s about the extent to which you liked or disliked said songs, and I definitely loved a good majority of the album. The love outweighs the very slight dislike. It’s a wonder that Wayne even got this thing out, and it’s even more of a wonder that I walked away from the album loving so damn much of it. So overall, I’m happy to say that I definitely recommend giving “Tha Carter V” a listen. Weezy fans, I’m glad you guys have gotten what you’ve been waiting for, I’m glad it’s everything that you hoped it could be, and I’m glad that I can totally see why.
Wayne, you proved me wrong. The wait was worth it. Way to go.
Favorite tracks: Don’t Cry, Dedicate, Uproar, Let It Fly, Can’t Be Broken, Dark Side Of The Moon, Mona Lisa, What About Me, Dope N***az, Took His Time, Start This Shit Off Right, Dope New Gospel, Perfect Strangers, Used 2
Least favorite tracks: Famous, Demon
Rating: Excellent
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