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This is one of the only Lil Wayne albums I can respect and the follow up to his previous album The Carter II. It reached the no1 in the US and has sold 3.6million copies there so far which makes this his best selling album to date. I know he is one of those rappers that you can love or hate, and it's easy to say you don't like him cause of how he looks or some of the lines he raps, but there is denying that he has talent. The guy can rhyme words like there is no tomorrow and as usual I will review my favourite tracks here.
This is the track that opens the album and is not much about the tune, but more Lil Wayne to show off his rapping. There is a decent beat and you will definitely feel the bass, but be warned there is a lot of swearing here and due to this I can see why it was never released as a single as they would be censoring out every word. I usually like to quote certain sentences but don't think Dooyoo would allow me to do so, but they are very clever lines.
The next track here features Jay Z and it is called Mr Carter as both him and Jay Z have the surname Carter. Lil Wayne raps the first couple of verses and then Jay Z does his thing in the final verse. It is an awesome track and a real feel good track. My Favourite line is where he is rapping about how summer is hating on him cause he is too hot, spring is hating on him cause he is never sprung, winter hating on him cause he raps colder than everyone else and autumn hating on him cause he will never fall. So if he is beating hated by the seasons so who is everyone else to hate on him for no reason. It is very clever lines and when Lil Wayne raps them in his witty way you really feel them. Jay Z does his part well and he brings consistency to the table as always.
One of the lighter beats on the album and it features Babyface who sings the hook and is pretty cool but Lil Wayne destroys this track with his flow and lyrically. There are so many awesome lines like 'I got game like EA, but I wanna let you play'. Of course only people that play EA sports game like Fifa will get this line. It is a lot different to other tracks in the sense that is not rapping dirty lyrics about girls but is a track about how he can make a girl happy but that she shouldn't get too comfortable and that it's ok if she doesn't love him as somebody else will. I guess that line isn't quite touching but a lot of people can relate to it.
Tie My Hands
This features Robin Thicke an R&B singer, who has been trying to make it for a while now, but never quite hit the mainstream heights of many other singers. Possibly because he can actually sing and it seems. Lyrically it is one of my favourite tracks and Lil Wayne really goes all out here. It leaves you wanting more as does Robin Thicke and he shows off vocally. I wouldn't even say there is much of a beat here, just a slight bass in the background. To be honest at times I get confused with what this track is even about as Lil Wayne changes topics like he changes ladies.
Overall this is a great album and there are a couple of other tracks I also like Mrs Officer featuring Bobby Valentino. It's too bad Valentino seems to have disappeared as at one time he seemed like the next big thing and he really has an excellent voice. Also Lollipop is the track which really made Lil Wayne big. It is a very dirty track but one that is also very catchy as well. I can see why some people are not a fan of Lil Wayne, but he does play a lot of instruments also and has done a lot of experimenting making a Rock album which had very mixed reviews. Overall however I think he did a great job with this album and there is a lot to like about it so four stars.
Lil Wayne had actually struggled to become the prominent superstar prior to the jaw dropping success that this album has achieved. Now I had heard Lil Wayne prior to this album on both mixtapes and on the album The Carter 11 and therefore was intrigued to see what the hype was really about.
The initial impressions were not good. I don't like the beats, the production to me sounds dull as dishwater and a very strange choice to use as sonic landscapes. This album's success has no doubt benefited greatly by the mainstream appeal of Lollipop. I don't really need to explain this one, but suffice to say I can not stand it's corny message and equally corny sound. In fact virtually the only exceptions to dislike of the production are the extremely slick and catchy You Aint Got Nuthin and Mr Carter.
This album is packed with guests, with singers and or rappers appearing on 10 of the 16 songs. However only Juelz Santana, Fabolous and Jay-Z had a positive impact on me, the others simply didn't register with me.
So when I loath the production it's not the best platform to even consider the overall songs but having said that, perhaps Lil Wayne can dazzle me with his verbal dexterity? well no actually he can't. His voice is truly irritating, whiny and i thank god he is not a work colleague. This is further exasperated when he chooses to choose the automation lifeless device which is autotune.
He is also doesn't strike me as a lyricist either, in fact when you listen to him, it seems his rhyming is just incidental as opposed to thought out and structured. The song You Aint Got Nothin has a terrific sense of irony when you listen to Lil Wayne autotune and all, getting completely outclassed by the slick wit and intelligence of the Santana's and Fabolous rhymes.
Perhaps I am just not hearing what so many millions seem to be hearing. or perhaps millions have opened up their third eye with LSD, who knows. What I do know though is that I cringe whenever my brother plays this cd.
Being someone that listens to a range of music, from Cradle of Filth to Boyzone to Eminem, Lil Wayne was one of the artists that I felt I had to listen to! I found, when I began listening to this album that although I adore the way that Lil Wayne's voice sounds it is a somewhat select taste. That being said, I think this album is outstanding! There are a range of songs, that differ from being slow, to ones that are more upbeat. I must have listened to the album at least 100 times in the past month, and there is only one fault that I can find with it. The tracks can be somewhat repetitive in places.
Having sold over 6 million albums over his career and this album selling around 2.5 million, Lil Wayne is set to go down as one of the greatest rappers of his time!
The track listing for this album is;
1. 3 Peat
2. Mr. Carter
3. A Milli
4. Got Money
6. Dr. Carter
7. Phone Home
8. Tie My Hands
9. Mrs. Officer
10. Let The Beat Build
11. Shoot Me Down
13. La La
14. Playing With Fire
15. You Ain't Got Nuthin
There are many tracks on the album that are collaborated with different artists such as Jay-Z, T-Pain, Bobby Valentino and Busta Rhymes. From the album both Lollipop and A Milli were released. Both of which, I would rate as some of the best songs on the album.
My personal favourites include; 3 Peat, Lollipop, Phone Home, You Ain't Got Nuthin and A Milli.
This album makes a great gift for anyone that likes rap music or likes a variety of music.
"Lil Wayne", aka Weezy or Dwayne Carter, is back. I knew instantly when i saw the CD that it was not going to be one i'd buy in haste with hope and end up ripping some saddo off with on ebay before "dinner!" was yelled.
And i was right. Lil Wayne has expanded his teenage success, bank account(s), and weed stock with "Tha Carter III". To be honest, i hadn't even heard much of him before a friend introduced me to his slick r'n'b rap and several trillion tattooes...and i'm glad she did. With my favourites being...well...most of the songs on there,...Weezy has made this one seem effortless. But i can't get enough of "Mrs Officer", "You Ain't Got Nuthin On Me", "A Millie" and "Lollipop", and i'm not about to hide my new addiction.
Great for anyone who loves cool, catchy r'n'b and furious, infectious rap...or toned torsos ;)
Lil Wayne is a New Orleans (USA) rapper who has been present on the music scene for around 10 years and shot to worldwide recognition with the release of this, his sixth studio album 'Tha Carter III.' The album achieved swathes of award nominations and scooped the rapper the title of 'Best Hip-Hop Video' at the 2008 MTV Video Music Awards and also contributed to him winning four Grammys in 2009. A very notable achievement for a hip-hop artist.
'Wayne' whose real name is 'Dwayne Michael Carter Jr.' had naturally, preceded 'Tha Carter III' with 'Tha Carter ' and 'The Carter II' amongst other albums. He is soon to release his seventh album entitled 'The Rebirth' in autumn of 2009 and has said it a much more rock orientated direction than his music currently moved in. Despite his hip-hop background and album history, Wayne has stated that from a young age he loved bands like Nirvana so the album should either be one to remember or one to avoid, as most brave yet experimental musical changes tend be. Most of Wayne's music is basically Southern American hip-hop with elements of the Atlanta rap scene and crunk American club beats. His vocal approach is unique which has led to many to laud him as the next big thing in the world of hip-hop music and he has recently featured on tracks for more than 10 other prominent performers as a guest vocalist. However, all is not perfect for Wayne, he has been in trouble with the law in recent years for narcotics and weapons offences... but let's face it, most US rappers have.
Tha Carter III's initial release featured 16 tracks and ran well over an hour in length so was already good value for you hard earned money. So upon release of the 'Deluxe Edition' -which features eight more tracks and more than an extra half an hour of music in total- the album became a massive almost two hour record which offers a variety of vibrant moods and host's of guest vocalists and producers. There are a variety of releases with varying tracks and remixes as bonuses but I think I have the most comprehensive addition so will try to give a view of each track available.
The album is in so many forms and couple have been completely different had it not been for an internet leak of most of the original tracks for the album. Wayne did plan to release this collection of tracks as an album called 'The Leak' but this never materialised an instead he went to produce even more material for 'Tha Carter III.'
I have to state, before I review the album, that I had not even liked Lil Wayne until very recently after this album was recommended to me as his tracks appeared to be no different to countless others pouring out of America at the moment and the lyrics I had heard had not impressed me. However, after listening to this album, it is clear that where Wayne lacks, he compensates with his ability to stick to the beat, not with his lyrics, but with his style. He just sounds like he belongs on every track and I found that given a few chances, this album really grew on me.
=== THa CaRTeR III ===
Track 1 [3 Peat]
A slow and bass'y drum beat warms up the album and a mellow yet dramatic violin sample helps to craft a pretty decent first beat. Wayne raps with a distinctive sort of flow. His rhyme schemes are very unconventional and sometimes can be almost inspired and brilliant from an emcee's point of view. But at other points in the album they are so basic it is almost embarrassing. However, he usually watches his step and manages to produce a good-sounding verse with what appears to be little effort. This track is pretty good and a satisfactory opener.
Track 2 [Mr Carter (featuring Jay-Z)]
Immediately I liked this track, the concept seemed so simple yet clever. With both rappers' real surnames being 'Carter' they answer along to 'Mr Carter' by saying 'I am him... ' The chorus works really well and a good hook always gives any track a good chance. The beat is a slightly bumping drum loop with keyboards and/or a piano. Wayne raps most of the track but manages to carry himself impressively when coupled with, the rap veteran Jay-Z. Jay-Z's verse is one of the best I have heard from in the past couple of years and the track really succeeds in most areas. As a consequence, it is one of my favourites on the album.
Best Lyrics: Jay-Z
CHYeeeah! I'm right yeah in my chair, with my crown and my dear
Queen Bee, as I share, mic time with my heir
Young Carter, go farther, go further, go harder
Is that not why we came? And if not, then why bother?
Track 3 [A Milli]
A light and airy beat is merely a hoax ahead of the repetitive sample and US club beat that make up this track. The constant repetition of 'A Milli A Milli A Milli A Milli' in the background to makes most of the tune may irritate some to the point of hatred. Admittedly, the track is pretty good in some ways but I can't escape the idea of fourteen your olds playing it from their phones on the bus. Probably a love me or hate kind of track.
Track 4 [Got Money (featuring T-Pain)]
A slightly more troublesome beat, more energetic than the previous one with the tendency to fill a dance floor. This kind of track is rife in many US clubs, which tend to favour a breed of slow dance music crossed with hip-hop as oppose to the happy hardcore or cheesy yin-yang of most UK clubs. The vocals are altered with a synthesiser quite a lot in parts of the track and it doesn't really sound anything new but is a good example of its kind still. A typical rap song about flashing the cash.
Track 5 [Comfortable (featuring Babyface)]
A very strong R&B vibe in inescapable here. A rap ballad if there can be such a thing, Wayne shows a sensitive(ish) side and the chorus is crooned way by Babyface. In essence, a love song. Quite radio friendly really but a little uneventful.
Track 6 [Dr Carter]
Produced by the omnipotent 'Swizz Beats' this track is a strange one but his presence manages to create a decent beat for the song. The concept is that Wayne is a 'The Doctor' (of rap) and he is presented with patients with 'lack of concepts and originality' 'weak flows' and other superimposed vocal ailments which Wayne tries to rectify. The beat samples an orchestral tune called 'Holy Thursday' by 'David Axelrod. The sampled song is also on 'Grand Theft Auto IV.' The beat works really well in the end and the track is a creative one.
Track 7 [Phone Home]
A slow build up to the track with little hints of brass and some sort of tubular bells or xylophone notes lead the way until a bass-heavy drum beat joins the party. Wayne raps the verses himself and manages decent verses each time but the chorus is a little dull. The beat is nothing more than average either really.
Track 8 [Tie My Hands (featuring Robin Thicke)]
An acoustic guitar is the basis for this tune's beginnings and this ties in well with the style of the guest vocalist. Robin Thicke has a soft style of singing and lends his voice to this track. A very laid back beat with equal lots of singing and not that much actual rapping from Wayne, although when he does rap there are not many complaints.
Track 9 [Mrs Officer]
Wyclef is the man behind the music this time with a soulful rhythm that carries on nicely from the smooth vibe the album is starting to create. The track begins as a sort of love song, where Wayne sings about being stopped by a female police officer and the two hit it off - very quickly. there are plenty of little jokes about police and a funny ending to the chorus. Actually made me laugh out loud. Bobby Valentino sings the chorus, and 'Kidd Kidd' provides one of the verses. One of the coolest and most universal tracks so far, unless you work for the police, in which case, you may need to rent a sense of humour =P
Best Lyrics - Lil Wayne
Ha Ha! And after we got done, I said...
'Lady what's your number?' She said nine one.
Emergency only, here doctor perform surgery on me,
...and now I healed, I'll make her wear nothin but handcuffs and heels...
And I beat it like a cop, Rodney King baby, I beat it like a cop
Ha Ha! beat it like a cop, Rodney King baby, yeah I beat it like a cop
But I aint try'n'a be violent, I'll do my time but her love is timeless.
Mrs Officer, I know you wish your name was Mrs Carter huh?
Track 10 [Let the Beat Build]
Another beat that Kanye West had a hand in producing. A soulful gospel choir is the basis for the tune and a piano and harmonica and an extra dimension. Wayne shows that his taste in music is not limited and the complete lack of drums for most of this song is testament to Wayne's versatility. Overall, the track is nothing remarkable but it adds an extra colour to the spectrum of the album.
Track 11 [Shoot Me Down]
Produced by Kanye West, this is one of the albums strongest rap beats. Very low tempo with various bass samples and a very serious vibe. Quite timid in terms of actual aggression expressed but full of pent up energy which is always threatening to split through the sides of the track. A very good track and a return to the hip hop vibe.
Track 12 [Lollipop (featuring Static Major]
Most people will have heard this song, whether they know it or not. It has been everywhere and is bombarded in adverts for ringtones and music videos. A cult smash straight away and one of the album's award winning tracks. A very 'dirty south' beat again. this type of song seems to be sweeping up fans in America and to some extent of the UK. The kind of track that encourages bumping and grinding and seems so popular today. The chorus is another of those irritatingly catchy ones, but is pretty decent really. The verses are pretty simple but complex rhyme schemes and deep opinions don't tend to lead to any form of commercial success today. The mainstream tends to latch on to tracks about money, girls, parties and drink/drugs. A little worrying statement about society maybe but musically, it has been known for a long while that popularity favours attitude over intellect.
Track 13 [La La (featuring Brisco & Busta Rhymes)]
A very infantile beat with an appropriate sample of little children humming out 'La La La La La La La La' Wayne raps about his young daughter for some of the track but Brisco fails to impress me with his verse. Busta Rhymes provides a characteristically professional verse although I feel his style of rapping favours a slightly faster beat. Some highlights in the rap of Busta and Wayne but a poor beat lets the track down.
Track 14 [Playin' With Fire]
More piano in the beat, with an atmospheric chill in it's notes and a peculiar delivery from Wayne make this a track worthy of note. Maybe not the most laboured and polished delivery from Wayne but that isn't really what he intends in his style really. The track's main chorus is powerful and seems to push Wayne into a more energetic delivery. Overall, another good track.
Track 15 [You Aint Got Nuthin' (featuring Fabolous & Juelz Santana)]
A synthetic beat is first trodden by Fabolous with one of the most disciplined verses of the last few tracks. He sticks to the beat as well as Jay-Z and Busta Rhymes managed to and he is probably the third impressive guest rapper so far. The title might be a grammatical nightmare but the actual track is hardly going to fall down on that fact!! The beat isn't spectacular but is the type that allows the guys on the mic to deliver a medium tempo verse whilst keeping the ability to produce some enjoyable bursts of rhyming.
Track 16 [Don't Get It]
This near ten-minute monster of a track is the climax to the original 16 track issue of 'Tha Carter III' and it opens with a great sample of 'Don't Let Me Be Misunderstood' and a vibrant but kicked back beat which is perfect to take the album through its final minutes. A pretty simple set of verses from Wayne but the song is a top notch background beat. In my opinion, that is not even a criticism of the actual song. Maybe a little swipe at some lazy lyrics, but eventually Wayne just degenerates into talking the album out to its climax. Clearly rap wasn't the order of the day; he makes his own political opinions on society, education and crime public domain in the tracks last few minutes. A very decent way to take the album out, not musically brilliant but the track has other merits and the beat is still a damn good one.
=== Available Bonus Tracks ===
*This first five tracks are available on the 'Standard Deluxe Edition' of the album.
In some ways, an uplifting beat with positive sentiments. Some of his better verses are on this track and a decent chorus despite its simplicity. A shame it's missing from the main album as it is one of the best tracks altogether.
A pretty eventful beat with true hip-hop form and a strong performance from Wayne make this another track that is a loss to the standard album.
This track however is welcome to not be included on the album. Probably the laziest rhyming I have ever heard in my life. A reasonably good, chilled out beat is tainted by an annoying set of samples and Wayne rhyming the words turtle with itself 4 times in two lines. Also hampered by a chorus that wears thin after one or two listens.
[Love Me Or Hate]
Wayne is better on this track with an inventive flow and approach. A grand beat which builds to a crescendo that drops into a soulful and positive track.
[Talkin' About It]
A pretty ominous beginning gives way to a reasonable track. Nothing special, the track excels during the verses and is penalised by its weak, sharp sounding choruses and breaks.
*The next two tracks are on the 'Limited Edition Deluxe' version
A heavy beat with a funky rhythm is another track that would have been great on the original album. One of the quickest rapping tempos of all the tracks and a song that after listening to again whilst I review, I enjoy a little more now.
This track is also available on some UK editions of the original 'Tha Carter III.' Another heavy beat, produced by 'Deezle' as are many other beats for the record. A pretty decent song, with a vibe on hype as 'It's Showtime! It's Showtime' rings out. Wayne rhymes with some slightly questionable content but some evident skill.
* The final two tracks are bonus tracks available on iTunes.
A synth-heavy track with another slightly uncharacteristic instrumental for Southern Hip Hop, however, the presence of the kick drums ensures that it isn't totally diluted. Not a bad track but you wouldn't miss it too much.
[Lollipop Remix (featuring Kanye West]
A different angle on the album's most successful track and different enough to warrant a separate track. A fairly good appearance from the biggest ego in hip-hop (aka Kanye) but again, I can't help think they should have just brought all the tracks out at once.
=== Overall ===
If you are still reading, well done! I'm impressed and hope the breakdown of the albums helped. There are so many variations of this release that you could get various different combinations of tracks and that is one of my main criticisms of the album. I think the release of a double album would have been more relevant or just a couple more strong tracks and there could be two good albums here. The other negative is that Wayne does have a tendency for sloppy lyrics, rhyming a word with itself quite often but at times he really does display lots of talent. He knows how to make a song sound funky (obviously helped by top producers) and whether you like this type of music, there are elements of many songs which touch on other genres and undeniably make good tunes.
The positives are far greater than I expected and was bracing myself for a two-star review before I had listened. I have now heard it four or five times and each time I find another track I like or something similar. It is easy to judge this kind of music from brief encounters with it and the profiles of the artists who make it but it has the potential to be soulful, passionate and yet still full of fire and power when it chooses to be. This album in particular manages to maintain good consistency in general with a handful of genuinely weak tracks. It would be the most amazing value for money if all the tracks were included together in every instance, but the potential to maybe have to buy the album two or even three times to get all the tracks is a little bit of a sour note. However, with you now ridiculously extensive knowledge of this album you should be able to get the version you need should you want to.
The best guest performance on 'Tha Carter III' comes from Jay-Z but Fabolous, Busta Rhymes, Bobby Valentino, T-Pain and Juelz Santana all offer valuable contributions to their relevant tracks. The support of such big names is testament to the waves Lil Wayne is making within his industry and I think I am starting to see what all the fuss is about.
also posted on www.ciao.co.uk
"Tha Carter III" is the latest album in the "Tha Carter..." series by Lil' Wayne, who has boosted his popularity over the past few years without releasing a solo album since 2005 by appearing on collaborations with just about everyone, not just rap, or even that and R&B, but these and pop as he collaborated with Natasha Beddingfield.
Lil' Wayne never took a break from making music all through last year or the beginning of this, resulting in some material leaking. As the artist is so productive and is able to whip together tracks quickly, he decided to take advantage of what should be a negative situation by releasing "The Leak", using tracks which should have been found on "Tha Carter III", but as they had already been heard by a substantial audience, he may as well release the music offically to see how many haven't heard it and make it act as a preview of what the music will be like for "Tha Carter III".
1. "3 Peat"
This introduction to the album was produced by Cool & Dre, who decided to go for a hard and slow beginning to the album, and Weezy really rides the beat well. The organs found in here add to the tension of the this as the album is so highly anticipated that you are just in shock that you are finally hearing this new album from him.
Wayne does not mess Weezy F. Baby doesn't mess around by talking about what's going to be found inthe album, he does this by displaying his talent of rapping so effortlessly to the beat and just gets into it, because we've waited snce 2005 for a new album from him, so why make the fans wait any longer.
You get an idea of how he's ging to come at this album with his emotional rap-singing, which is most obvious in Playa Cirle's "Duffle Bag Boy", where he features (when doesn't he) on vocals for the chorus and a verse.
2. "Mr. Carter" (feat. Jay-Z)
I was left rather confused after listening to the opening of this as it is clearly a sombre track with the slow beat, but then he goes and spoils the atmosphere by quoting Shawty Lo and stick in a could of "Dey Know"s in there. It's as if he isn't aware that music is made to express emotions and he isn't being consistant, so the listner can't be expented to stay with him.
This is a slow track in which Lil' Wayne attempts to shake off his haters by asking them why they are hating on him without justification, but I felt that Weezy displays the reason for it in this track, obviously without reaslising that he's doing it.
To explain, the main reason why people don't like this artist is because he makes so many track, but the clear argument which is brought to atention is quality over quanitity, and he just comes with endless cliches and repetition to get himslef through a line. he does this when he's subborn with a line, as he knows how to start it, and make it rhyme at the end, but in the middle, he'll just say that words which was to be put at the end, about three times before this, and it just dosn't work.
It sometimes funny to just listen to his train of thought, because most of his raps are basically a revised freestyle, but it sounds as if he hasn't gone sback and altered sections which sound like stupid, more instance where he makes up a word based on Paraplegia, then corrects himslef by saying "Paraplegic", and then from the 'para-', decides to talk about parallel parking. It hard to believe, but it's true. So as you can imagine, Jay-Z (the other "Mr. Carter") shows him up once he comes in.
3. "A Milli" (feat. Cory Gunz)
This one uses a the perfect freestyle hook which has "A Milli" running through it, meaning that there's no chorus and Weezy is just able to flow his way through the track witout any breaks, and it apears that he just doesn't have any limits when you hear something like this from him.
Cory Gunz, who features in this one is the son of Peter Gunz, part of the duo Lord Tariq & Peter Gunz, who brought "Deja Vu" back in 1998, showing the music run in the family, and I really liked what he came with, encouraging me to see what he does as a solo artist, and Cory is someone to look out for in the future.
4. "Got Money" (Feat. T-Pain)
This is a very intersting track as it features the two biggest colloborating artists today, Lil' Wayne and T-Pain, who will either appear alongside a rapper or R&B singer on their songs, or make a remix with them so that they can get exposure on the biggest songs in these genres at the time.
I think that you have to listen to this a few times before you get to really enjoy it, but once you get to this stage, I'm sure that you will love it. T-Pain's Crunk & B style complements Weezy's rhymes, gving a full and complete club track, but I don't think that it would be as popular as songs which they did whilst collaborating with others.
Lil' Wayne uses the voice modifier which T-Pain isn't hear without for aprt of this just to show appreciation for Teddy Pender's unique style and he has only been heard using it in other track's such as the remix to "Lollipop", where Kanye has a go too.
5. "Comfortable" (feat. Babyface)
Kanye takes over on the beats front and he has the R&B musician Babyface sing alongside him. You only get a small section of Babyface's amazing vocals, but he always manages to impress people with his vocals. Kanye West shows that he hasn't lost it with his impressive beat-making. I prefer when he brings the chipmonk style that me used in his earlier days to this, but you can't really fault this ?uest Love-esque approach.
As soon as Weezy gets into his flow you are always able to work out what he was thinking about or doing around the time of penning his lyrics. Prior to this he must have been listening to some Beyoncé, as the first lines are adapted from her "Irreplaceable" single. However I wouldn't fault him for this, because he some how managed to bring it into what ever he's got to say, no matter how distant it may be to this subject quality which few rappers also have, but then again, the way he manges to get back to it may be through some foolish rhymes.
6. "Dr. Carter"
This one threw me off a bit, because you really don't expect this when Weezy decides that he's going to take on a new persona as Dr.Carter. It was a very fun track as he really came with something original hear as he must work on various patients who he has to form into respectable MCs, although I don't think he's the person for the job. I was interested throughout. As there was a lack of a steady beat, I thought that it sounded more like a skit than a track, but it worked regadless. There were a lot of hospital sound effects to make the atmoshphere seem realistic, which made the thing so
I was extremely surprised to read that Swizz Beatz produced this track, because it sound nothing like what he usually does with the horns in club tunes, from the sound of this, you get the idea that he decided to make drastic changes in his style. It sounds like a Jazz track with rapping on top, and at first it doesn't seem to fit that well, but with time you start to trust the experienced Swizzy, and it seems to work better together with a few listens. The beat is very minimalstic, but it has enough in it to give Lil' Wayne sufficient rhythm to rhyme on.
As with all Lil' Wayne tracks there's an issue with the rhymes, just to pick out one WTF line: "I've got to kick it like a sensi". You get a lot of pointless similies like this in the album, an it's just a part of how he does things, but I'm just not feeling the shallow lines such as this one.
7. "Phone Home" (feat. Dre)
This is a concept track, he uses a line which he has used in the past on the remix to "Party Like A Rockstar", "We are not the same, I am a martian", but I never really understood what he meant by this. However he claims to be a martian from 'Planet Weezy'.
There is an annoying chorus to this song, as you get Dre (of the production duo Cool & Dre) shouting "Phone Home!" down your ear, but it must be overlooked if you actually want to enjoy his music, because it is very off-putting, but once you get into his verses, you get some decent flows.
Cool & Dre go with something different, yet appropriate for this as lots of spacey, futuristic sounds are added into the track to give it the right feel for this track which has got a strange concept to it. Initail it sounds like the music to accomplny a cartoon, but eventually, you feel the hard beats bounce through your body.
8. "Tie My Hands" (feat. Robin Thicke)
This is a Kanye-produced track which is really slow and deep. This makes a great beat for Robin Thicke to sing on, because this is the only type of rhythm I've heard him perform on so, this is very acoustic and suits the singer more than the rapper. I didn't really think much to Robin prior to hearing this track, and he didn't really have a lot to offer for me, apart from the occassional high note, which he is really able to nail.
Lil' Wayne sounded as if he was able to adapt to the beat, even though it didn't seem to be natural, but he changed up his usual themes and opted for something more emotional here. I felt that this type of track prevents Weezy from cmoing out withe stupid rhymes, and forces him to ocus on what he is saying to allow the listener to truely feel what he is saying. I thoughout this was one of a few where Lil' Wayne kept everything about the track consistant throughtout, as it seems as throughout he gets bored of these ones at times, so he attempts to bring up the mood.
9. "Mrs. Officer" (feat. Bobby Valentino)
Straight after that deep and slow track, the mood is immdiately lifted with a track which completely contrasts from the last one as Deezle and the Fugees' Wyclef come with some bouncy beats for Weezy to go on, and from the start you know that this is going to be a fun track that you are going to love (if funky raps are you're thing).
Bobby Valentino comes in for a collaboration, and he offer some great R&B vocals, even though he's just imitating a police car (strange I know), bu then again this isn't really a conventional track as he talks on a time where he got stopped by a female police offficer, and it continues from their. I really liked the concept, and he I think it would make for a great video, if it eventually becomes a single.
10. "Let the Beat Build"
This is one of few which has Weezy on his own, and he decided to take on a beat created by Dezzle and Kanye together (so it seems that he likes what they can offer as it's one of a few from both of the producer, so to see them colloaborate behind the scenes is quite fun as you get a real Kanye-sounding sample, which as a chipmonk effect added on to it, and the smooth synthesizer Dezzle brought with onther things is being brought by him.
Although it ins't strictly a collabo, it is as if it was one because Wayne has to work to the beat more than most have to as the duo on production chose to go for the progressive route, taking over a minute to get into the proper beat, and for all this time leading up to it Wayne sounds as if he's just flowing with a freestlye because it just seems so natural. It really could have been performed live when you listen to it as ther are no background vocals from him, there's just a beat being build up stage by stage, level by level, starting from a simple hook and developing into quite a complex beat.
11. "Shoot Me Down" (feat. D. Smith)
kanye comes with a steady drum beat for this one, which seems to increase the tension and anixety of the track as it is very ominous, but doesn't give many reasons for it, you are forced into this mood without any real explaination through Wayne' s raps.
This is a really depressing one as he talks on how he doesn't want to be taking from his position on top of the game, especially since he has work so hard to get to where he is after so much development in the Hot Boyz and with poor sales, and recetly he's just been able to build up so much hype with collaborations, because all the albums before this didn't sell as well as this is guaranteed to.
As I've expressed before, he does seem to get off with some strange rhymes and here he claims he should be put in the dictionary under the definition of 'definitition', but he doesn't elaborate on it, and you can't just say something like that without explaining it, because without justication, it means absolutely nothing.
12. "Lollipop" (feat. Static Major)
This was Lil' Wayne's cross-over hit which really showed his potential as a soslo arists, and not a just a collaborator, to a wider audience as this performed better than anything he ever released prior to it, regardless of its sexual foundations, the track managed to go to be popular amongst the very young and older people, who may just enjoy the repitition in it to give it some power in breaking through the genre boundaries.
If you don't like this track than you are either sad, or are bored of it, which is understandible considering the amount of repitition which occurs in the track and how much airplay it has received, this has aslo meant that it has gained a lot of criticism, but I feel that it was important for Weezy to break through to a wider audience because he is so productive, and is able to churn out about five tracks per day, so it's a waste of talent if he didn't get heard by peple all over the world, and this did it for him.
13. "La La" (feat. Brisco and Busta Rhymes)
Louisiana's Brisco and Long Island's Bussa Buss come to give a few bars with Weezy here. You don't get to have too many weak busta rhymes tracks, so i was pleased to hear him on this, because I knew that he wouldn't dissapoint, and the few Brisco tunes that have come out have been of high qulaity (and it wasn't all down to Lil' Wayne being featured in all of them).
David Banner adds the beats to this track, and he is known to pull things out of nowhere, hear he comes with a xylophone (probably the first time the instrument was utilised in a Hip Hop track), but it works with the titleas you have children singing "La La" for the hook to the tone of the xylophone, but if you have heard a few Weezy tracks in the past, then you will be aware of what this "La La" is really about.
14. "Playin' With Fire" (feat. Betty Wright)
StreetRunner provides the beat, and it is extremely well-composed by the way it has the verses done in a lower piano riff, but then we are brought to a crescendo for the chorus when the old-school R&B singer Betty Wright comes in for some heavy vocals and a guitar rhythm is introduced for a big breakdown.
It sounded like Lil' Wayne wanted to come with somthing a littel differnt gain, but then he went and spoiled it with some explicit lyrics, which to me sounded to be very out of place, especially when a legend like Betty Wright is beside him, singing some nice lines. I did think that he was begninng to mature, but it showed that he's not ready to yet with some of the lines from this.
15. "Nothin' on Me" (feat. Fabolous and Juelz Santana)
Weezy is backed up by some big New York guests in the form of Brooklyn's Fabolous and Harlem's Juelz Santana, who seem to offer something a little different with their conservative gangsta style, contrasting from the harder approaches from the other guests such as Busta and Cory Gunz, who decided to come hard as usual.
The Alchemist brings some questionable production as i felt that it didn't really fit in with Weezy style, or any type of rap actually, it was rather boring and made you think that the album was coming to an end, but even though it was, it doesn't mean that I want to be reminded of this, as you tend not to engage as well because so are aware that the close is imminant.
I don't really enjoy hearing any member of Dipset rap, because they just don't touch me in the way most other rapper do, but hear Santana comes up with some very inventive lines, which made me re-think the ignorance I have shown towards him and his crew in the past.
16. "Don't Get It"
This is the final track of the LP, and it was produced by the Black Eyed Peas' will.i.am. When I read this, I thought I was going to get a poor Hip House kind of composition, but luckily, he strayed away from this style (which I just don't get), and he went with something I could get into more easily, it used an old Nina Simone groove called "Don't Let Me Be Misunderstood", and has a hard beat encorporated to it as it progresses.
It acts as a good outro and wind you down after hearing so much varied material from weezy in this album, and you finally get to relax after he had kept us interested throughout with his unpredicable style. I never really value outros because they aren't really tracks, they are just dragged out beats, so I wouldn't bother listeinging to it again, unless I was to listen throughut the whole album again, but then again some have kept you interested to the end, like Kanye on his debut CD.
Although I am aware that at some part I have complain about Wayne's style, and then complemented him elsewhere, this is because he is very inconsistant and sometimes, such as in "Lollipop", the repetition sounds very professional, whereas in other part of the album, it's not working. At times Wayne can come with some nursery rhyme-type raps and it prevents you from taking him seriously when he goes slow, like in "Mr. Carter", but then he can bring fire elsewhere, like in "Get Money", and this is quite annoying, considering I bet he had such a wide selection of tracks which he could have chosen to put on this album, considering how many mixtapes he has released recently, so he should have given us all of his quality track, rather than a mixture of some poor and some very strong ones, especially since this is the most anticipation rap album of recent times.
I have to compare Weezy to 2Pac, although some may not like it, because if, for some reason, Lil' Wayne get killed before his time, due to his productivity, similar to 2Pac, he will be able to bring out album after album posthumously because he just doesn't see light unless he'son tour, and even then he's still working on new material. I have to say that Lil' Wayne is nowhere near comparison to a genious like 'Pac, when you look at how deep his lyrics where, and he was able to think all this through in such little time, for example "The Don Killuminati: The 7 Day Theory", twelve-track album (the last to be completed before his death) was written in only three days, and he did it like a poet, but Lil' Wayne is able to hide behind collaborator who will take up half of the track, 2Pac would never allow someone to prevent him from talking, because he would always be two steps ahead of anyone else.
It difficult to judge this one as Lil' Wayne is so unpredictable, and this resulted in him going too far with his conceps at times, but then at occassions he really makes it work, and he come sup with bangers. However sinvce this is a rap album, most of the focus is on the rhymes, and this was one of the areas where he tended to lose it, because of this, I wouldn't advise true Hip hop fans to buy it because they would prbably be annoyed by his way of rappping and not always making sense, attempting to get through the track on swag alone, but there's no fooling Hip Hop heads. If you hae enjoyed Lil' Wayne's collabs then you probably will enjoy this album though so, it's hard to say whether it's recommended, but I did like the majority of it and this was because it was quite similar to the stuff I've heard him do recently with other artists.
I can guarrantee that with the success of "Lollipop", and the popularity of "A Milli", that this album is going to sell big, it will definitely top the Billboards at some time soon, but it is less likely to do so here.
Disc #1 Tracklisting
1 3 Peat - Lil Wayne
2 Mr. Carter - Lil Wayne, Jay-Z
3 A Milli - Lil Wayne
4 Got Money - Lil Wayne, T-Pain
5 Comfortable - Lil Wayne, Babyface
6 Dr. Carter - Lil Wayne
7 Phone Home - Lil Wayne
8 Tie My Hands - Lil Wayne, Robin Thicke
9 Mrs. Officer - Lil Wayne, Bobby Valentino
10 Let The Beat Build - Lil Wayne
11 Shoot Me Down - Lil Wayne, D. Smith
12 Lollipop - Lil Wayne, Static Major
13 La La - Lil Wayne, Brisco, Busta Rhymes
14 Action - Lil Wayne
15 You Ain't Got Nuthin - Lil Wayne, Juelz Santana, Fabolous
16 DontGetIt - Lil Wayne
17 Digital Insert - 'Action'/Lil Wayne/Tha Carter III - UK/Jp/OZ/NZ Version/00602517688483 - Lil Wayne