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The Rampage Online

The News Site of Fresno City College

The Rampage Online

The News Site of Fresno City College

The Rampage Online

Rapper Lil’ Wayne Can’t Find Old Magic for Carter IV

A lot has happened to Lil’ Wayne since he released “Tha Carter III” in 2008. The album not only sold 1,000,000 units its first week, but also catapulted Wayne from a rap artist into an international pop star.

Since its release, Wayne has gone on to headline record grossing tours, won Grammies and become the most sought after artist to be featured on countless radio hits. In 2010, he even did the unthinkable and released a rock-inspired album, “The Rebirth,” and still went certified gold according to the Recording Industry Association of America.

2010 was also a very tumultuous year for Wayne, as he was sentenced to serve a year in Riker’s Island State Penitentiary on a gun possession charge that stemmed from an arrest in 2007 after a concert.

During his stint, the MC released his eighth solo album, “I Am Not a Human Being,” which despite receiving mixed reviews, still went certified gold by the RIAA. Wayne went on to serve eight months in prison and was subsequently released for good behavior on Nov. 4, 2010.

Since his release, he began working hard on his highly anticipated album, “Tha Carter IV.”  However, after the release of his last two subpar albums, both fans and critics alike have dared to ask, “Has Lil’ Wayne lost his touch?” Could the self-proclaimed “best rapper alive” muster up enough magic to match the same acclaim of “Tha Carter III?”

Unfortunately, with this album the answer is a disappointing “no,” as the rapper finds himself becoming less awe-inspiring, more repetitive, and at times, uninteresting. Unlike the epic “Tha Carter III,” Wayne chooses to reach out to many not so familiar beat makers for production this go-around as well.

The album starts off with the “Intro” as a laid-back Weezy wastes meniscal bars such “and the jewelry bright like summer clothes” over an above average beat by newcomer Willy Will.

On a slightly better “Blunt Blowin,” the marijuana enthusiast steps it up and admits, “I’m a bad motherf—–, ‘cuz the good die young.”

Next up is the adrenaline-pumping “MegaMan,” which Weezy probably named in respect to the track’s not so known producer, Megaman. Wayne finally finds his old self with lines like “We jack son, then light the L: Samuel,” and “If life’s a b—-, then mine’s a gold digger.”

Track number four showcases the album’s lead single and “A Milli” counterpart, “6 Foot 7 Foot,” which is also produced by Bangladesh.

On “Nightmares Of The Bottom,” Wayne brings the lyrics, but instead turns in his most monotone performance in recent memory.

On the T-Minus produced “She Will,” Wayne shines over the slightly dark, but upbeat track while Young Money member, Drake, delivers a descriptive chorus about a rather voluptuous female friend.

Unlike “Tha Carter IV’s” “How To Love,” in which Wayne croons over his love for a certain female, “How To Hate” shows his disdain for a not so loyal ex-girlfriend. Unfortunately, both Wayne and T-Pain fail to deliver a memorable performance this time around.

Perhaps the most puzzling aspect of “Tha Carter IV” is the reasoning behind Wayne’s disappearing acts on both the “Interlude” and “Outro” tracks. Both showcase some of Hip-Hop’s biggest heavyweights such as Andre 3000, Nas, Bun B, and Busta Rhymes trading bars over the album’s opening beat. Had Wayne, the star of the album, decided to put everybody – including himself – on the beat and started a Hip-Hop “battle royal,” we could’ve witnessed history. Instead, listeners are left with second guessing his motives and wondering “what if.”

As the radio friendly, and Rick Ross assisted/knock-off track, “John,” showcases yet another questionable move, the emphatic “Abortion” ironically brings us the revival we needed.

R&B soul man, John Legend tries his best to save “So Special,” but Wayne once again comes down with a bad case of Déjà vu, as he produces some of his most cliché lines on the album.

After “How to Love,” perhaps the best track on the album arrives in the form of “President Carter.” With a brilliant sample of President Jimmy Carter’s inauguration playing, this Carter rides eloquently over a chilling beat as he boasts, “Smokin’ weed, getting head in the Oval Office. I changed the stars on the flag into crosses.”

Leading up to its conclusion, “Outro,” in which Nas lays the greatest verse on the album, Jadakiss and Drake assist Wayne with verses in “It’s Good.” However, it’s easily Wayne who stands out as he gets grimy on the track, and finds himself stirring some controversy as he sends some not too subliminal jabs towards Jay-Z.

“Tha Carter IV” is not a bad album, as Wayne still manages to show he hasn’t totally lost it, but it is not a great album. The album fails to match up to the masterpiece of “Tha Carter III” in production value, catchy choruses, and lack of guest appearances; overall, it is Lil’ Wayne who doesn’t deliver the right amount of punches needed to win this match.

Whether he’s taking a break on some songs, failing to be original, or just unfazed by what’s going on or being said, it is becoming more apparent that Lil’ Wayne is no longer the best rapper alive, and has possibly over-saturated himself. Maybe a year away from the music scene is the perfect remedy for a man who even when he was held behind prison bars for nearly a year, still managed to release two albums.

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