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We can only imagine what Tha Carter V It could have looked like in 2014 when Lil Wayne announced for the first time that it was over. We'll never know how many features of Trinidad James could have been included in the rough draft of the album, or what kind of piece on "Blurred lines" would have been made by Wayne, or what words he could have rhymed with Gotye. This album would probably not have been very good, and it certainly would not have been as gratifying or revealing as the late final product that a humiliating Wayne presented on his 36th birthday, after the four most grueling years of his career.
Lil Wayne was already in a brutal slump when the bottom fell. Overexposed and uninspired, he had become so resigned to losing all his relevance after years of repeating the same jokes that he had even stopped calling himself the greatest rapper in the world. Then, for reasons that are not yet entirely clear, his mentor and character father, Birdman, turned against him, refusing to publish the album and holding his career hostage despite sharp contractual disputes. The two have been reconciled this year, but the suffering and betrayal are documented in a heartbreaking way over the years 2015. Sorry 4 waiting II, the most passionate mixtapes of Wayne's otherwise unlit 2010.
Despite the tribute that these desert years took on him, it was perhaps for the better that Tha Carter V has been delayed so long. It's hard to imagine the rapper who released the awful album I am not a human being II A few months ago, we could have created an album as tender and sincere. There is some degree of quality control over Carter V that nobody could expect a record of Lil Wayne in 2018, let alone a record of nearly 90 minutes.
Wayne is no longer the mad pioneer of his 2000s mixtape, a rapper who, in just a few bars, could invoke a purplish reality: fish were flying in the sky and pigeons swimming in the ocean. It's difficult for this kind of Christopher Robin's imagination to survive as an adult. But more than any release since 2009 No ceilings, Carter V capture Wayne as we want to remember him: an open heart, full of words and intoxicated by the possibilities of his own voice. He recalls his most heinous tics: self-authoritarian agreement; incessant cock joking; that horrible and forced creak that squeaked exponentially more with each tired crack. And even his lamer's jokes report unexpectedly, sometimes emotionally. "Big as big, big as Mama June of the scientific lab / Smokin" / I should have a tattoo that says, "I'm not like my father," he says after nervously defeating Zaytoven in "Problems".
Some of these tracks date back to years, others would have been completed just a few weeks ago. This could be a recipe for whiplash, but most of this material is woven so homogeneously that its provenance is never a source of distraction. Nicki Minaj performs the brightest performance of her career in "Dark Side of the Moon" and Kendrick Lamar presents Nicolas Cage levels of madness inspired by "Stan", who turns to "Mona Lisa", unveiling a dozen voices while he's staging the breakup of the jealous boyfriend pushed to the brink by his partner's obsession with Weezy. Neither Wayne nor Kendrick let the concept of the song stop hitting wildly and ferociously. At the end of the spectrum, there is "Don & # 39; t Cry," a XXXTentacion feature that launches the album on a deceptive and miserable note, and "Let It Fly," an unseen incursion into the shop from Travis Scott. trap.
But unlike 2011, which continues relentlessly Tha Carter IV, sure Carter V, Wayne finally gives himself permission to fall behind. The record is never more electric than when Wayne enters his past, victoriously returning to the corridors he has conquered instead of focusing on the newer ones he will never have. He finds Mannie Fresh in the drama "Start This Shit Off Right", accompanied by the adorable resident Beast of Young Money, Mack Maine, and a divine hook from the former Queen of Radio , Ashanti. Swizz Beatz is also on the nostalgia, adrenalizing his club training "Uproar" with a hint of "Special Delivery" by G. Dep.
As far as it has been redeveloped in the last four years, one thing has remained the same since Tha Carter V was announced: his cover, a photo of a young Wayne with his mother Jacida. She monitors the entire album in a protective way, tears her first song and completes Wayne's biography in interludes. She is not the only woman in her life to play a leading role. Her eldest daughter Reginae skillfully sells a bittersweet hook on "Famous" and her ex-fiancée Nivea tells her story of "Dope New Gospel".
Their presence foreshadows the unusually personal tone of the last stretch of the album, especially the closest, "Let It All Work Out". It sheds new light on one of Lil Wayne's background pylons: the gunshot wound he inflicted on himself and survives. 12 years old. that he had always supported was an accident. Now, he confirms, this was not the case. "I was too conscious of my conscience to be smart about it / Too torn about it, I'm aiming where my heart was pounding," rap. It's a powerful revelation, he actually waited years to share until he found the happy ending happy to fit it, and that closes the record on a breathtaking note. The most surprising delivery of Tha Carter VIn fact, Wayne still does not have that important music in him. After all these years, there is still much to learn about it.
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