Lil Wayne is easily the most hyped artist in the music industry over the past couple of years. The Carter III is, without a doubt, the most anticipated album of the year. Now that we've gotten that out of the way, let's dissect Tha Carter III without an extensive character analysis of Lil Wayne. We all know his behavior is equal to that of a bonafide rock star - whether we like it or not. And whether you like him or not, everyone is curious what Lil Wayne can do for a wheezing Hip Hop industry on Tha Carter III.
This review isn't about Lil Wayne's antics. Nor is it about who he is as a person. This is about the immensely anticipated album that is Tha Carter III. As with everything Weezy F Baby does, this album will be just as talked about as his Styrofoam cup toting, rock star image. Tha Carter III encompasses it all: The good, the bad and definitely the ugly.
There are those that perceive Wayne as the new "greatest rapper alive" because of his numerous guest appearances and his progression from Hot Boy to sizzling emcee. There are others who simply aren't too sure that the hype is well deserved. Tha Carter III speaks to both critics and fans loud and clear.
There are moments that Lil Wayne puts together that simply electrify. The David Axelrod sampling on "Dr. Carter" is Weezy at his finest. He crafts a luminous concept of utilizing his rhymes to breathe life into a culture on life support. Too many quotable moments to cite here, but just know that Wayne accelerates through the Swizz Beatz offering as if not only his life, but the existence of Hip Hop culture, depended on it. As "Lollipop" became the questionable lead single, it is hard to believe that there is a more radio friendly offering than the collaborative effort featuring Babyface with Kanye West behind the boards on "Comfortable." As Babyface careens in and out of Mr. West's soulful offering, Wayne pulls off an easy to digest joint. The brooding guitar plucks and marching drums of "Shoot Me Down" pull off an intense musical atmosphere. Wayne does the song justice by not overpowering the production and instead allowing it to build momentum as he creeps through with lines like: "Pop I did it to 'em/I'm a bastard/and I'm a do it again like nigga backwards/cause these niggas backwards/but behind us/Now watch me get high like time's up."