ALBUM REVIEW: Lil Wayne – Tha Carter IV

Fresh out of the gym, I check my Twitter account and notice that Stone wrote to me, asking whether or not I received his e-mail that inquired if I wanted to cover Lil Wayne’s Tha Carter IV. By good fortune, the e-mail never made it to my inbox, for it would have resulted in a comme il faut review. I was beside myself when I heard “It’s Good” featuring Jadakiss and Drake as though I was a part of Roc Nation. For all that, time has passed, the fabled Russell Simmons clarified the quarrel via Twitter, and I have fathomed Tha Carter IV under its terms in lieu of my terms. Ergo, Lil Wayne’s fair endeavor to, at last, piece together a classic album is not unnoticed.

To assure the public was cognizant of its release, the New Orleans native issued the short mixtape Sorry 4 the Wait and “It’s Good” before August 29th. Once Simmons shed light on how the song was for promotion and the two are friends, it became clear to me.

“Talking about baby money. I got your baby money. Kidnap your b—-, get that how much you love your lady money,” professed Wayne on “It’s Good.”

If he, in truth, had a problem with Jay-Z and wanted to assure a reply from him, he would have rapped, ‘Talking about baby money. I got your baby money. F— your b—-, make you pay that $300 that ain’t my baby money.’

Vexation with the current work by producers of distinction engendered Tunechi’s selection of a profusion of unsung producers for Tha Carter IV. One of those producers is Megaman, and, with his production of the song “MegaMan,” he manufactured the ne plus ultra of beat for Tunechi, which appears to have led to YMCMB’s czar naming it after its producer.

On the other hand, Wayne’s selection of which songs make the standard album as opposed to the deluxe edition is startling. “Abortion,” the song where Wayne seemed to have a Rebirth flashback, should have been aborted due to its shoddy production and feeble bars.

What’s more, the admirable record “Mirror” featuring Bruno Mars was a bonus track rather than one of the tracks on the standard album, which is harebrained. Despite its not up to scratch production by Cool & Dre, even “I Like the View,” another bonus track, should have made the album before “Abortion,” “Interlude” and “Outro.”

“If I’m flirting with perfection, I’m f—ing her tonight… Life is a midget. So, try to live it up,” voiced Tune on “I Like the View.”

At any rate, “6 Foot 7 Foot” featuring Cory Gunz, “John” featuring Rick Ross and “How to Hate” featuring T-Pain exhibits Wayne’s mastery at collaborating.

On “Intro” and “Nightmares of the Bottom,” the deft old hand shows he still has the touch to stand on his own two feet on a record.

It is all but plain to see that Weezy was casting his mind back to my favorite of Tha Carter series, Tha Carter II, by using one instrumental more than once on an album. Even so, as much as I enjoy Tha Carter II seeing as it includes some of his optimal work and was the album that made me avow that he would become a hip-hop luminary, it is not a classic, but it is a great album. Tha Carter IV is not a classic either. Yet, it is a Weezy F. album, and the F is for fair.