Review: Lil Wayne’s “Tha Carter V” Does His Legacy Justice

There’s a special ambiance that permeates the air whenever Lil Wayne drops a Carter project. It’s a remarkable occasion seeing that none of the projects hold a classic album distinction in the traditional sense.

But that’s because Lil Wayne doesn’t adhere to any traditional rap guidelines. His place in Hip Hop’s pantheon can be difficult to outline in words but it’s without question he was a trendsetter for paving the genre’s entry in viable mainstream acceptance. With his penchant for taking studio mastered melodies and completely adopting them with his own zany flow, his relentless flooding of the mixtape circuit found him planted in the eardrums of millions at a different entry point. And the industry official Carter albums would live on to be a place where his multitude of fans could convene on the same accord.

And despite being seven years, 30 days and an infinite amount of trend changes since the release of the last Carter drop date, the kicker this time around is the music is simply just good.

Like all of its previous installments, Tha Carter V is a mile-long, bloated package of unpredictable zest that’s light on introspection (not to discredit Momma Carter’s impromptu interludes over the course of its 87 minutes). Yet its allurement lies in the fact that “Mixtape Weezy” and “Carter Wayne” are able to co-exist with ease.

There’s the Swizz Beatz-boosted “Uproar,” which employs the same Moog Machine sample popularized by G-Dep and Diddy at the top of the decade that gives the album a DatPiff feel intertwined with soul-drenched records like “Demon,” a quasi-Gospel cut that actually gives Wayne maturity stripes.

Even with his elder statesman status, it isn’t hard to hear Wayne’s influence has transcended a couple of generations. Travis Scott cooly incorporates Astroworld inside Weezyana on the “Let It Fly” rager, Kendrick Lamar showcases he’s a rap martian descendant on the long-awaited pairing “Mona Lisa” (ditto for XXXTENTACION, who sheds light on what could have been with his haunting performance on “Don’t Cry”) and even daughter Reginae Carter impresses with her chorus on the reflective “Famous.”

Lil Wayne’s Tha Carter V is finally being released

Tha Carter V is coming out this week — but for real this time.

A week after rumors of Lil Wayne’s long-awaited album proved to be false, the rapper himself has announced that the hotly-anticipated project will finally see the light of day on Thursday, his 36th birthday.

In a video posted to YouTube (see above), the five-time Grammy winner shared the news, thanking those who have stuck with him over the years. “I always give y’all all of me, but with this album, I’m giving you more than me,” he said. “This is four, five, six years of work that you’ll be listening to.”

A date for Tha Carter V comes seven years after the Carter IV and four years after it was delayed days before the planned release date due to the dispute between Wayne and his mentor/Cash Money boss Birdman.

Earlier this year, Wayne and Cash Money settled a multi-million dollar lawsuit, and last month, Birdman appeared onstage with Wayne and publicly apologized to the rapper.

Listen: Lil Wayne “Bitches Love Me” F. Drake, Future


Lil Wayne’s next album I Am Not A Human Being II, will be released on Feb. 19 and we now have a new single from the album after Cash Money’s DJ E-Feezy dropped it on Twitter tonight.


“Bitches Love Me” (also referred to as “Good Kush & Alcohol”) features Drake and Future on the track although Weezy dominates the song and utilizes a lot of autotune. Expect to hear this one all over the clubs and the radio.

Note: We currently only have a tagged up version and the producer of the song has not yet been listed. Listen below.


Lil Wayne Beats Elvis Presley

There’s a new king of the Billboard Hot 100 singles chart.This Thursday, rapper Lil Wayne made his 109th debut on the chart with the new track “Celebration,” which entered at No. 82, taking the number one spot away from music legend Elvis Presley. In fact, Wayne achieved this feat while he likely celebrated his birthday, seeing as the two events fell on the same day. Presley had worn the Hot 100 crown for 45 years, his most recent feature on the chart being 2003’s  “Rubberneckin.” However, his famous hits like“Hound Dog” and “Heartbreak Hotel” pre-date 1958 when the Billboard 100 chart was established. Then again, Wayne toppled Presley’s record in only 13 years, his first Hot 100 debut being in 1999. Weezy has steadily been climbing the hip hop hierarchy, making a name for himself through his music and his money. The rapper came in at fifth place on Billboard’s list of top-earning performers in 2011, after having made $23.1 million that year.

Read it at Yahoo.

Lil Wayne Sues Quincy Jones III For Using Songs Without His Permission In “The Carter” Documentary

After unsuccessfully blocking the movie from release, now Lil Wayne is suing the producers of “The Carter” for using his music in the film without his permission. Lil Wayne has filed a lawsuit against Quincy Jones III, who was a producer behind the documentary about the YMCMB rapper, called The Carter. Weezy F Baby is suing Quincy for using his songs in the film, without his permission. The film makes use of a bunch of Wayne’s hits, like “Lollipop,” “Stuntin’ Like My Daddy,” “Pussy Monster,” “Let the Beat Build,” “La La,” “Mr. Carter,” “A Milli,” and “Dontgetit.” All the songs (*aside from “Stuntin’ Like My Daddy”) appeared on Lil Wayne’s Tha Carter III album.  Although he originally agreed to appear in the film, and allowed cameras to follow him around, when all was said and done he tried to block the movie from coming out, because he disliked the way he was portrayed. The case was thrown out by the judge, and the movie was released in November of 2009. As TMZ reports, Weezy claims Quincy never asked to use his music, and he is suing him for for unspecified damages and asking for an order prohibiting the producers from using his music. Source

Is Backlash Against Eric Benét’s ‘Redbone Girl’ a ‘Form of Racism?’

Does the term “redbone” offend you? How about when it’s used to confer a level of superior beauty or as a description of aesthetic preference? If you’re an Eric Benét fan, you may have already heard his single “Redbone Girl.” You also may be aware of the controversy it’s stirring.

The song, which features Li’l Wayne, is an ode to a former light-skinned paramour. The chorus is:

She’s my, redbone girl
A bitter sweet, but she’s my world
Coffee cream, thick and lean
My redbone girl, redbone girl, yeah
She’s my redbone girl
A bitter sweet, but she’s my world
Coffee cream, thick and lean
My redbone girl, redbone girl, yeah