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.”
T.I. has often compared himself to 2Pac, and the claim makes sense in that both have touched on enough topics to fill 100 Wikipedia pages. Tip’s 10th proper album, Dime Trap, loudly silences any concerns over what he has left to say. The album functions as a compelling retrospective of T.I.’s life and career while proving he’s far from finished.
Billed as a “TED Talk for hustlers,” Dime Trap‘s thug motivation qualities are evident. “Looking Back” finds the Rubberband Man giving hustlers and civilians some tough love: “Tell me what you gon see when you looking back at yo life/Won’t be worth a damn if you ain’t living it right.” His words could easily come off as judgmental if Tip weren’t so transparent about his old hell-raising habits: “In Vegas, fightin’ police, me and Jeezy and ‘em/Hit the strip, Fatburger, did my thing again/All I do is kick back, blow gas and smile/Reminiscin’ ‘bout the days I was young and wild.” Tip’s front-porch reflections position him as the elder statesman he’s become and imbue Dime Trap with a sense of well-earned wisdom.
The Buzz: At first glimpse I dismissed this film as a Lifetime version of The Bodyguard. But after watching the emotional first trailer I was pleasantly surprised to discover the film was written and directed by Gina Prince-Bythewood. I was a big fan of both Love & Basketball and The Secret Life of Bees, and so I’m looking forward to seeing her latest film after a six-year break. I’m confident Gina’s strong storytelling will take this familiar concept to a new level. The pressures of fame have superstar singer Noni on the edge, until she meets Kaz, a young cop who works to help her find the courage to develop her own voice and break free to become the artist she was meant to be.
Tonight I met two young men at a fashion event who totally caught me off guard. In an impromptu interview I asked who are you guys? There names are Clew & Chazz who have been homies since high school. There different paths led them to the realization they had a passion for music. I asked who is your audience? They replied “urban youth” from the neighborhoods of America and anybody that was open to hearing their music. They feel they need to”shapeshift” through society with their music and be successful. They described their music as Real, Experimental, Eclectic, Progressive, Raw and Radical.
New Video: The Dream “Wake Me When It’s Over”