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Rebirth" has moments of genius, and those moments almost always coincide with coupling fiery emotion with punk's propulsive rhythm.
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Although the cleaner melodies and pop polish seem to mute the rapper's stream-of-consciousness salvos, he still shines on "Drop the World," featuring Eminem.
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The problem is that Wayne has very questionable taste in rock. He splutters and wails over tracks stuffed with aggro stomp and bland riffage; it sounds like he's been holing up with a bunch of Spymob and Incubus records.
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Lil Wayne’s status and influence is now clearly working against him, the choice to release a rock record has backfired, yet obviously no-one has had the guts or inclination to tell him that the overblown choruses and riffs of Rebirth drag him away from the in-your-face lyricism and unorthadox flows that he is best at.
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Concocting the world's finest excrement-related rhymes, Rebirth is most definitely a flop, terribly unsexy, and contains surprisingly few shit jokes.
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For the most part, though, Rebirth underlines what he can't: the problem of rap-metal remains unsolvable, even by him.
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When he emerged from his stupor, he announced that he was giving up rap to make a guitar album. Which brings us to ‘Rebirth’, a shlock-rock record so absurd it makes Alien Ant Farm seem like a legitimate musical venture.
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It’s more interesting to ponder Wayne's reasons for making Rebirth than to actually listen to it, because the end result is a loud and ignorable bore.
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Tere are no sultry Organized Noize beats, no effortless Sleepy Brown hooks, no ferocious Raekwon verses—just an endless stream of abysmally written, Auto Tune-drenched nothings.
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UncutAt least it is in its worst moments the songs beome subservient to clunky genre experiment. [Apr 2010, p.92]
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A nimble, almost balletic rapper on countless mixtapes, singles, and Billboard-topping collaborations, the 27-year-old comes across both muddled and belligerent on the much-delayed, extensively leaked Rebirth.
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Rebirth sounds like a strange dispatch from a lost ’80s in which Wayne trafficked in cheesy power chords, cornball hard-rock atmospherics, lame guitar solos for beginners, rock clichés, and Reagan-era synthesizers.
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The result is not a rock record as much as a total misperception of what makes a rock record. The base elements are all here (the sex and sleaze and guitar solos), but they're delivered in such a flat, awkward way that they feel interpreted by an alien.
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Herein lays Wayne's problem: he clearly has no understanding of rock.
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There’s nothing wrong with experimentation, and a handful of rock tracks here could have worked well. But to make a whole album based around a sound Lil Wayne is so inexperienced with is simply outrageous.
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Rebirth is career suicide for everybody except for Lil’ Wayne, just as hanging with him drug-wise for a night would be (I see him coaching a new friend, “No, you have to inhale through your eye“).
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“Rebirth” doesn’t swing, it staggers, and Wayne’s bullfrog rasp is distorted by Auto-tune, apparently to mask the fact that he can’t sing.
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"Rebirth" deserves its reputation as one of the worst albums of the year so far. With luck, Wayne will return to what he does best -- and soon.
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The songs might have been better as parodies than as imitations, although “Knockout” — a Coldplay homage backing a raunchy lyric — comes close to being both.
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Rebirth is – without qualification – the most embarrassing album of the last 10 years. Embarrassing for him, for his audience, for rap, for humanity.
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The derivativeness quickly overwhelms.
Awards & Rankings
User score distribution:
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Positive: 57 out of 210
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Mixed: 14 out of 210
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Negative: 139 out of 210
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DogbiscuitFeb 19, 2010Don't give it a zero. 'Drop The World' and the intro to 'Runnin' were kinda good.
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Jan 17, 2012
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Jun 3, 2011