Here we go, Sorry 4 The Wait 2 reviewed by moi, milo13. I will try to make this unbiased but do understand, Lil Wayne is my favourite artist.Here we go, Sorry 4 The Wait 2 reviewed by moi, milo13. I will try to make this unbiased but do understand, Lil Wayne is my favourite artist.
So no need for a backstory, this review is only at @EmperorAguilaVerified request. Here we have Weezy apologising for the repeatedly delayed Carter V album in the form of a free mixtpae filled with (some originals) mostly freestyles/remixes to popular songs.
The main problem Wayne faces with his attempt to destroy these beats is that previously, the production would be from low level MC's with nothing to offer other than just appearing on the popular beat (Ice Cream Paint Job) that wayne would upgrade by replacing a dull rapper with immense personality or lyricism.
Now, the big songs we hear are all harboured by artists who, for the most part were birthed by Wayne's style, offering a big difference to the one hit wonders of the mid to late 2000's. Personality, character, eccentricity and energy. Don't believe me?
Look at 'U Guessed it' and 'Try Me' Wayne's take is, technically better on most fronts like lyrically but for once, that does not make it better. The same goes for 'CoCo' (I prefer Wayne's take but still). Before Wayne could would wipe away rappers such as Dorrough and F.L.Y. but with todays generation of characters Wayne has hit a wall in bettering them.
Rappers such as Future and OG Maco present a real threat for Wayne but never the less, Wayne's take is certainly still noteworthy. Truly captivating jaw dropping moments do appear throughout as well as quotables that are remembered again for being clever and not gross outs or groans (some of course still are but c'mon, its Wayne).
These moments include Trap House, Hot **** (now this one is an improvement in all capacities but the momentum the original has gained is far to great for it to be forgotten) Dreams and Nightmares, Hollyweezy and Fingers Hurting. Rare moments of consciousness are here too and they are more than welcome with lines such as
>These crooked ass cops still winning
Black man family still mourning
Black president ain't do nothing
We need a real **** up in that office
>Tunechi, ****s don't appreciate you
You've been down since day 1, it meant nothin' on day 2
The guests are a mixed bag with a absolutely abysmal 2 Chainz appearance, a unbelievably brilliant verse from Mack Maine, Drake being standard good drake and a honourable try but not even close recapture of queen bee from Christina Millian (nice try still).
The missteps include the IANAHB1 level throw away 'Admit It' with a great refrain from Shanell it just doesn't match the other tracks and feels a little out of place with Wayne's performance quite eh. Preach, other than its bad guest verse has a great Wayne verse but unfortunately Wayne's vocals sound so weak, it spoils it as well as a really weak beat.
Drunk in Love is just like the difference between Wayne and Jay-Z. Less finesse, slutty and skate references instead of art references. The drop it like its hot refrain is dope from Millian but the track is just 'Start a Fire' pt2 really. His constant references to the mixtapes title do really begin to irritate and the autotune...
The autotune is combined with Wayne's voice manipulation and its somewhat of beautiful mess. Easily understandably unbearable but I bared through it but Wayne really should of not used it quite how he used it hear.
To quote Pitchfork, 'Wayne still remains very good at physical act of rapping' and thats the main thing to take away here. There's some excellent performances, some poops and its not quite the shovel to the face we wanted after his considered by most lacklustre last few projects.… Expand