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(There’s a palpable jock jam quality to the first two Carter projects that keeps me away.) The OG Carter III had outrageous sample chops: “Help” is the best use of a Beatle in a rap song this side of … It’s just the best one, period. The finished album came out too mannered and sporty for my tastes. The Drought Is Over 2 for you Datpiff heads.) It seemed like what Wayne was going for with that album is carrying the insane spirit of the Drought and Dedication tapes into more polished studio recordings. So much of his catalogue is buried in expired Mediafire links or scattered amongst unofficial DatPiff tapes, it looks like the way time will evaluate Wayne is through these albums.Ĭraig: I’m gonna get technical and say that my favorite Carter is the version of Tha Carter III that leaked in advance of the album we now know as Tha Carter III.
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It almost doesn’t matter if it’s true or not. Sam: If we’re operating under that assumption - that his albums are stiffer “final products” and the tapes are wilder - it’s pretty safe to say that Wayne works best when he’s not trying overtly to do something specific or to make any point larger than “I’m a better rapper than everyone else.” Much like how he kept telling everyone he was the greatest rapper alive until people actually started to believe it, it’s as if he positioned his Carter albums as the must-listens in his collection by sheer force of will. To me, that makes the “albums” a little stiff and the tapes sorta wild. He still conceptualizes rap as a binary where mixtapes and albums exist as separate entities, which makes sense since he had a hand in building the distinction. Wayne’s Carter albums are the ones he stakes his reputation and well-being on, the formal events the mixtapes feel like dress rehearsals for.
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In New Jack City, “the Carter” was a crack factory fashioned out of a Harlem apartment complex, the cornerstone of Nino Brown’s business, essentially. My impression was always that he used his mixtapes as a testing ground for different flows, and weirder lyrics, and whatever worked for him would end up on one of those Carter albums.Ĭraig Jenkins: I think the answer to the question is in the name.
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If I had to get inside the mind of the Martian, I’d say the Carter series exists for whenever Wayne feels like acknowledging the commercial side of rap just so he can say he did it and still can do it, or so I would assume is the point of Tha Carter V. What does the Carter series mean in the context of Lil Wayne’s entire discography? Is he trying to do something specific with those albums? Does he succeed?ĭee Lockett: Well.
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They’re home to the most famous version of Wayne - the Wayne who gave us “A Milli” and “Got Money” and “Go DJ.” But what can looking back at the previous four installments tell us about Wayne as an artist? About how he’s evolved, and what his entire career means? Vulture editors Sam Hockley-Smith and Dee Lockett got together with Vulture music critic Craig Jenkins to discuss. Wayne is no stranger to album sequels, but his Carter records occupy a specific place in his staggering discography: they’re the big budget albums that draw in all of his wild mixtapes experiments. Perfect Strangers 32.Used 2 33.After years of delays, Lil Wayne’s Tha Carter V is finally out. Hittas 25.Took His Time 26.Open Safe 27.Start This Shit Off Right (feat. Raekwon) 4 Scottie 5.F Him Good 6.Siri (feat. Originally released in 2018, this 12th studio album gave Lil Wayne his fourth #1 on the Billboard 200.ġ.Life Of Mr. The updated release adds seven new, unreleased tracks and three previously released stand-alones for this 33-song edition which includes new contributions from Raekwon, 2 Chainz, Gucci Mane and Post Malone.
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Lil Wayne keeps his 2020 hot streak alive with the deluxe release of Tha Carter V. Try reaching out to your local store to CHECK AVAILABILITY MORE INFO