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After "Worries," "Back to You" starts off as another potential highlight - if only because it's reminiscent of Carter III standout "Shoot Me Down" - but falls off the second the rock drums take over and Wayne reverts back to his "my dick is…" analogies.Download Free Lil Wayne Mp3 Songs Their main refrains are - "I swear to God I ain't nervous" and "I ain't got no worries." He could've just combined these into one song, and it would've been a pretty good club hit instead of two forgettable average album cuts. "Curtains" and "No Worries" - which we first heard over six months ago and were slightly excited by because it remotely sounded like a Mannie Fresh beat, but is really nothing more than a Lex Luger knockoff - are essentially the same song.
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Through the course of the album, Wayne employs a motley (an understatement) crew of collaborators, from sub-par YMCMB affiliates like Gudda Gudda and Boo to his more notable team efforts with Soulja Boy and Juicy J, both of whom are arguably relevant as artists, much less so as producers. So there is room for Wayne, but as we've seen with previous #1s struggling to maintain their relevance in a changing hip-hop scene, that space is reserved for someone who's really trying to keep their spot. It'd be unfair and off base to say there's no room for an artist like Wayne, as depicted by the ascents of 2 Chainz, A$AP Rocky, and even Big Sean, who seldom get deeper than "contemplating suicide" - an over-wrought go-to for rappers trying to explore their emotional sides. If he's the molly hit, Kendrick is the pessimistic hangover.
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Where we once loved to yell about bringing a Winn-Dixie grocery bag full of money to the VIP, we've embraced self-aware rappers like Kendrick Lamar, who's gifted enough to destroy a Hit-Boy knocker but smart enough to appeal to conscious minds and make us question our identities. Since Wayne's mid-2000s tear, other rappers have come into the spotlight and the things listeners care about have changed too. He was just a guy who rapped awesomely and worked really hard to remind us of that - who wouldn't want to get behind that?īut again, the world’s changed since 2008. After all, what was there not to like? He was funny, he was charming, he represented our sexual and id-driven desires, and was never too hung up about his image or public persona. It was cool to think Lil Wayne was great, and so we did. It was that lack of expectation that incensed our desire to hear anything new from Wayne, because after consistently proving us right that his new music would be awesome, we collectively agreed that everything he did was awesome. He was so goddamn entertaining that we hung on every word and waited for every new feature, single, or mixtape, because we genuinely didn't know what would come out of him next. Even on albums then, Wayne was a different Wayne - he was hungry, he was versatile, he was spastic.
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When we think about Mixtape Weezy, these are the years we reminisce on.
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From 2004-2008, Wayne went through a renaissance of productivity - in the midst of working on and releasing a trifecta of stellar studio albums - Tha Carter series - he worked tirelessly on features for just about every major artist on the radio and put out eight mixtapes (including Da Drought and Dedication series). That's not to say Weezy didn't work for it, though.