It’s been a while since Lil Wayne released any music so it’s easy to forget the amount of horrendous Hip-Hop he’s made throughout his career. That being said, Lil Wayne is the go-to scapegoat for the commercialisation of Hip-Hop, so while the masses ignore the other co-conspirators (Dr. Dre, Eminem, Jay-Z, Timbaland, Kanye West etc.) Wayne slowly became the figurehead of Rap’s downfall. For the last several years many people have been happy to point the finger at Lil Wayne and say “it’s all his fault” but for me that’s too easy – there’s numerous rappers who are to blame for Hip-Hop’s decline in quality, rappers who people strangely hold in high regard. Having said that, Lil Wayne does have his part to play in the unfolding ruination and bastardisation of the genre, and being on a hiatus or between labels isn’t enough of an excuse to be immune to criticism. So, since I’ve already written about the other aforementioned Hip-Hop ransackers, here’s a piece about Dwayne Michael Carter Jr., better known to the world as Lil Wayne….
Lil Wayne’s cataclysmic career in Hip-Hop began with a group named Hot Boys (a name that’s definitely not gay in any way, so get that thought out of your mind). The Hot Boys’ abhorrent début album “Get It How U Live!” which dropped in 1997, was released to a slew of bad reviews including a 2 star rating from Rolling Stone. But this was a small blip in the discography of the Cash Money label who seemed to go from strength to strength in the late nineties and the noughties. Building on the style and content that Master P and No Limit made famous a few years earlier, Cash Money, Hot Boys, and Lil Wayne took the ingredients of amateurish production, club-focussed disco-esque sounds, dumbed-down lyrics, and tacky album covers to a whole new level. Once Universal Records took over distribution, peculiarly every single artist that was signed and every single album released by the company from 1999 onward became a massive success. With a major label behind them and a little plugging by the corrupt mainstream media, the Hot Boys’ second album “Guerrilla Warfare” became a platinum selling, Hip-Hop-wrecking turd.
Following from the success of the Hot Boys’ sophomore album , Lil Wayne’s first solo offering “The Block Is Hot” ushered in yet more cheap-sounding rapid snare drums and more talk of “Cristal” and “bling”. The accompanying album cover was again worthy of the accolade of “worst album cover in Hip-Hop history” but none of this seemed to matter to his fans. With his wavering vocals which sounded like a teenager whose voice was breaking, it was astonishing that Wayne’s solo-shite gained a relatively large following. I still can’t believe that when Wayne rapped “wuh, huh, whatcha wanna do?” that people actually listened to this crap let alone buy the fucking thing. But, like many other mainstream musical lumps of dung, the album went platinum (whereas something like Screwball’s “Y2K” went plywood) people must have been suffering from mass auditory hallucinations – hearing something that wasn’t there (although I don’t think this condition is supposed to make you think bullshit is good shit).
“Lights Out” Lil Wayne’s second album was worse, and although it only went gold, his off-beat, weird-voiced crap continued. Wayne seemed to have a knack for rapping about nothingness and even though he had nothing to say he filled a CD with 19 tracks of it. With horrid choruses like “Uh oh, there go the fucking Po Po, and if ya know like I know, better get the fuck off the corner!” and wack-as-fuck amateurish production like that on “Beef”, you wondered who was listening to this; a deaf, money-wasting prat suffering from sun stroke?
Wayne’s next album was “500 Degreez” and it included more trash including the R’N’B-infused “Lovely”, the vocoded title track, and the Neptunes-sounding “Look At Me” (proving that Pharrell has a lot to answer for when it comes to spoiling Hip-Hop). Overall the album was garbage but surprise surprise it went gold, which isn’t bad considering how ghastly it sounded.
“Tha Carter” followed and it was more of the same; more crap songs and more gold certifications. The album included the craptastic “Go DJ” and the corny-as-fuck “Hoes” which featured amazing lyrics like “You do better gettin’ yo ass off up in that coupe bitch, Sit yo ass on that new leather and regroup bitch, It’s only me you bitch, on our way to tha stoop”. “Hoes” had a chorus which had to be listened to be believed, it was not only misogynistic, it was also simplistic and contrived… “Hoes! Let’s just talk about hoes, can we talk about hooo-oes? These hoes (I don’t love ’em). Hoes! Let’s just talk about hoes, Can we talk about hooo-oes? These hoes (Motherfuck ’em)”
Lil Wayne’s next offering “Tha Carter II” was a little better than its predecessor. Yes, bringing in varied producers such as Heatmakerz and Young Yonny gave it a slight sense of credibility and Wayne even tried to slow down his delivery and quit with his annoying vocal stylings, but for every decent song like “Mo Fire” there was the ironically-titled “Best Rapper Alive”. This album was an improvement over earlier efforts but “Tha Carter II” definitely wasn’t a 8/10 like the hipsters at Pitchfork said. Stood in front of a Rolls Royce on the black and white cover, the album wasn’t Wayne maturing as was reported at the time, it was just him getting better at masking his hollow content.
In 2008, Lil Wayne released “Tha Carter III” and it was even bigger, selling 3.6 million copies and receiving rave reviews from pretty much everybody in the business. But despite the interlopers at Rolling Stone giving this album 4.5 out of 5, the album was average at best. The opening track was trash, and like the other rapping Carter (Jay-Z), Wayne was now beginning to get so overrated that it was impossible to go anywhere without hearing some middle-class soccer mom playing both these fuckers in their unneeded 4X4. Since both these rappers share not only a surname but also an interest in commercialising Hip-Hop, it was quite apt that both these Hip-Pop-converting, money-centric, industry-plants appeared on the song “Mr. Carter”. With Jay-Z rapping “Now my name’s being mentioned with the martyrs, the Biggies and the Pacs and the Marleys, and the Marcuses… Garvey” it just showed his delusions of grandeur – yes he’s in the same league as the Notorious Big and Tupac, but Bob Marley and Marcus frigging Garvey?! Founding Roc-A-Fella isn’t the same as forming the UNIA-ACL… what a tit! Not to be lyrically outdone, Wayne also rapped “And next time you mention Pac, Biggie, or Jay Z, don’t forget Weezy, baby!” – well how about KRS-One, Ras Kass, K-Rino, and G Rap? Shows what kind of mainstream Hip-Pop music both these lames listen to.
I have to admit that Bangladesh’s “A Milli” and the various remixes were catchy but that didn’t warrant the sheer unadulterated hype that this album received. I mean there was also the godawful “Get Money” featuring the autotune-obsessive T-Pain – one decent song doesn’t mean you should buy a mediocre album. For me this LP was worse than “Tha Carter II”; it included the horrid “Lollipop”, the crapily-produced Kanye West/Babyface shite “Comfortable”, and the garbage “Mrs. Officer”, and it was Rap-N-Bullshit tracks like this that crossed over and further fucked up this genre. And whilst talking about “Tha Carter III”, what was Mobb Deep affiliate Alchemist doing producing a song for this wack twat? I guess everybody goes where the money is, nobody has any sense of pride or willpower.
Although the first “Carter” only went gold, it was Wayne’s quadrilogy or pentalogy of shite that made him a household name. Discounting 2004’s “Tha Carter”, it was the critical praise, over-hyping, and over-promotion by radio, television, and media in general (and then the subsequent acceptance by a white mainstream) that made these overrated albums such a big deal in the noughties. Thanks to the corruption at every level of the mainstream media, not to mention the sheep-like actions of the buying public, “Tha Carter” II and III and Lil Wayne blew up like the levees in New Orleans and flooded the market with ghastly garbage.
Wayne’s next trashy LP “Rebirth” was at least called trash even by the media suck-ups, and with the racist arse-magnet Eminem appearing on the LP it was one of the worst albums of Lil Wayne’s career…
…but that didn’t stop his career in shittery. The platinum “I Am Not A Human Being” (an apt title since he looks like a Fraggle) followed and it contained the revolting track “Gonorrhoea” (which he skilfully rhymed with “diarrhoea”). Songs like the wanky “I’m Single” (featuring Drake doing his best Wayne impression) further ruined Hip-Hop music, in fact that’s another thing Lil Wayne is responsible for; bring in Hip-Poppers like Drake and Nicki Minaj to further obliterate the genre and amalgamate it with R’N’B and Pop.
Then came “Tha Carter IV” a double platinum crapfest of epic proportions. Upon hearing the album, I thought to myself how could anybody come across the Pop-as-fuck “How To Hate” featuring T-Pain and not want to stomp on their damn headphones? The LP also contained the song “Mirror” featuring that stunted, goggle-eyed prick Bruno Mars. On this track Lil Wayne rapped… “I guess I did take ’em to Mars this time” – Ooh Wayne you’re such a card!
I’d like to take this time to pay my respects to the label Motown who once was responsible for Marvin Gaye, Michael Jackson, The Jacksons, Stevie Wonder, Diana Ross, and Smokey Robinson, but during the noughties it briefly morphed into “Universal Motown” and partly became responsible for Lil Wayne’s musical travesties – thank god it’s now defunct.
I’ve never listened to Wayne’s next two albums (“I Am Not A Human Being II” and “Free Weezy”) but frankly after all the excrement he’s released over the years I don’t want to be subjected to any more of his shite. At this point in time, Wayne’s “Tha Carter V” is unreleased but who really cares? I’ve heard all I can tolerate from the man – he’s made a name and masses of money from destroying Hip-Hop, now I’d like him to piss off and retire and maybe take the rest of the lames with him. Speaking of lames, Weezy and Yeezy and any other fucker that rhymes with sleazy and queasy, the whole fucking lot of them make any fan of Hip-Hop sick of their repetitive, bitches-n-hoes, bling-n-Bentley’s, mainstream-dick-licking bullshit. It’s pretty weird because I read somewhere that Lil Wayne, a faux skater and a wannabe guitarist is a fan of Nirvana! But how does someone listen to “Heart-Shaped Box” and then make “Pussy Monster”? Shows that influence doesn’t always translate into a kindred creation. For me, Lil Wayne’s main influence is No Limit, his career was built on Master P‘s style, from the tacky album covers to the trash raps. In the nineties after No Limit pulled a few blocks in a musical game of Jenga, Cash Money followed them by pulling a few more, and they almost collapsed the entire Hip-Hop genre in the noughties.
Lil Wayne who is apparently a Roman Catholic has made some hellish music that surely should get him excommunicated from the religion. Whilst making all that infernal Hip-Pop music, it’s strange that he didn’t pay attention to the tattoo on his eyelids… “Fear God”. And whilst I’m on the topic of his tattoos, Wayne’s face sports the most ironic tatt of all time, reading “I am music” (which surely needs the word “lame” inserting between the “am” and “music”). Wayne’s idiotic ink doesn’t stop there, there’s many more tattoos on this man’s body and mug, but ignoring the smiley face in his inner-lip, and the “C” on his glabella (which could stand for “Cunt” rather than “Carter”) it’s the teardrop near his left eye that’s the most relevant and appropriate tattoo on his skin. This tear I assume, refers to the fact that Lil Wayne helped murder Hip-Hop music. Rest In Pop.
A Lil Wayne, A Lil Lame, A Lil Blame.
Categories: Caricatures, Music, Reviews
Good God! The late 2000s/early 2010s was a horrible time to be a hip hop fan. Seeing this hack everywhere on the radio, music channels, on people’s car stereos was annoying. Let’s not mention that shitty Young Money album and Drake and Nicki Minaj shoved down our throats. How I felt about Lil Wayne in the late 2000s is how I currently feel about Drake in 2016. Just the sight of them makes me wanna vomit. Late 2000s were not a good time for music. Awful Hip Hop, garbage R&B which were made by a lot of T-Pain rip offs. At the very least there was Blaq Poet’s The Blaqprint as consolation.
Lil Wayne. If you ever wanted to know what would Gollum rapping would sound like, this is it! 😉
It’s good to see you mentioned K-Rino up there with Ras Kass , KRS-One & Kool G Rap . I think K-Rino has the deepest discography of any underground / lyrical hip hop artist . For example , right now I on my new ” sweat-proof / waterproof Sport MP3 player” I have only 49 K-Rino tracks . But , those 49 tracks are enough to entertain me for almost a year . That’s how good of a lyricist Eric Kaiser is . I also have Andy Mineo (Christian Hip Hop artist) , Lecrae (Christian Hip Hop artist) , Goretex / Gore Elohim , Kool G Rap , Necro , Ill Bill , Canibus , The HRSMN , Ras Kass , Viro The Virus , Vinnie Paz / Jedi Mind Tricks , Jus Allah , Apathy , Poor Righteous Teachers, Hopsin , Wise Intelligent ( of Poor Righteous Teachers) , Snowgoons ( a variety of tracks from their compilation albums) . Reel Wolf Productions / Sentury Status , Virtuoso , Binary Star (classic stuff with One Be Lo & Senim Silla) , Smoothe Da Hustler , Esham , Chino XL , Danegurous (underground hip hop artist from North Carolina , USA) , Celph Titled , Del The Funky Homosapien / Deltron 3030 , Reef The Lost Cauze , DZK , Diabolic & N.B.S. / Natural Born Spitters on there .
Those artists are enough to entertain me for months . Right there I have a huge range of lyrical hip hop artists at my disposal . You may not like some of them such as Andy Mineo , Lecrae , Esham , DZK , Canibus or Hopsin . Nevertheless everyone who is on my player can spit . Even the younger artists like Hopsin & Mineo .
This brings me to Lil’ Wayne .
That fucker ruined mainstream hip hop from 2004 to 2012 !!! I mean you could also look at guys like Drake , Jay-Z , Eminem , T.I. , Soulja Boy , 50 Cent , Diddy & Kanye West .
His whackness ruined the legacies of real Southern rappers like K-Rino, Lil’ Flip , Slim Thug , 8Ball and MJG , White Dawg , 69 Boyz , Big Mike , Petey Pablo , Supastition , David Banner , Baby Bash , The Nappy Roots , Z-Ro , Chamillionaire , UGK , The Geto Boys , The Justus League Crew , MayDay! , Little Brother , Trae Tha Truth, Gansksta N-I-P , Lord Infamous (R.I.P.) , Boondox , Lil’ Wyte , Haystak , Jelly Roll , The Screwed Up Click , DJ Screw , 2 Live Crew , Celph Titled , Poison Clan , Devin The Dude , Wickett Cricket , Truth Enola , Ape and Undu , Critical , Madness , Tzarizm , Rugged & The Cunninlynguists .
From 2004 to 2012 Lil’ Wayne cheapened hip hop as a genre and made it okay for pop music fans to pillage the art form . I live in North Western Canada and I remember back from 2006 to 2011 all of the young white girls from age 10 to 25 bumped his shit continuously .
When he made an appearance on Much Music (Canada’s version of MTV) in the Summer of 2007 he dressed in a fake plastic crown and a red robe and held a fake plastic scepter and sat in a fake plastic throne while he was interviewed . If Wayne asked the V.J. , Matte Babel , he would have him given fellatio on air .
Less than a year ago Wayne appeared on Jimmy Kimmel’s show . Kimmel actually asked him , ” When people try to impress you …. When they try to get a buzz or get signed …. How do you let them down kindly ??? A man of your experience must be hard to impress .”
Wayne replied , ” Yeah Jimmy , I’ve recorded with the best artists in rap , pop , electronic , dance , R&B , Soul and rock . You have to be prepared when you come to Wayne and ask for props.”
This short exchange between Kimmel and Wayne shows how dumb the average person is in America . It also shows what kind of state mainstream hip hop is in .
If you look at the list of artists just on my player —- Necro , Ill Bill (solo career) , Wise Intelligent (solo career) , Viro The Virus (Rest In Paradise) , Vinnie Paz / J.M.T. , Apathy , Snowgoons , Binary Star , One Be Lo (solo career) , Senim Silla (solo career) , K-Rino , Danegurous , Celph Titled , DZK , Diabolic , Reef The Lost Cauze ( / JuJu Mob ) , Hopsin , Jus Allah & N.B.S. NEVER EVEN GOT SIGNED TO A DECENT SIZED LABEL FOR A PROMO OR AN E.P. !!!! Hopsin worked on his own grind . So did K-Rino , Vinnie , Apathy , Snowgoons , Diabolic & Celph .
Canibus , Non-Phixion , Chino XL & Ras Kass were signed to majors . And then after being released they were blackballed and erased from hip hop history .
Apathy is a good example . Danegruous is an even better one . So I will use Danegruous . He worked for 10 years at a grocery store while writing , recording , independently promoting and co-producing 8 albums . He has worked with the likes of Apathy , Diabolic , Killah Priest , Afu-Ra , Snowgoons , Lord Lhus , Grindhouse Gang , Doap Nixon , Jak Tripper , King Magnetic , King Syze , Bloody Monk Consortium , Savage Brothers , DJ TMB , The White Shadow Of Norway , Outerspace, Block McCloud , Chief Kamachi , Vendetta Kingz , Beast 1333 , L.C.O.B. , Anno Domini Productions , DJ Kwestion , Burke The Jurke , Dead Rabbits , Shadowville Productions , 2Deep , DJ Madhandz , Tunna Beatz , C-Lance , Termanology , Junior Makhno , DJ Zashone & DJ Trickalome .
The guy can’t even come close to making a living of off his body of work . One of his tracks – ” Liver Damage ” – from his latest album “Divine Tyrant” is more genuine than any track from Lil’ Wayne’s career over the past 20 years . Unlike Wayne Danegurous has a unique and unorthodox rhyming style . His isn’t afraid to face internet critics on his own . He doesn’t need some faceless media machine to defend him .
The idiot Vince Staples claimed that hip hop from the late 1970’s to the late 1990’s was overrated . He said that the first rap track he ever heard was Lil’ Bow Wow . Fuck that guy . That fuckery shouldn’t be endorsed in hip hop . Nowadays rappers in the industry like Staples — who somehow is considered a talented mainstream lyricist — can get away with shit like that .
Yeah, I only knew K-Rino as the guy who made “Grand Deception”, then when you mentioned him in your comment under the Hip-Hop Timeline article, I started to listen to more of his music – he is definitely one of the greatest MC’s. I wrote a review of his “Makin’ Enemies” album if you’re interested…
What do you think of the range of artists I have on my personal audio player ? I would say that with that list of rappers there is incredible balance . It’s the best play list I’ve come up with from my large collection of M4A , MP3 & WMA files . You have hardcore , horror core , street , gangsta , conscious , heartfelt tracks , religious / spiritual , political , lyrical , humorous tracks , battle rhymes , slick production , storytelling tracks and hard body production all in 410 songs .
Also I should mention R.I.P. to DJ Screw , several members of The Screwed Up Click , Pimp C. of UGK & Wickett Cricket . I forgot to mention Juan Gotti , Lucky Luciano , Tonedeff , The Boss Hogg Outlawz , Paul Wall , Soulja Slim (R.I.P.) ,Jay Electronica , The Knux , Curren$y , SpaceGhostPurrp , MC Ade , Big K.R.I.T. & Pastor Troy as Southern rappers who are superior to Lil’ Wayne . Tonedeff being , by far , the best of the bunch of names I’ve added .
You should check out K-Rino’s whole discography .
If you click on some of the groups he was / is a member of his discography gets very , very ,very ,very ,very ,very ,very ,very ,very deep .
He even released a single as a part of a rap group in 1985 . He’s been in the game a long time . Also I should mention that everyone in K-Rino’s South Park Coalition is better then Lil’ Wayne .
I’ve never heard of the Christian Rapper you mentioned but the rest I rate highly (even Canibus who I stopped listening to a while ago but his early stuff I still play now and again). On the topic of Smoothe Da Hustler, his brother Trigger had some skills too and the whole Rockboy/Nexx Level clique made some great underrated Hip-Hop in the late nineties, I always play their stuff from “All Up In Ya” to the various 12″ they released. Add a bit of Boot Camp Clik and some UK Hip-Hop like Mr. 45, Scor-Zay-Zee, Big Kwam and I’m sold. Peace.
Lil’ Wayne started out whack and still is whack . But ———— Here’s the biggest example of fuckery and selling out in hip hop history . Look at these Wikipedia links .
You’re right, going from Atban to Black Eyed Peas to adding Fergie from Wild Orchid to appeal to a mainstream audience is the epitome of selling out and crossing over (although I didn’t know about the band Wild Orchid – thanks for the info).
I’ve been wanting to do an article on The Black Eyed Peas for a long time, I’ll probably get round to it at some point.
You may disagree on this . But , I feel Nas , Method Man , RZA , Red Man , MF Doom , Outkast , Danger Mouse & The Roots are all sell-outs . Some on the level of Lil’ Wayne . Since about 1998-1999 some of the “cross over” or “Hollywood” shit those guys started doing has rubbed me the wrong way more and more over the years . You did articles on Eminem , Xzibit & Canibus . Surely those guys are deserving of fiery take downs if those other 3 are .
I agree that The Roots have sold out (I mentioned them in the Jimmy Fallon article) I also agree that Nas has sold out (I’ve mentioned him here and there too) plus RZA, Redman, Danger Mouse, Outkast etc. but you’ll have to go into more detail about MF Doom. There’s no real order to my articles so I’ll probably get to these rappers when I feel it.
I also forgot to mention the individual members of The Dungeon Family as selling out . And The Wu-Tang Clan as a group (or hipster brand) are huge materialistic sell outs .
As for MF Doom , he has a very annoying hipster upper-middle class audience . The rich , white college Coachella Music Festival audience . Look at his discography on Wikipedia . He has collaborated with a who’s who of extremely famous and rich mainstream musicians from various musical genres .
Someone like Kool G Rap has stuck to real shit , in contrast . Kool Keith and Del The Funky Homosapien have flirted with dance music and the mainstream but haven’t drunk the Kool Aid like MF Doom .
I would go as far as saying I don’t respect The Wu-Tang Clan , MF Doom , Nas , Outkast , The Dungeon Family , The Roots or Redman at all anymore . Common is another huge sell out .
Take a look at the Wikipedia discographies and the Discogs websites of those artists . You will see a huge amount of fuckery that rappers like K-Rino , One Be Lo , Senim Silla , Wise Intelligent , Brother J , Bun B , Vinnie Paz , Esham , Immortal Technique , KRS-One , Kool G Rap or Apathy wouldn’t condone .
I might be a little harsh on MF Doom . He’s produced or co-produced some great instrumentals , his earlier studio albums were decent and he made excellent music with his old group KMD . The problem is that the upper-middle class coffee-sipping hipster types have appropriated independent hip hop from real heads . It’s like January 1st , 2010 rolled around and they said , ” Hey I’m bored with indie folk . Let’s listen to this rap stuff . ” Fucking culture vultures they are . They don’t do the knowledge about real hip .
Even , now Talib Kweli is performing in front of 100% white audiences at almost all of his shows . When Diabolic and Remedy traded disses with T.K. they mentioned that . I personally think ‘Bolic and Remedy crushed a washed-up T.K. .
Some tracks that touch on this subject are “Wack Juice” by Celph Titled & Buckwild , “Murder The Mainstream” ,”Swag Killer” and “Too Many Rappers” by K-Rino , “Rap Is Not Pop” , “Pay Your Dues” , “New England Royalty”, “Death To The Culture Vultures” , “Warfare” & “Swine Flu” (feat. Baconomics) by Apathy , “Take Hip Hop Back” by Necro , Vinnie Paz & Immortal Technique , “Fuck Commercial Hip Hop” by Necro and “Still Diggin’ With Buck” by R.A. The Rugged Man .
On YouTube check out the track “Plan B” by Apathy & Illus .
Illus’ verse pretty much summed up how I feel .
I called Necro’s new song “Fuck Commercial Hip Hop” . It’s actually called “Fuck Commercial Rap” . I bought the digital E.P. on iTunes Canada a few days ago . I would recommend it . It has the original version , 2 remixes , 3 instrumentals & 2 acapellas .
I think the person that’s talking out the back of his neck is racist can’t help it if those pretty white babes love lil Wayne if you wasn’t such a hater maybe they will give you play they say you look the way you act so cut the bullshit who are you to hate dude god didn’t say you are the only one so stop thinking it just the well as you hate someone can hate you what’s the purpose change your ways
Fucking hell, ever heard of punctuation?
Your comment makes no sense whatsoever – “god didn’t say you are the only one” – what the pissing shite are you going on about?
No wonder you want to stick up for Lil Wayne, your appalling writing makes his rhymes sound like Langston Hughes in comparison.
The only real rappers out there are Hopsin and Kendric Lamar
Hopsin is good . Kendrick Lamar is highly overrated and a pop star . There are many excellent underground emcees out there . In the last six months Apathy , Danegurous , Ill Bill , Ras Kass and Vinnie Paz have put out great albums . K-Rino dropped seven studio albums in one day three weeks ago . I will buy the K-Rino albums next week on iTunes Canada . I urge you to check out the artists I’ve mentioned .
What about Tech N9ne he dosent ignored by the mainstream media for way too long hopefully I will like him to take down Jay-Z he at least rapped with Wayne now if he took over who knows Cash Money would shut down same way 50 cent shut down Murder Inc.
Do you hate Wayne?
I’m just wondering, I apologize for commenting on such an old article, but he’s my favorite rapper, you did make some good points however.
I don’t “hate” Lil Wayne, I just don’t agree with what he became during the mid-to-late 2000s – an overrated and overexposed rapper. You’re free to like Wayne, he’s your favourite rapper and that’s cool but I’m not a fan hence the article. The harsh way I express myself is just a style by the way, the only people I truly hate are people who are racist/sexist/homophobic/violent etc.
While I don’t agree with some of the things written in the above article(I don’t think Eminem is racist), I fucking loved it ( You are a funny dude) . Bro you gotta do something on Carter v
Thanks. I don’t expect everybody to agree with my opinions but I like the fact that you disagree with me but still appreciate my rants (most people flee as soon as they read something that they don’t agree with). BTW it might be too late for a Carter V article, will anybody want to read a review of it this long after the release date?
“after all the excrement he’s released over the years I don’t want to be subjected to any more of his shite. At this point in time, Wayne’s “Tha Carter V” is unreleased but who really cares? I’ve heard all I can tolerate from the man ”
The real culprit for not writing is the above . I don’t think you really believe that no one wants to read a review of it long after the release date. Guys like you ( who speak the truth and their minds no matter what) usually have loyal supporters ( am officially one of them) and Paul Bocian will read anything you write (Dude’s fucking obsessed). There’s a whole lot of people out there kissing Wayne’s ass with raving reviews , I think there are some people who like me might want the opinions of people who are actually knowledgeable about the rap game.
LOL. I hear what you’re saying. I might tack-on a short review to this article when I have the time. Peace
“And whilst talking about “Tha Carter III”, what was Mobb Deep affiliate Alchemist doing producing a song for this wack twat? I guess everybody goes where the money is, nobody has any sense of pride or willpower.”
I’m curious, what is your opinion on the Alchemist in terms of his credibility? He seems to be pretty well respected by true hip-hop fans and has worked with great hip-hop artists who are true to the culture but at the same time he has also big-upped/worked with a lot of absolute wack shit like G-Unit, Eminem, Nelly, Kanye and, of course, Wayne.
In my opinion he used to have credibility back in the 1990s but like many other producers, some time in the early 2000s he started doing music for everyone you mentioned and I began disliking him. Regardless of who he’s worked with, his production isn’t that distinctive to put him in the same league as let’s say, DJ Premier or Swizz Beatz who sound very unique. Even in his heyday, you couldn’t hear an “Alchemist beat”.
This is exactly how I feel about him too. Glad to see I’m not the only one who thinks he lost his credibility and thinks he’s overrated.
Couldn’t hear an Alchemist beat? What about for Freddie Gibbs, M.O.P, even now with Denzel Curry’s remix song?? You bet your ass Premo doesn’t sound like that, or swizz for that matter.
So before you read the liner notes or saw the producer credits, you’re telling me you could simply hear Alchemist was on the boards on each of those songs? GTFOH! The remix version of “Cosmic” could have been produced by anyone from MF Doom, KutMasta Kurt, to Necro. No original sounds on there to suggest it was The Alchemist other than reading that it was The Alchemist.
And no shit Premo doesn’t sound like that, because vocal scratches are his trademark, and Swizz has that digital scratch hard beat overlay thing going, and because of that you can instantly hear it’s them. I really can’t understand why you’re giving daps to a man from Beverly Hills compared to more original DJs/producers. Don’t get me wrong, I’m not saying he’s a crap producer but his beats and sounds have gone from wannabe-Muggs to wannabe-Havoc to emulating everyone else. Even though this is getting way off topic, please describe what Alchemist’s sound is?