An interesting story came out as
Lil Wayne’s
Tha Carter IV leaked to the Internet five days early. Special guest
Busta Rhymes, being interviewed from his tour bus, had not even heard the leak within those first 48, and seemed fascinated to hear that
Bun B,
Nas, and
Shyne were also on his track. This was in spite of the his line “Tunechi, thanks for giving us a whole 'nother classic with
Tha Carter IV” the album's final words, delivered by
Busta during the “Outro,” one of two tracks on which
Wayne doesn’t even appear.
Busta’s mix of excitement and confusion perfectly captures this album’s magic in that there’s an electricity in the air here, one so attractive that you don’t care about what’s missing, so don’t hold this up next to
Tha Carter II or
III because you just might miss a grand
Jay-Z diss (“Talkin' about baby money, I got your baby money/ Kidnap your bitch, get that how much you love your lady money”) while considering the differences. If
II and
III were the arguable masterpieces, this one is less convincing, but it is a solid, above average hip-hop album that would be in held high and wide regard if it carried any other name.
Wayne seems to address this new, sometimes B+ era with “Some of us are lovers/Most of y’all are haters/But I put up a wall/And they just wallpaper” on “Blunt Blowing,” a track which is Young Money’s seductive and flossy version of the blues. If dazzling rhetoric and shameless bombast is what grabs his audience, it absolutely overflows during the album’s unstoppable first quarter, which boils over when the short blue mobster called “Megaman” shoots forth “Life is shorter than
Bushwick.” The totally
T-Pain track “How to Hate” is the album’s first speedbump, and
Wayne remains a guest on his own album as
Tech N9ne and
Rick Ross dominate the following cuts, but the uncontroversial “Abortion” (“I know your name, your name is unimportant/We in the belly of the beast, and she thinkin’ of abortion”) puts the spotlight back on
Weezy. After
John Legend adds some purposeful polish, it’s all smooth sailing plus with those high Carter standards, bouncing between tracks fans can singalong and connect with (the pure and simple “How to Love”) or marvel at (“It’s Good” where
Jay-Z diss meets
Alan Parsons sample). In the end,
Busta’s pre-cog declaration of “classic” is the download generation’s more “in the moment” definition of the word, and it is fittingly delivered while the venerated Wizard
Weezy is out the door and off the track in that “pay no mind to that man behind the curtain” style. On
Tha Carter IV,
Wayne’s world feels more like a dream than reality, but the loyal subjects of Young Money get a wild ride and the great feeling of flashing those ruby slippers one more time. ~ David Jeffries