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Mqs.link_LilWayneThaCarterV20182444.1.part2.rar Mqs.link_LilWayneThaCarterV20182444.1.part1.rar For all the excess and buildup, this exhibits Wayne on an upswing, lucid and invigorated.Ġ7. He’s also still inspired enough to match wits with Kendrick Lamar (on the suspenseful, bewildering “Mona Lisa”) and dash off cunning wordplay like “You a roughneck, I’m a cutthroat” (over a Swizz Beatz recycling of the Ez Elpee news-flash beat he joked about disliking the first time he used it). Alternately, there are touching rhymes regarding parenthood, and the moments of romantic heartache and inner conflict - especially the cathartic last verse of “Let It All Work Out,” concerning his attempted childhood suicide - have instant and lasting resonance. Moreover, Wayne is often in a mode of mechanical recklessness, dropping to the lowest point on “Open Safe,” a felonious fantasy wherein the protagonist boasts of coaxing information from a woman by “stick her hands in the fan blades.” Derogatory terms fly there and elsewhere, contradicting Wayne’s proclamation of growth, whether he was referring to artistic or human development. A greater portion forms a sluggish, indistinct mass. Almost 90 minutes in length, it’s pieced together with material recorded from years to weeks ahead of release, and one cut goes back to resemble an early-2000s crossover bid, from its smoothly melodic Mannie Fresh production to its Ashanti hook.

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The series finale nonetheless arrives with an undue weight of expectation - its maker already has a proven and immense catalog that includes ten Top Ten solo LPs - and has some burdensome qualities itself.

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A multitude of personal and professional obstacles, occasionally poignant featured appearances, and mixtapes and intervening albums of diminishing quality, were packed into the six years that passed since the fifth Carter volume was promised. Wayne’s mother sets the tone with a spoken intro that verges on eulogistic, and through her tears somehow leaves the impression that even she is ever so slightly exasperated about the setbacks and protracted delays that plagued the fifth Carter after her son publicized its imminence in 2012. Claiming supremacy while considering mortality has long been as natural as walking while chewing gum for Dwayne Carter, but there’s a greater, grimmer sense across the long-anticipated Carter V that life is just a moment.

“Still the motherfuckin’ best rapper a-live,” Lil Wayne offhandedly declares on “Dope New Gospel,” a coasting track on which the unmistakable MC also insists that he’s irreplaceable, even in death. The album debuted at number one on the Billboard 200 with the second-largest streaming week for an album. Following a lengthy legal battle, Lil Wayne was confirmed to have been released from his contract with Cash Money in June 2018 and announced the release of the album in September. Originally planned to be released in 2014, Tha Carter V experienced several delays as a result of contractual disputes between Lil Wayne and Cash Money Records, as well as his numerous personal disputes with label-head, Birdman. The album’s features include Swizz Beatz, XXXTentacion, Travis Scott, Kendrick Lamar, Sosamann, Lil Wayne’s daughter Reginae Carter, Snoop Dogg, Nicki Minaj, Ashanti, Mack Maine, and Nivea. It was released on September 28, 2018, by Young Money Entertainment, Republic Records and Universal Music Group. Tha Carter V is the twelfth studio album by American rapper Lil Wayne. Studio Masters, Official Digital Download | Front Cover | © Young Money Records, Inc.