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After what seemed like endless

push-backs, Grammy Award winning MC, Lil’ Wayne, is back

with 

“list-style-position: initial; list-style-image: initial;”>Tha Carter

IV, the follow-up to his commercially successful and critically

acclaimed LP, 

“list-style-position: initial; list-style-image: initial;”>Tha Carter

III.  

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“margin: 0in; margin-bottom: .0001pt; line-height: 15.6pt;”>

After what seemed like endless

push-backs, Grammy Award winning MC, Lil’ Wayne, is back

with 

“list-style-position: initial; list-style-image: initial;”>Tha Carter

IV, the follow-up to his commercially successful and critically

acclaimed LP, 

“list-style-position: initial; list-style-image: initial;”>Tha Carter

III.  

“margin: 0in; margin-bottom: .0001pt; line-height: 15.6pt; list-style-position: initial; list-style-image: initial;”>

Sonically, the album starts off somewhat

weak with a typical Wayne intro that flows into the slower opening

tracks, “Blunt 

“list-style-position: initial; list-style-image: initial;”>Blowin” and“MegaMan.” 

It’s not until first single, “6 Foot 7 Foot,” takes over that the

album finally gets a much needed jolt of life and energy. 

Unfortunately, the record’s overall excitement diminishes when you

quickly realize you’ve heard it all before on the song’s

not-too-distant cousin, “A 

“list-style-position: initial; list-style-image: initial;”>Milli.” Things

slow back down on the piano-driven “Nightmares of the Bottom,” one

of the more sincere and reflective pieces of the set.   “She Will”

features Toronto rapper Drake 

“list-style-position: initial; list-style-image: initial;”>onagloomy

track that sounds as if Wayne stole it right from

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Drake’s closet of hits. “How to Hate,”

has radio smash written all over it. However, T-Pain’s insistence

to use 

“list-style-position: initial; list-style-image: initial;”>autotunecomes

off as dated and inappropriate when combined

with 

“list-style-position: initial; list-style-image: initial;”>Weezy’s honest

lyrics about a girl who’s done him wrong in the past.

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Using the same lifeless beat from the

“intro”, the album’s “interlude” is only somewhat enhanced by Andre

3000’s guest verse (and the surprising absence of Wayne).  The

second half of ‘IV’ begins with the triumphant “John” which would

pack a lot more punch if Rick Ross hadn’t done it first with “I’m

Not a Star”. 

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Nevertheless, the song’s hit factor and

street appeal can’t be denied. “So Special,” featuring John Legend,

follows suit but is slightly flawed with the maestro’s talents

being restricted to the short hook.  “How To Love” stands out [for

better or worse] as the most “pop” song on the record with

strumming guitars and Wayne “singing” [or lack thereof].  Those

expecting the LP to pick back up production-wise will be

disappointed. “President Carter,” “It’s Good,” and

the 

“list-style-position: initial; list-style-image: initial;”>”Outro”all

leave the album falling flat in its conclusion.

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Though not a miserable listen, the

overall album suffers due to songs that add nothing fresh to

Wayne’s ever expanding repertoire.  The lyrics on ‘IV’ are trite as

Mr. Carter tackles his usual subjects with his predictable flow

and

“list-style-position: initial; list-style-image: initial;”>punchlines. 

This album lacks “wow moments,” many of which were lost with

releasing so many hit singles before the album’s release.  Another

error is that the hypnotizing Bruno Mars assisted “Mirror” only

serves as a bonus cut on the deluxe edition.

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As a body, 

“list-style-position: initial; list-style-image: initial;”>Tha Carter

IV is a solid effort, but one can’t help but want for Lil’ Wayne to

give his audience something innovative and different. Although ‘IV’

isn’t garbage, it could’ve been handled a whole lot better. 

Hopefully this is the last of the “Carter” series and we’ll see his

next record not limited to the standards and expectations of its

four predecessors. 

• Charles Johnson Copy Editor