![]() The beats seem tired and passed-on, the flows steady and workmanlike, and the songs dug from the recesses of available options. In fact it pretty much resembles the ho-hum stopgaps that have graced his name ever since the release of the record’s prequel-something you could expect to hear while he was still incarcerated, a cobbling of limited means. The long-awaited refocusing of Wayne on his most basic of craft, recapturing the absolute inferno he was leaning towards the middle of the decade. With all that clutter the rearview mirror, most of us were looking towards Tha Carter IV as something of resurgence. Emerging months after legal troubles, shoddy mixtapes, clearinghouse releases, and one particularly bizarre bum-rock divergence, its reputation precedes any copy you could generate. “Six Foot Seven Foot” remains the best moment on Tha Carter IV-potentially one of the most anticipated hip-hop LPs of all time. The line was perfect for hashtags, pretty much encapsulating the vocab-addict, mesmerizingly idiosyncratic wordplay it seems only Lil Wayne can wield, reminding us exactly what we’ve been missing the last year. on an absolutely monstrous advance-single, it was a roar of immortal relevance-something that effortlessly transcended prison bars. Tumbling from the mouth of a newly-freed, utterly unhinged, blacked-out savant incarnation of the man born Dwayne Michael Carter, Jr. These words marked the beginning of 2011. “Bitch, real G’s move in silence like lasagna!”
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