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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. It all raises the question: What do you want from Lil Wayne in 2015? Because let’s face it: 2007 Wayne ain’t walking through that door. Since 2011 and "Grove St.Purchase and download this album in a wide variety of formats depending on your needs.
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Across FWA's 15 tracks and laborious 65 minute runtime, I can salvage "Glory" and maybe "Without You", but I can’t help but feel like the guy cherry-picking songs from Knocked Out Loaded. The effort and energy are there but the soul is missing, even when Wayne calls back to New Orleans bounce staple sample "Trigga Man", references TRU, or in the album’s funniest and oddly sweet moment, says "it’s Lil Wayne, I been this shit since Lil Zane," which only reminds you of when he was young, hungry, and full of potential.
Listening to FWA-which is slight by design and not any kind of statement release-I kept thinking, "This is what listening to a new Dylan LP in the '80s must have felt like." You knew you were in the hands of a living great, and you could convince yourself a few songs every few years were worth saving. His last words on this record are "She said she wanted sprinkles, I said sprinkles are for winners." Closer "Pick Up Your Heart", a tedious attempt at channeling protégé Drake, features Wayne pleading "I don't wanna do it no more" but any kind of emotional resonance is nullified by a goofy spoken-word outro.
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The Free Weezy Album, then, has a double meaning.įor every memorable line or couplet (on "He’s Dead", he flatly admits "rest in peace to the Cash Money Weezy, gone but not forgotten," and on "Pull Up", a clear Young Thug diss song, he pulls some vocal acrobatics, mimicking Thug's percussive, ratatat delivery) there are many clunkers ("she get hard dick and McDonald’s 'cause she so tired of them whoppers," from "I Feel Good"). But, as an "artist owner" of Tidal, no one is telling him he can’t release things for free. The existence of FWA starts to make sense when you realize that Birdman (and by extension Cash Money) has essentially taken what would be Carter V hostage, and Wayne is currently prohibited from profiting from new music. Tidal is already looking like the MiniDisc of streaming services and it’s only been around for a few months. A set billed as a "Tidal exclusive" doesn’t exactly inspire confidence. Fast-forward to 2015 and, after four years of hit-or-miss releases, The Free Weezy Album.
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