I’ve been contemplating on this one for a while now. Weiss likes it. Pitchfork likes it. And many others feel the same way.
To begin with, its a good record. The fact that weez has been spittin more nonsense than bill o’ reilly over the last few months has been unsettling for sure. But I’m not gonna dismiss the entire effort because of a few stabs at the pop charts. “Milli” “Get Money” “Phone Home” and “Lollipop” are cheezy, overblown, and out of place. Lots of people are gonna love those tracks, and talk shit on me for dissin em. But think about how good those tracks would be without five shots of Jagermeister.
I wouldn’t expect complete greatness from C3 if it weren’t for the songs that knocked my socks off. “Milli” and “Lollipop” were only as disappointing as they were because “Mr. Carter” and “Dr. Carter” were fat as rick ross (and deserving of more inventive song titles).
In hopes of legitimizing my comments I’m gonna break down my thoughts on C3 song by song.
1. 3 Peat (Produced by Maestro):
He opens up the record showcasing his lyrical ability. His flow is interesting (nothing new), and some of the rhymes made me pause with pleasure.
“Got a million duffled up/ for the, fuck, of, it”
Admittedly a fucked up line, but it was delivered with excellence. And his gruesome metaphors can yield some provocative scenarios.
“Swallow my words, taste my thoughts. And if its too nasty spit it back at me.”
The song was a good start. He spit about his abundance of money and his inherent greatness too much, but at least he established that theme early.
2. Mr. Carter feat. Jay-Z (Prod. by Drew and Infamous):
One of the most noticeable disparities in this album is that some of the producers dug deep for just the right sample. Drew and Infamous are in this camp. The sound is lush and complete, and it surprisingly cradles weezy’s sound just as effectively as Jay-Z’s. W drops numerous quality lines, and I think he put out a better performance than Jay.
“Blind eyes could look at me and see the truth/ wonder if Stevie do?”
Something amazing about Lil’ Wayne is that he can make not-that-great-of-lines sound ballin like MJ.
“I call em April babys cause they fools.”
3. A Milli (Produced By Bangladesh):
When I first heard this song I thought, okay, maybe it will be less annoying with a fat sub. So I listened to it with a decent system and, wow, was I wrong. The bass ends up smothering the instrumentals (which is kind of a good thing) and there isn’t much left except wayne trying to turn a decent club beat into a legitimate rap song.
If you enjoy this song, I’ll agree with you if you wish to say it shakes your balls like a motha fucka and its cool when your drunk; other than that this is not good music.
Take a look at what the producer himself had to say:
Bangladesh: This girl I produced for, Shanell, got it to him. But I never went to the lab with him. If I had my way, I would like it more. But I wasn’t around, so what he felt, he put on there. I just thought he would make more of a song out of it, honestly. He’s just rapping. If it was going on the mixtape, it’s cool, but not on no album or single. It’s saying, “A milli.” He needs to pop about being a millionaire. He switched it up and tried to make it “ill.” If that was somebody else, it wouldn’t be on the radio. They just f*ck with Wayne regardless. That right there makes me like that sh*t, because it’s against the grain and it’s working. That sh*t’s no format. A n*gg* went in, freestyled, and that sh*t’s all over the radio. And it’s the hottest beat in hip-hop right now. Every time I turn on Rap City, they in the booth rapping to the beat…
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