The first time I heard Lil Wayne’s voice was on the song, “Barry Bonds” off of Kanye West’s Graduation in 2007. I knew of him, but never actually listened to him. When he appeared on the second verse on the song, in his thick syrup induced drawl, my head turned. “What the fuck is this?”, I thought in astonishment. It was unlike anything I heard in hip-hop. His flow seemed to work around the beat, as opposed to be linked to it. And then there were the bizarre lyrics: “my drink’s still pinker than the easter rabbit”; “stove on my waist turn beef to patties”. It was clear even then, that the dude followed his own path. Instead of following the normal rules, he seemed to be re-writing them as he went along.
His voice is everywhere these days – besides his own songs, it seems that he is on almost every single hip-hop song on the radio. It seems so commonplace, so it’s easy to forget how weird, bizarre, and how good he can be. Many rappers stick to a constant flow in the song, making it easy to rap along. In any one of his songs, Wayne takes detours that others would be afraid to take. His voice is not normal, and he often enunciates particular words that would otherwise be un-rhymeable – “I’m rare like mr clean with hair, No brake lights on my car rear” from “Phone Home”. “A Milli” is one of the strangest hip-hop songs to be released in the past few decades. There’s no hook, except for the statement, “motherfucker I’m ill”. From anything other rapper, the strange beats and repeated “a milli” voice in the background would have been annoying, but Wayne sees it as a challenge, delivering a tour de force of a song.
Prior to Tha Carter III, he built up a following with the albums 500 Degreez, and Tha Carter. But it was really his mix-tapes Dedication 2 and Da Drought 3 and his appearances on singles from Fat Joe (“Make it Rain”), Chris Brown (“Gimme That”) and Wyclef Jean (“Sweetest Girl (Dollar Bill)”) among numerous others in 2006 and 2007 that gained him a wider audience. When Tha Carter III was released in June 2008, it was clear that hip-hop belonged to Lil Wayne.
But being his unpredictable self, Wayne followed-up the blockbuster Carter III with the critically panned Rebirth, which was his much touted rock album. To some, Rebirth might be seen as mistake (and while it certainly is forgettable) it proves that Lil Wayne does whatever he wants, critics and detractors be damned.
Is Weezy, the best rapper alive, as he has often claimed? Perhaps. If nothing else he is without a doubt one of the most innovative, prolific, entertaining and wildest rappers out there.