Lil' Wheezy Sez Buy This, Pleezey....N I Agreeeeee

The people that you come up with tend to do you well, and you tend to get their back when they're down, too. It's in this way that Lil' Wayne has Cash Money back on the map with the recently released and promoted The Carter. Lil' Wayne hails from New Orleans, the trademark feel to the songs being the same as other Cash Money artists such as Baby, Manny Fresh, Juvenile, and B.G. You can find Lil' Wayne on other albums in the group Hot Boys, with Juvenile and B.G., some other folks who plain ol' blew up big.

It goes without saying that the life on the New Orleans streets is just a little harder than most, but you can expect that after a few CDs, hearing of the hustle would just get boring. It's mostly for those reasons that The Carter is such an excellent CD; it mixes the street flavor with a "high talk" and intelligence that the N.O. and Cash Money scene has been lacking...The beats have always been fresh and "club hot," but a fiya beat is nothing without the right hook and raps over it.



Tracklist - Rating
1. Walk In - 4/5
2. Go DJ - 3.5/5
3. This Is the Carter (feat. Manny Fresh) - 4.5/5
4. BM J.R. - 3/5
5. On the Block #1 - skit
6. I Miss My Dawgs (feat. Reel) - 4/5
7. We Don't (feat. Baby AKA "The Numba One Stunna") - 5/5
8. On My Own (feat. Reel) - 4/5
9. Heat - 4/5
10. Cash Money Millionaires - 4/5
11. Inside - 3.5/5
12. Bring It Back (feat. Manny Fresh) - 5/5
13. Who Wanna - 5/5
14. On the Block #2 - skit
15. Get Down (feat. Baby AKA "The Numba One Stunna") - 4/5
16. Snitch - 3.5/5
17. Hoes (feat. Manny Fresh) – 4.5/5
18. Only Way (feat. Baby AKA "The Numba One Stunna") - 5/5
19. Earthquake - 5/5
20. Ain't That a B*tch - 4.5/5
21. Walk Out - 4/5

Standout tracks and choice rhymes:

No intro in this album, you just gotta walk on in the 1. Walk In to start it, so go ahead and hit play. The eerie beat sounds like someone lost in a dark alley, walking slowly, looking around, and then, in a frightened hurry, scuffling forward in an awkward run -- matched by a few electric guitar strums with echo, and some synth choir chords and bells chiming. This song is a "welcome to my town" track, with a walk through the street, the alleys, the corners, the crack houses, and finally, to Lil’ Wayne’s house.
Choice rhymes:
"Any drama, I Pace it like Indiana"
"Make your way to the back, look and see /
White girl in the bathroom, givin’ head for speed”
“So with that, let’s keep it movin’ /
On to the kitchen where my witches keep it brewin’”

The beat to 3. This Is The Carter is a total club beat, reminding me a little of a more refined and sophisticated “This Is How We Do” beat (Big Tymers, Big Money Heavyweight), and it only fits that the song from front to finish is just a hell of a lot better. The hook from Manny Fresh is equally as tight as the beat itself, and Lil’ Wheezy just flat-out wrecks the track. You can tell that this is going to be the second single released from the album, and from the sound and resonation of it, it’s going to be around for a long while to give this album some serious radio time and album sales nationwide.
Choice rhymes:
“Who am I? Young Whizzle, fo shizzle /
Flow sicker than the third floor in hospitals”
“I’m flyer than a motherf*ckin’ pelican”
“I’m the boss of my own sh*t, I’m my own clique /
I would say f*ck ya, but go and get your own d*ck”

Baby AKA The Birdman AKA The Numba One Stunna graces 7. We Don’t with a hard verse that starts the track off with a bang. The beat has some downbeat staccato piano chords that ring out the chord progression with whole note string chords instead of an overpowering bass, a good change to the feel of the CD that resounds the words and echoes them in your mind instead of just the beat. As opposed to the other tracks with guest artists, this one has Lil’ Wayne on the hook. The general message of the song is how things are run in New Orleans, that the same people that make the millions are the same that still use the milli’s (9mm, ahem), that you get dropped and forgotten, dropped like a scuffed pair of shoes.
Choice rhymes:
”Dirty war survivor, uptown madness /
Killing is a hobby, jacking is a habit”
“I took over the circus, ‘cause I’ma act a clown /
If you put your feet down on my surface”
“Now you headed to the sky above /
And I’m goan’ get high with your b*tch at the club”

It wouldn’t be fair to leave Cash Money Records without an anthem like the Ruff Ryders Anthem, so Lil’ Wayne and Manny Fresh bring you 10. Cash Money Millionaires, a stoic and epic anthem about the dirty south that you don’t need a translator to decipher like some terrible Chingy song. It doesn’t have an “I got big cars and hot b*tches” feel, but instead everything Wheezy tells you about his hood and crib leaves you damn scared of the guy and all he can do or have done. There isn’t all that much substance to the song, but then again, “We Are The Champions” or the Cops theme don’t either, so if the message is broadcast with good effect, I don’t guess it matters all that much. It’s catchy, so, eh. Good enough.
Choice rhymes:
“I got a b*tch in the back, and a ho in the front /
One cookin’ the crack, one rollin’ the blunt”
“Bite me now, ‘cause I’m filthy rich /
If getting’ money’s a crime then I’m guilty, b*tch”

If you’ve heard anything from The Carter on the radio or on BET, it would be 12. Bring It Back, a pretty cool tight album. It has an appealing and catchy beat that you wouldn’t classify as bland and standard club anthem, but rather as a pretty original compilation. The drum beat and clap track get your head bobbing in line with the upward and downward scaling synth fills, and the hook is almost too good, with Manny Fresh singing what you can tell will fill club speakers for months. It is comparable to the hook in “Get Low” that will get stuck in your head for days and make you want to move your body in the clubs. What makes it a better song than “Get Low” is the forgotten fill between the hooks, oh yeah, the verses. The wit of Lil’ Wayne creeps out at the end, when, in reference to Jay-Z, he says the best line in the whole album: “Best rapper alive, since the best rapper retired”
Choice rhymes:
“Turn it ‘round here and get your back chopped off /
We do our own thing, we don’t act like y’all”
“Whizzle-fizzle, I keep in New Orleans /
Sleepin’ with the women that sleep with the Hornets /
A country boy, is something foreign
‘Bout a hundred thousand more than you’re in”
“Pop y’all like spot pimples /
Still Wayne but the difference is not Lil’”
“Best rapper alive, since the best rapper retired”

The throwback feel to the next track gets you interested before the verse starts, somewhere in between the Knight Rider theme song and an old James Brown tune. Mild horns in the chorus complement the upbeat bass pretty well, and the drum fill is fresher than most rap songs that don’t have a damn change to them the whole track. There isn’t much else to say about 13. You Wanna, you really have to hear it to get a feel for it; it’s a pretty good song, and although it isn’t “catchy,” it is straight fiya, pretty hot. The reason I think it is such a great song as well is that there aren’t any standout rhymes that impress you in the song, it’s just generally good. It sounds weird, but when you hear the song (‘cause you will, because you need to buy this CD…haha) you’ll know what I mean.

It’s always great to have a downright funny song on an album, and whether or not Manny Fresh put Lil’ Wheezy up to 17. Hoes or not, it was a great choice. Not really like Ludacris’s song, and not a big pimpin’ ode either, but somewhere in the middle. It’s really just an ode to a few shawties on the corners that Manny, Baby, and Lil’ Wheezy have run into and probably “entertained” a few times, which makes it all that much more funny. The chorus goes: “Hoes, let’s just talk about hoes, can’t we talk about hoes? These hoes?” And it makes you just wonder, can’t we reminisce and remember all the good times we had with all those prostitutes? Boy, that one was such a cutie, with the mole in her armpit, and oh – don’t you remember the one that had a pierced eyelid and the large sore on her mouth? I loved that one!

19. Earthquake kindly steals a tune from the past, one I can’t quite place, but when you hear it, you know that he lifted the beat and snagged the hook as well, but took the time to change the words to fit the song. However, forget about that minor detail, and concentrate on the track. Jazzy Pha sings the hook and interspersed doodles in the verses along with some clean electric guitar, giving a bright, tinny backing to Lil’ Wheezy begging for a girl to stick with him, regardless of his pimping, thuggery, and never being around. Sounds amusing, and it really is, because for some reason or another, girls always listen to Wheezy and decide to spend the night and forget about how he won’t be there again for a while.
Choice rhymes:
“Me, I’m a long distance pimp /
When I land, the b*tches wait for me on the strip”
“I, I’m way more fly than you /
I’ll take your dime from you,
Might she wanna spend all night with me?”
“But I can’t fall for ya cause I stick to the script, Yep! /
I say I stick to my grip, I stick to my money /
That’s life to me, sorry honey!”

The album fades in your CD player only in volume, not in resonance in your head, and it’ll leave you ready to start the whole thing over. The 21. Walk Out escorts you to the door and says come back soon, watch your back, and bring another clip. Your short visit to New Orleans is over and like a trip to Mardi Gras, you wonder where your time went as you enjoyed every moment and don’t at all question the money you spent on it. The last words Lil’ Wayne spits ring in your head, the one minute outro leaving your thoughts whining and begging for more as the whole CD ends with Wheezy slamming the door in your face.


I really can’t say enough about how Lil’ Wayne has progressed and already matured. To think, he can’t even buy beer yet, and he has such a strong grip on the New Orleans scene that Baby and Manny Fresh are the ones benefiting from coming on his tracks on their record label. Crazy, ain’t it? So is the ascension of Lil’ Wayne into the national picture, already having “Bring It Back” getting some play on BET and all over the radio, sure to have at least two more singles spreading like wildfire in a dry heat to this parched rap game. Having seen him tag along in Hot Boys with Juvenile, you can see that he learned from some quality teachers and has carved his own place in rap with room yet to grow and perfect his craft. However, in the meantime, you can see how he may still need to get bigger, but already hit the lyrical lotto and can amaze even in a vastly experienced youth.

Finally, Cash Money Records has another hit, after the complete bomb by the Big Tymers, Big Money Heavyweight. Lil' Wheezy, has been patiently holding his ground and has managed to press and slip a few hundred thousand copies of The Carter into stores without any anticipation or whisper of it coming. Somehow or another, his solo album went by unnoticed, but that will only increase the shine that will come from a promising album with all the potential in the world to blow up bigger than the Big Tymers themselves. To be completely honest, you’d be a fool not to at least check out some of these tracks, because along with some stellar production from New Orleans’ finest, Lil’ Wayne wrecks tracks like a drunk semi driver on I-10.