It’s years since Cash Money released anything of any real greatness. Mannie Fresh lost his touch years ago and Birdman just seems to be getting worse and worse. So it’s up to Birdman’s adopted son to carry the torch for the Cash Money family, on what could be the sunset of they’re time in the limelight. This album has already blown up all over the internet being hailed a “classic”. Well, no offence, but in my vocabulary Cash Money and classic are not interchangeable terms. So I had to check this out for myself.

The album begins with the epic “Tha Mobb”. Interesting, the production is anything but generic (unlike Birdman’s recent effort). Wayne also seems to be album to string punches together better than his ‘old man’ rhyming “I’m hungry like I didn’t eat, I want it like I didn’t see a meal before 17”. “Fly In” follows up in similar fashion with an eerie piano loop and dark lines like the opener “They call me, Mr. Carter, I kiss the daughter, of the dead’s forehead, I killed the father”. There also seems to be a lot more personality to Wayne on this track compared to many. “Fireman” is another interesting effort with a bouncy synth line and more sharpened Wayne lines. However “Mo Fire” suffers from a crawling pace loop reverting Wayne to a Southern drawl rather than the lyricism based flow over the first few tracks. Although the first 6 tracks (in the whole) have made me think better of Mr. Carter, “Best Rapper Alive” is still an overstatement. Especially when it isn’t as good as the tracks it has followed. It does have it’s points. The fast tempo loop allows a rapid fire, whether Wayne puts it to his full potential or not.

“Lock and Load” definitely has a West coast feel with Troutman-like synths and an appearance by the Kurupt. “Hit Em Up” is another banger with a clever piano fuelled beat and lines like “Eat a catastrophe, swallow the truth, belch reality, how does it taste, how do you face? You a bitch nigga”.

“The Carter II” follows up in true fashion with more raw lyricism like “I ain’t even in the school year book, I don’t do much posing, I gotta cool killer look”. “Fly Out” follows in similar fashion as “Fly In” with Wayne adopting a similar style over another spooky beat. Lines like “One Berretta ready for whatever, tell them pussy niggas come and get her”

Clichés aside this album is great. Not only is the production a step up from the average Cash Money release of the last few years, but Lil’ Wayne has upped the ante on his lyricism. Also, the album feels more raw with less “radio friendly” moments and more lyrical prowess. In the end, it’s a solid record from an artist who’s just received much more respect from me. Long live Mr. Carter.