Tha Carter VI Discussion Thread

[Waynasite]

Flex Up is one of my favs but I would like it more if it wasn't so mumbly.

That's one of the things that makes it great

[Az_Si]

Okay, I have heard it again and again, I've got enough for my review:

King Carter - Works really well as an intro, but as it appears to be AI (did the booklet confirm it?) it loses some grace. Still, as a non-vocal performance and a decent opener i will pass No judgement.

WTTC - Wayne over a soul sample never disappoints. Genuinely. One of the bright spots of the album, but the AI use and really strong, but not superb verses knock it to an 8.5

Bells - Wayne on his old-school shit is still most people's favorite Wayne (and probably mine as well). Both verses are strong and add atmosphere. Yet, the last chorus could have been cut and while I can't help but crack up each time, the "wong ding ding dong" line leaves an aftertaste. A strong 8

Hip-Hop - X is floating on the hook, Wayne shiming in is making it a lot better. Jay Jones is stepping up to the task, making perhabs his best appearance on a track with Wayne. While the first verse is amazing, the second already employs an epiphora by adding the n-word each line (which won't be the last time). While it helps the flow, I understand people being tired of it. I could live well without the melodic intro to the first verse though. Again, 8.5 (i promise, i will differentiate eventually).

Sharks - The first step down. Big Sean is delivering, which is (IMO) not always a given. Wayne's verse is solid, but perhabs the least impressive of the album so far. I know that many hate Jelly Roll by default, but I was hoping for something way more impressive. Surprisingly, the chorus somewhat stuck in my head, but it is one of the songs i least revisit. Overall (except for Sean, who knew) underwhelming. 6

Banned from NO - The OG Banned freestyle is one of my favorite mixtape cuts, so it is difficult to revisit it as an artist. This songs screams of missed potential, as the beat could hit way harder and Wayne is relying way too much on the hook, making the song seem repetitive, The NIcki Remix helps the issue, but won't be rated in this review. Still, it is a joy to hear the beat and you could tell that this could have been a great moment. 7

The Days - There is nothing wrong with this song. That's really all there is to say about it, it is just relatively bland. Wayne stays on topic, his verses compliment the mission to create a radio-friendly song very well. Again, one of the skips and holds a similar spot as Trust Nobody on Funeral (except i liked that one a lot more). Straight down the middle, it's a 5.

Cotton Candy - Solid all around, and genuinely fun to listen to. In this capacity, it reminds me of the joyous energy of I feel good off the FWA. Neither Chainz or Wayne are talking about anything new on the track, but the atmosphere will make it stand the test of time. 7.5

Flex Up - One of the better concepts of the album, yet somewhat unfocused in both lyrical content and energy by Wayne. I agree, a less slurry/mumbly attempt would probably have yielded a better result. 7

Island Holiday - Well. This is something. I absolutely lost it when hearing it. Island in the Sun is a banger to me, so i don't mind it as a song, my initial thought went back to No Ceilings' Crazy (Gnarls Barkley) adaption - though that was a lot closer to Wayne's ballpark than this song is. While I again think that he could've done more with the concept, the main issue is definitely that it does not feel like a Carter entry. IANAHB3, Rebirth 2 - fine. But Tha Carter was never a place for these experiments, and while the guitar input so far could have been defended with reference to the rock influence on Tha Carter II, this is another level. Wayne's singing voice is obviously not comparable to Rivers Cuomo's so it leaves me with a lot of questions. But while we can question whether it is necessary or whether it could/should have been better, it is at least not boring. While purists will understandably hate it, I can give it a 6.5

Loki's Theme - A gang-rep with a heavy outro. Again, not expected, but I genuinely like it. Wayne is gritty and this attitude transcends well to the instrumental explosion at the end. 8

IIPG - The How to Love of the album. And again, people were torn about this type of song in 2011, and they will be torn now. The atmosphere is dreamy and many of Wayne's lines land. Unfortuantely, the Silvester Stallone one was a an eye-roller for me. But it gets easier to overhear with each listen and in the right mood, it is a great song that we did not get that often from Wayne. Without the mentioned How to Love, I would probably question the song's placement more, but now I don't. 8

P2NE - Lin Manuel Miranda produced this. If the underrepresentation of the role of slavery in Hamilton was his biggest harm to black culture so far, this production took its place. It is jarring, a jaw-dropper. Wayne is doing a lot to keep this track together, but it is not saveable. The best thing about this is the realization that Wayne was capable to add something which somewhat implies a vision. Yet, it is definitely the worst track so far. 2

Rari - I was not looking forward to his kids' rapping on these. (Then again neither was I happy about Reginae's spot in CV but Famous turned out great!). Kam is complimentary with Wayne, it is definitely listenable. On a father-son linkup for a Carter entry, you would simply expect a lot more. Famous had a purpose and message; this song seems like Wayne told Kam to do whatever he wants (which i guess is a sweet sentiment, but misplaced here).Wayne's verses are actually alright (but nothing special). 4

Maria - My most anticipated song of the album. I did not really know what the vision would be with Bocelli's vocals and I was scared of some half-assed sample-chorus. Rapping over the whole rendition is a brave choice that I commend. - But -
This could have been one of the best Wayne songs of all time, a straight ten. While I understand why Wyclef wouldn't pass on this opprtunity, they could've saved his verse (which btw is really good!) for a remix/extended cut. The orchestration could have been a lot better as well, more intricate drums and an adequate build up towards the end, with two or three Wayne verses straight. It is a lot of criticism considering how much I still like this song. It has a structural benefit that I will speak of later. 8.5

Bein Myself - The Mannie Fresh x Wayne album is still needed (and not the EDM one). This is the most classic Carter vibe on the whole album, this combination will hardly ever miss if both parties engage as much as they do here. Some of the projects best production with Wayne in his NOLA bag. Best song of the album, a 9

Mula Komin In - Going from the best to the worst. Wayne really should've given both of his sons' songs more direction. Novi is doing whatever and Wayne is trying to adapt. No other song is as messy as this one to me. It has no redeeming quality in my eyes.1

AITSWMG - MGK was another name most wouldn't want to have on the album (me included). But his contribution makes sense, he sings the chorus a lot better than Wayne and it fits the atmosphere of a loner-gangster song. Kodak on the other hand is sounding like he has a fishstick in his mouth, and a lot more than usually as well (I know he is having sojme health issues, I hope he is doing fine/better).His inclusion did not help at all though. A second Wayne verse would have elevated the song, but it still would not be a standout. Much like IIPG, it is a matter of taste whether this is deemed a disgrace or one of the better Wayne ventures into this area of melodic rap. I opt for the latter and give a 7

Written Histiory - A ful circle moment from the first two songs, closing out on a strong note with the emphasis on Wayne's legacy. It gets a bit repetitive to me, but strong production and an acclaimed form of Wayne's rapping results in an 8

Average verdict: 6.63

Important for contextualization is also the Arrangement:
The first two songs and the Outro form a frame of concept for the project, that just is not upheld throughout. Some notable exceptations are present, but especially the experimental tracks (while not always bad) are not fitting the narrative. To start positively, the switch from Maria's ending line "Tell me who you are" to the track "Bein myself" is among the best transitions in the whhole series. Other than that, there has been enough talk about the production on this project and the missing throughlines had always been an issue with Weezy projects.

We have said it again and again, but a better assignment of producers (e.g. Mannie and Wheezy proved themselves here) and an Executive Producer with the artistic vision and standing to enable Wayne's next project and not bend to yes-man tendencies would go a long, long way. Wyclef was either not as involved as it initially semmed or he gave in to the label's and/or Wayne's antics.
If we were to see a Carter 7, an interesting question would be what we want to expect. Wayne has obviously picked up the guitar again and if all (or at least most) riffs on here are played by him, he has improved tremendously. No Carter is sounding like the next one, probably IV sounds closest to III (which was a major point of criticism back then), but for many, Wayne has overstepped the boundaries of the series with CVI. Then again, Wayne's first endeavor with the B.G.'z turns 30 this year and he is on pace to sell six figures with this project, even though the promo was horrendously lackluster. Branching out and actually exploring new territory would be (if done correctly) complimenting his artistry, even if less people tune in. He obviously made an effort to do just that here and wanted to make it a focal point of the album (think of "I want weezer the band on this one" and the M. Ali Intro on Written History).
I can see a direction in which Wayne's next couple of projects are doing just that - and a lot better than he did on CVI. Let's see where he is heading.

Conclusively, it is certainly fair to call it the worst entry in the Carter series, but it is getting a lot more hate than it deserves. Surprisingly many songs are getting better with repetition and Wayne is opening up an avenue which might be important enough to justify the entries' existence in the Series with hindsight.

Let me know how you feel about my assessment.

[Dedication3Streaming]

Okay, I have heard it again and again, I've got enough for my review:

King Carter - Works really well as an intro, but as it appears to be AI (did the booklet confirm it?) it loses some grace. Still, as a non-vocal performance and a decent opener i will pass No judgement.

WTTC - Wayne over a soul sample never disappoints. Genuinely. One of the bright spots of the album, but the AI use and really strong, but not superb verses knock it to an 8.5

Bells - Wayne on his old-school shit is still most people's favorite Wayne (and probably mine as well). Both verses are strong and add atmosphere. Yet, the last chorus could have been cut and while I can't help but crack up each time, the "wong ding ding dong" line leaves an aftertaste. A strong 8

Hip-Hop - X is floating on the hook, Wayne shiming in is making it a lot better. Jay Jones is stepping up to the task, making perhabs his best appearance on a track with Wayne. While the first verse is amazing, the second already employs an epiphora by adding the n-word each line (which won't be the last time). While it helps the flow, I understand people being tired of it. I could live well without the melodic intro to the first verse though. Again, 8.5 (i promise, i will differentiate eventually).

Sharks - The first step down. Big Sean is delivering, which is (IMO) not always a given. Wayne's verse is solid, but perhabs the least impressive of the album so far. I know that many hate Jelly Roll by default, but I was hoping for something way more impressive. Surprisingly, the chorus somewhat stuck in my head, but it is one of the songs i least revisit. Overall (except for Sean, who knew) underwhelming. 6

Banned from NO - The OG Banned freestyle is one of my favorite mixtape cuts, so it is difficult to revisit it as an artist. This songs screams of missed potential, as the beat could hit way harder and Wayne is relying way too much on the hook, making the song seem repetitive, The NIcki Remix helps the issue, but won't be rated in this review. Still, it is a joy to hear the beat and you could tell that this could have been a great moment. 7

The Days - There is nothing wrong with this song. That's really all there is to say about it, it is just relatively bland. Wayne stays on topic, his verses compliment the mission to create a radio-friendly song very well. Again, one of the skips and holds a similar spot as Trust Nobody on Funeral (except i liked that one a lot more). Straight down the middle, it's a 5.

Cotton Candy - Solid all around, and genuinely fun to listen to. In this capacity, it reminds me of the joyous energy of I feel good off the FWA. Neither Chainz or Wayne are talking about anything new on the track, but the atmosphere will make it stand the test of time. 7.5

Flex Up - One of the better concepts of the album, yet somewhat unfocused in both lyrical content and energy by Wayne. I agree, a less slurry/mumbly attempt would probably have yielded a better result. 7

Island Holiday - Well. This is something. I absolutely lost it when hearing it. Island in the Sun is a banger to me, so i don't mind it as a song, my initial thought went back to No Ceilings' Crazy (Gnarls Barkley) adaption - though that was a lot closer to Wayne's ballpark than this song is. While I again think that he could've done more with the concept, the main issue is definitely that it does not feel like a Carter entry. IANAHB3, Rebirth 2 - fine. But Tha Carter was never a place for these experiments, and while the guitar input so far could have been defended with reference to the rock influence on Tha Carter II, this is another level. Wayne's singing voice is obviously not comparable to Rivers Cuomo's so it leaves me with a lot of questions. But while we can question whether it is necessary or whether it could/should have been better, it is at least not boring. While purists will understandably hate it, I can give it a 6.5

Loki's Theme - A gang-rep with a heavy outro. Again, not expected, but I genuinely like it. Wayne is gritty and this attitude transcends well to the instrumental explosion at the end. 8

IIPG - The How to Love of the album. And again, people were torn about this type of song in 2011, and they will be torn now. The atmosphere is dreamy and many of Wayne's lines land. Unfortuantely, the Silvester Stallone one was a an eye-roller for me. But it gets easier to overhear with each listen and in the right mood, it is a great song that we did not get that often from Wayne. Without the mentioned How to Love, I would probably question the song's placement more, but now I don't. 8

P2NE - Lin Manuel Miranda produced this. If the underrepresentation of the role of slavery in Hamilton was his biggest harm to black culture so far, this production took its place. It is jarring, a jaw-dropper. Wayne is doing a lot to keep this track together, but it is not saveable. The best thing about this is the realization that Wayne was capable to add something which somewhat implies a vision. Yet, it is definitely the worst track so far. 2

Rari - I was not looking forward to his kids' rapping on these. (Then again neither was I happy about Reginae's spot in CV but Famous turned out great!). Kam is complimentary with Wayne, it is definitely listenable. On a father-son linkup for a Carter entry, you would simply expect a lot more. Famous had a purpose and message; this song seems like Wayne told Kam to do whatever he wants (which i guess is a sweet sentiment, but misplaced here).Wayne's verses are actually alright (but nothing special). 4

Maria - My most anticipated song of the album. I did not really know what the vision would be with Bocelli's vocals and I was scared of some half-assed sample-chorus. Rapping over the whole rendition is a brave choice that I commend. - But -
This could have been one of the best Wayne songs of all time, a straight ten. While I understand why Wyclef wouldn't pass on this opprtunity, they could've saved his verse (which btw is really good!) for a remix/extended cut. The orchestration could have been a lot better as well, more intricate drums and an adequate build up towards the end, with two or three Wayne verses straight. It is a lot of criticism considering how much I still like this song. It has a structural benefit that I will speak of later. 8.5

Bein Myself - The Mannie Fresh x Wayne album is still needed (and not the EDM one). This is the most classic Carter vibe on the whole album, this combination will hardly ever miss if both parties engage as much as they do here. Some of the projects best production with Wayne in his NOLA bag. Best song of the album, a 9

Mula Komin In - Going from the best to the worst. Wayne really should've given both of his sons' songs more direction. Novi is doing whatever and Wayne is trying to adapt. No other song is as messy as this one to me. It has no redeeming quality in my eyes.1

AITSWMG - MGK was another name most wouldn't want to have on the album (me included). But his contribution makes sense, he sings the chorus a lot better than Wayne and it fits the atmosphere of a loner-gangster song. Kodak on the other hand is sounding like he has a fishstick in his mouth, and a lot more than usually as well (I know he is having sojme health issues, I hope he is doing fine/better).His inclusion did not help at all though. A second Wayne verse would have elevated the song, but it still would not be a standout. Much like IIPG, it is a matter of taste whether this is deemed a disgrace or one of the better Wayne ventures into this area of melodic rap. I opt for the latter and give a 7

Written Histiory - A ful circle moment from the first two songs, closing out on a strong note with the emphasis on Wayne's legacy. It gets a bit repetitive to me, but strong production and an acclaimed form of Wayne's rapping results in an 8

Average verdict: 6.63

Important for contextualization is also the Arrangement:
The first two songs and the Outro form a frame of concept for the project, that just is not upheld throughout. Some notable exceptations are present, but especially the experimental tracks (while not always bad) are not fitting the narrative. To start positively, the switch from Maria's ending line "Tell me who you are" to the track "Bein myself" is among the best transitions in the whhole series. Other than that, there has been enough talk about the production on this project and the missing throughlines had always been an issue with Weezy projects.

We have said it again and again, but a better assignment of producers (e.g. Mannie and Wheezy proved themselves here) and an Executive Producer with the artistic vision and standing to enable Wayne's next project and not bend to yes-man tendencies would go a long, long way. Wyclef was either not as involved as it initially semmed or he gave in to the label's and/or Wayne's antics.
If we were to see a Carter 7, an interesting question would be what we want to expect. Wayne has obviously picked up the guitar again and if all (or at least most) riffs on here are played by him, he has improved tremendously. No Carter is sounding like the next one, probably IV sounds closest to III (which was a major point of criticism back then), but for many, Wayne has overstepped the boundaries of the series with CVI. Then again, Wayne's first endeavor with the B.G.'z turns 30 this year and he is on pace to sell six figures with this project, even though the promo was horrendously lackluster. Branching out and actually exploring new territory would be (if done correctly) complimenting his artistry, even if less people tune in. He obviously made an effort to do just that here and wanted to make it a focal point of the album (think of "I want weezer the band on this one" and the M. Ali Intro on Written History).
I can see a direction in which Wayne's next couple of projects are doing just that - and a lot better than he did on CVI. Let's see where he is heading.

Conclusively, it is certainly fair to call it the worst entry in the Carter series, but it is getting a lot more hate than it deserves. Surprisingly many songs are getting better with repetition and Wayne is opening up an avenue which might be important enough to justify the entries' existence in the Series with hindsight.

Let me know how you feel about my assessment.

I totally agree. Long story short, the songs with his kids are terrible and should not be on here. Save them for their projects or a mixtape.

[Emilyyy-xx]

Okay, I have heard it again and again, I've got enough for my review:

King Carter - Works really well as an intro, but as it appears to be AI (did the booklet confirm it?) it loses some grace. Still, as a non-vocal performance and a decent opener i will pass No judgement.

WTTC - Wayne over a soul sample never disappoints. Genuinely. One of the bright spots of the album, but the AI use and really strong, but not superb verses knock it to an 8.5

Bells - Wayne on his old-school shit is still most people's favorite Wayne (and probably mine as well). Both verses are strong and add atmosphere. Yet, the last chorus could have been cut and while I can't help but crack up each time, the "wong ding ding dong" line leaves an aftertaste. A strong 8

Hip-Hop - X is floating on the hook, Wayne shiming in is making it a lot better. Jay Jones is stepping up to the task, making perhabs his best appearance on a track with Wayne. While the first verse is amazing, the second already employs an epiphora by adding the n-word each line (which won't be the last time). While it helps the flow, I understand people being tired of it. I could live well without the melodic intro to the first verse though. Again, 8.5 (i promise, i will differentiate eventually).

Sharks - The first step down. Big Sean is delivering, which is (IMO) not always a given. Wayne's verse is solid, but perhabs the least impressive of the album so far. I know that many hate Jelly Roll by default, but I was hoping for something way more impressive. Surprisingly, the chorus somewhat stuck in my head, but it is one of the songs i least revisit. Overall (except for Sean, who knew) underwhelming. 6

Banned from NO - The OG Banned freestyle is one of my favorite mixtape cuts, so it is difficult to revisit it as an artist. This songs screams of missed potential, as the beat could hit way harder and Wayne is relying way too much on the hook, making the song seem repetitive, The NIcki Remix helps the issue, but won't be rated in this review. Still, it is a joy to hear the beat and you could tell that this could have been a great moment. 7

The Days - There is nothing wrong with this song. That's really all there is to say about it, it is just relatively bland. Wayne stays on topic, his verses compliment the mission to create a radio-friendly song very well. Again, one of the skips and holds a similar spot as Trust Nobody on Funeral (except i liked that one a lot more). Straight down the middle, it's a 5.

Cotton Candy - Solid all around, and genuinely fun to listen to. In this capacity, it reminds me of the joyous energy of I feel good off the FWA. Neither Chainz or Wayne are talking about anything new on the track, but the atmosphere will make it stand the test of time. 7.5

Flex Up - One of the better concepts of the album, yet somewhat unfocused in both lyrical content and energy by Wayne. I agree, a less slurry/mumbly attempt would probably have yielded a better result. 7

Island Holiday - Well. This is something. I absolutely lost it when hearing it. Island in the Sun is a banger to me, so i don't mind it as a song, my initial thought went back to No Ceilings' Crazy (Gnarls Barkley) adaption - though that was a lot closer to Wayne's ballpark than this song is. While I again think that he could've done more with the concept, the main issue is definitely that it does not feel like a Carter entry. IANAHB3, Rebirth 2 - fine. But Tha Carter was never a place for these experiments, and while the guitar input so far could have been defended with reference to the rock influence on Tha Carter II, this is another level. Wayne's singing voice is obviously not comparable to Rivers Cuomo's so it leaves me with a lot of questions. But while we can question whether it is necessary or whether it could/should have been better, it is at least not boring. While purists will understandably hate it, I can give it a 6.5

Loki's Theme - A gang-rep with a heavy outro. Again, not expected, but I genuinely like it. Wayne is gritty and this attitude transcends well to the instrumental explosion at the end. 8

IIPG - The How to Love of the album. And again, people were torn about this type of song in 2011, and they will be torn now. The atmosphere is dreamy and many of Wayne's lines land. Unfortuantely, the Silvester Stallone one was a an eye-roller for me. But it gets easier to overhear with each listen and in the right mood, it is a great song that we did not get that often from Wayne. Without the mentioned How to Love, I would probably question the song's placement more, but now I don't. 8

P2NE - Lin Manuel Miranda produced this. If the underrepresentation of the role of slavery in Hamilton was his biggest harm to black culture so far, this production took its place. It is jarring, a jaw-dropper. Wayne is doing a lot to keep this track together, but it is not saveable. The best thing about this is the realization that Wayne was capable to add something which somewhat implies a vision. Yet, it is definitely the worst track so far. 2

Rari - I was not looking forward to his kids' rapping on these. (Then again neither was I happy about Reginae's spot in CV but Famous turned out great!). Kam is complimentary with Wayne, it is definitely listenable. On a father-son linkup for a Carter entry, you would simply expect a lot more. Famous had a purpose and message; this song seems like Wayne told Kam to do whatever he wants (which i guess is a sweet sentiment, but misplaced here).Wayne's verses are actually alright (but nothing special). 4

Maria - My most anticipated song of the album. I did not really know what the vision would be with Bocelli's vocals and I was scared of some half-assed sample-chorus. Rapping over the whole rendition is a brave choice that I commend. - But -
This could have been one of the best Wayne songs of all time, a straight ten. While I understand why Wyclef wouldn't pass on this opprtunity, they could've saved his verse (which btw is really good!) for a remix/extended cut. The orchestration could have been a lot better as well, more intricate drums and an adequate build up towards the end, with two or three Wayne verses straight. It is a lot of criticism considering how much I still like this song. It has a structural benefit that I will speak of later. 8.5

Bein Myself - The Mannie Fresh x Wayne album is still needed (and not the EDM one). This is the most classic Carter vibe on the whole album, this combination will hardly ever miss if both parties engage as much as they do here. Some of the projects best production with Wayne in his NOLA bag. Best song of the album, a 9

Mula Komin In - Going from the best to the worst. Wayne really should've given both of his sons' songs more direction. Novi is doing whatever and Wayne is trying to adapt. No other song is as messy as this one to me. It has no redeeming quality in my eyes.1

AITSWMG - MGK was another name most wouldn't want to have on the album (me included). But his contribution makes sense, he sings the chorus a lot better than Wayne and it fits the atmosphere of a loner-gangster song. Kodak on the other hand is sounding like he has a fishstick in his mouth, and a lot more than usually as well (I know he is having sojme health issues, I hope he is doing fine/better).His inclusion did not help at all though. A second Wayne verse would have elevated the song, but it still would not be a standout. Much like IIPG, it is a matter of taste whether this is deemed a disgrace or one of the better Wayne ventures into this area of melodic rap. I opt for the latter and give a 7

Written Histiory - A ful circle moment from the first two songs, closing out on a strong note with the emphasis on Wayne's legacy. It gets a bit repetitive to me, but strong production and an acclaimed form of Wayne's rapping results in an 8

Average verdict: 6.63

Important for contextualization is also the Arrangement:
The first two songs and the Outro form a frame of concept for the project, that just is not upheld throughout. Some notable exceptations are present, but especially the experimental tracks (while not always bad) are not fitting the narrative. To start positively, the switch from Maria's ending line "Tell me who you are" to the track "Bein myself" is among the best transitions in the whhole series. Other than that, there has been enough talk about the production on this project and the missing throughlines had always been an issue with Weezy projects.

We have said it again and again, but a better assignment of producers (e.g. Mannie and Wheezy proved themselves here) and an Executive Producer with the artistic vision and standing to enable Wayne's next project and not bend to yes-man tendencies would go a long, long way. Wyclef was either not as involved as it initially semmed or he gave in to the label's and/or Wayne's antics.
If we were to see a Carter 7, an interesting question would be what we want to expect. Wayne has obviously picked up the guitar again and if all (or at least most) riffs on here are played by him, he has improved tremendously. No Carter is sounding like the next one, probably IV sounds closest to III (which was a major point of criticism back then), but for many, Wayne has overstepped the boundaries of the series with CVI. Then again, Wayne's first endeavor with the B.G.'z turns 30 this year and he is on pace to sell six figures with this project, even though the promo was horrendously lackluster. Branching out and actually exploring new territory would be (if done correctly) complimenting his artistry, even if less people tune in. He obviously made an effort to do just that here and wanted to make it a focal point of the album (think of "I want weezer the band on this one" and the M. Ali Intro on Written History).
I can see a direction in which Wayne's next couple of projects are doing just that - and a lot better than he did on CVI. Let's see where he is heading.

Conclusively, it is certainly fair to call it the worst entry in the Carter series, but it is getting a lot more hate than it deserves. Surprisingly many songs are getting better with repetition and Wayne is opening up an avenue which might be important enough to justify the entries' existence in the Series with hindsight.

Let me know how you feel about my assessment.

it’s at least a 8 hun x

[cy-rus]

His voice on a lot of these songs are really good though I must say

I love “keep a chopper on mee - like a helipad” from Hip Hop verse 2

himalayan(igga) down like pink salt. FIRE. -Lokis Theme

I birthed a whole culture and walked out the delivery room with blood all over. -Maria

[toonchi]

Okay, I have heard it again and again, I've got enough for my review:

King Carter - Works really well as an intro, but as it appears to be AI (did the booklet confirm it?) it loses some grace. Still, as a non-vocal performance and a decent opener i will pass No judgement.

WTTC - Wayne over a soul sample never disappoints. Genuinely. One of the bright spots of the album, but the AI use and really strong, but not superb verses knock it to an 8.5

Bells - Wayne on his old-school shit is still most people's favorite Wayne (and probably mine as well). Both verses are strong and add atmosphere. Yet, the last chorus could have been cut and while I can't help but crack up each time, the "wong ding ding dong" line leaves an aftertaste. A strong 8

Hip-Hop - X is floating on the hook, Wayne shiming in is making it a lot better. Jay Jones is stepping up to the task, making perhabs his best appearance on a track with Wayne. While the first verse is amazing, the second already employs an epiphora by adding the n-word each line (which won't be the last time). While it helps the flow, I understand people being tired of it. I could live well without the melodic intro to the first verse though. Again, 8.5 (i promise, i will differentiate eventually).

Sharks - The first step down. Big Sean is delivering, which is (IMO) not always a given. Wayne's verse is solid, but perhabs the least impressive of the album so far. I know that many hate Jelly Roll by default, but I was hoping for something way more impressive. Surprisingly, the chorus somewhat stuck in my head, but it is one of the songs i least revisit. Overall (except for Sean, who knew) underwhelming. 6

Banned from NO - The OG Banned freestyle is one of my favorite mixtape cuts, so it is difficult to revisit it as an artist. This songs screams of missed potential, as the beat could hit way harder and Wayne is relying way too much on the hook, making the song seem repetitive, The NIcki Remix helps the issue, but won't be rated in this review. Still, it is a joy to hear the beat and you could tell that this could have been a great moment. 7

The Days - There is nothing wrong with this song. That's really all there is to say about it, it is just relatively bland. Wayne stays on topic, his verses compliment the mission to create a radio-friendly song very well. Again, one of the skips and holds a similar spot as Trust Nobody on Funeral (except i liked that one a lot more). Straight down the middle, it's a 5.

Cotton Candy - Solid all around, and genuinely fun to listen to. In this capacity, it reminds me of the joyous energy of I feel good off the FWA. Neither Chainz or Wayne are talking about anything new on the track, but the atmosphere will make it stand the test of time. 7.5

Flex Up - One of the better concepts of the album, yet somewhat unfocused in both lyrical content and energy by Wayne. I agree, a less slurry/mumbly attempt would probably have yielded a better result. 7

Island Holiday - Well. This is something. I absolutely lost it when hearing it. Island in the Sun is a banger to me, so i don't mind it as a song, my initial thought went back to No Ceilings' Crazy (Gnarls Barkley) adaption - though that was a lot closer to Wayne's ballpark than this song is. While I again think that he could've done more with the concept, the main issue is definitely that it does not feel like a Carter entry. IANAHB3, Rebirth 2 - fine. But Tha Carter was never a place for these experiments, and while the guitar input so far could have been defended with reference to the rock influence on Tha Carter II, this is another level. Wayne's singing voice is obviously not comparable to Rivers Cuomo's so it leaves me with a lot of questions. But while we can question whether it is necessary or whether it could/should have been better, it is at least not boring. While purists will understandably hate it, I can give it a 6.5

Loki's Theme - A gang-rep with a heavy outro. Again, not expected, but I genuinely like it. Wayne is gritty and this attitude transcends well to the instrumental explosion at the end. 8

IIPG - The How to Love of the album. And again, people were torn about this type of song in 2011, and they will be torn now. The atmosphere is dreamy and many of Wayne's lines land. Unfortuantely, the Silvester Stallone one was a an eye-roller for me. But it gets easier to overhear with each listen and in the right mood, it is a great song that we did not get that often from Wayne. Without the mentioned How to Love, I would probably question the song's placement more, but now I don't. 8

P2NE - Lin Manuel Miranda produced this. If the underrepresentation of the role of slavery in Hamilton was his biggest harm to black culture so far, this production took its place. It is jarring, a jaw-dropper. Wayne is doing a lot to keep this track together, but it is not saveable. The best thing about this is the realization that Wayne was capable to add something which somewhat implies a vision. Yet, it is definitely the worst track so far. 2

Rari - I was not looking forward to his kids' rapping on these. (Then again neither was I happy about Reginae's spot in CV but Famous turned out great!). Kam is complimentary with Wayne, it is definitely listenable. On a father-son linkup for a Carter entry, you would simply expect a lot more. Famous had a purpose and message; this song seems like Wayne told Kam to do whatever he wants (which i guess is a sweet sentiment, but misplaced here).Wayne's verses are actually alright (but nothing special). 4

Maria - My most anticipated song of the album. I did not really know what the vision would be with Bocelli's vocals and I was scared of some half-assed sample-chorus. Rapping over the whole rendition is a brave choice that I commend. - But -
This could have been one of the best Wayne songs of all time, a straight ten. While I understand why Wyclef wouldn't pass on this opprtunity, they could've saved his verse (which btw is really good!) for a remix/extended cut. The orchestration could have been a lot better as well, more intricate drums and an adequate build up towards the end, with two or three Wayne verses straight. It is a lot of criticism considering how much I still like this song. It has a structural benefit that I will speak of later. 8.5

Bein Myself - The Mannie Fresh x Wayne album is still needed (and not the EDM one). This is the most classic Carter vibe on the whole album, this combination will hardly ever miss if both parties engage as much as they do here. Some of the projects best production with Wayne in his NOLA bag. Best song of the album, a 9

Mula Komin In - Going from the best to the worst. Wayne really should've given both of his sons' songs more direction. Novi is doing whatever and Wayne is trying to adapt. No other song is as messy as this one to me. It has no redeeming quality in my eyes.1

AITSWMG - MGK was another name most wouldn't want to have on the album (me included). But his contribution makes sense, he sings the chorus a lot better than Wayne and it fits the atmosphere of a loner-gangster song. Kodak on the other hand is sounding like he has a fishstick in his mouth, and a lot more than usually as well (I know he is having sojme health issues, I hope he is doing fine/better).His inclusion did not help at all though. A second Wayne verse would have elevated the song, but it still would not be a standout. Much like IIPG, it is a matter of taste whether this is deemed a disgrace or one of the better Wayne ventures into this area of melodic rap. I opt for the latter and give a 7

Written Histiory - A ful circle moment from the first two songs, closing out on a strong note with the emphasis on Wayne's legacy. It gets a bit repetitive to me, but strong production and an acclaimed form of Wayne's rapping results in an 8

Average verdict: 6.63

Important for contextualization is also the Arrangement:
The first two songs and the Outro form a frame of concept for the project, that just is not upheld throughout. Some notable exceptations are present, but especially the experimental tracks (while not always bad) are not fitting the narrative. To start positively, the switch from Maria's ending line "Tell me who you are" to the track "Bein myself" is among the best transitions in the whhole series. Other than that, there has been enough talk about the production on this project and the missing throughlines had always been an issue with Weezy projects.

We have said it again and again, but a better assignment of producers (e.g. Mannie and Wheezy proved themselves here) and an Executive Producer with the artistic vision and standing to enable Wayne's next project and not bend to yes-man tendencies would go a long, long way. Wyclef was either not as involved as it initially semmed or he gave in to the label's and/or Wayne's antics.
If we were to see a Carter 7, an interesting question would be what we want to expect. Wayne has obviously picked up the guitar again and if all (or at least most) riffs on here are played by him, he has improved tremendously. No Carter is sounding like the next one, probably IV sounds closest to III (which was a major point of criticism back then), but for many, Wayne has overstepped the boundaries of the series with CVI. Then again, Wayne's first endeavor with the B.G.'z turns 30 this year and he is on pace to sell six figures with this project, even though the promo was horrendously lackluster. Branching out and actually exploring new territory would be (if done correctly) complimenting his artistry, even if less people tune in. He obviously made an effort to do just that here and wanted to make it a focal point of the album (think of "I want weezer the band on this one" and the M. Ali Intro on Written History).
I can see a direction in which Wayne's next couple of projects are doing just that - and a lot better than he did on CVI. Let's see where he is heading.

Conclusively, it is certainly fair to call it the worst entry in the Carter series, but it is getting a lot more hate than it deserves. Surprisingly many songs are getting better with repetition and Wayne is opening up an avenue which might be important enough to justify the entries' existence in the Series with hindsight.

Let me know how you feel about my assessment.

U essentially rank 3 songs of 19 as bad. That's much higher than the average score you gave it lmao

[toonchi]

All Alone

If they had All Alone on the album, and the song No More with manny from the apple playlist. Took off peanuts and Bells this (and songs with kids altho he wouldnt do that lol) the album would've gotten higher praise. Change up sequencing a bit. The wayne camp should let some fans that know waynes shit hear the albums before they put them out

[sq7weezy]

I still don't understand why I have only 9 songs on CD? WHY THEY SELL IT?! Why Louisiana Hot Sauce is not available online? Why they release new song 6 days after premiere? Why 3 songs from CD edition is not on official tracklist on Wikipedia and Genius? It's make no sense.

[Emilyyy-xx]

If they had All Alone on the album, and the song No More with manny from the apple playlist. Took off peanuts and Bells this (and songs with kids altho he wouldnt do that lol) the album would've gotten higher praise. Change up sequencing a bit. The wayne camp should let some fans that know waynes shit hear the albums before they put them out

i LOVE bells x

[Az_Si]

U essentially rank 3 songs of 19 as bad. That's much higher than the average score you gave it lmao

The average score i gave is just genuinely the mathematical average. Also, take off P2NE, Rari, Mula Komin In, and Island Holiday and absolutely nobody will complain about the album (they might not love it, but the hate would die down).

[TuneFromMoon]

Wizzle Yo what's up fam? I'm good, have been mostly lurking for the last couple of years. How about yourself?



Honestly, I've been enjoying listening to the album a lot and was smiling while listening to the songs I do enjoy.
That being said they could've easily scrapped half the album lol
I'm a bit shocked by all the hate this album gets but then again I guess people are wishing for some kind of growth
from Wayne musically or lyrically and I have long given up on that hope lol. This man can't stay on topic for more than
2 bars to save his life unless it's a feature and I've come to peace with this.
Then again it's a Carter album so maybe I've lowered my standards too much. Idk I didn't expect anything and didn't even
check the tracklist on first listen. I just threw it on without checking for titles, features or anything. Just vibed to it.

I had a lot of fun listening to it
The only thing I'd really criticise are the songs with his sons & 'Mula Komin In' in particular. That song is a fucking disgrace lmao
Idk how a grown man can record such a thing with his 14 yo son in the studio
O yea and the fact he used an AI voice in his intro is also a shame imo. Feels cheap and .. idk kinda embarrassing
But there are a couple of decisions I don't understand, like, why rap on 'Banned from T.V.' again?

My tracklist would look like this:

King Carter (take a real singer ffs)
Welcome to Tha Carter
Hip-Hop
Sharks
Banned From NO (if you rap on it again, at least put nicki on it in the first place imo)
Cotton Candy
Flex Up
Island Holiday
If I Played Guitar
Bein Myself
Alone in The Studio With My Gun (remove Kodak - tf was that feature lmao)
Written History

[KaptainKarter]

Momma Dont Worry shoulda made C6 over Island Holiday, Mula Coming In and Peanuts 2 Elephants.