She only has one real topic of discussion when she rhymes but at least she didn’t run out of lyrics like she did on No Ceilings. The track is too fast for Minaj to inject all of her delivery quirks, so her verse is straight up with no chaser. “Knockout” minus all of that Barbie talk is pretty enjoyable.
LIL WAYNE REBIRTH 2 SONGS FULL
When Wayne calms the pipes he sounds like he’s giving his best James Hetfield impersonation and his singing is palatable, but when his pixeled growl is on full blast with the auto tune assist he sounds drunk.īelieve it or not, Wayne even tries out ska with “Get a Life” and inserts a few of those elements into his song with Nicki Minaj, “Knockout.” The former should have been left on the cutting room floor. Weezy takes a shot at a power ballad next with “Paradice.” Its 80’s hair band inspired and again, not bad. This isn’t one of the better songs on the album. He sounds comfortable but his lyrics are just about as nonsensical as the rest of it. “Da Da Da” has a nice intro then it turns into more of a club than rock song with smooth, atmospheric synths and lots of non-word lyrics. The drums are tribal, the guitar riff is harsh and straightforward and Wayne’s singing toggles from calm to chaos. There’s also something about 9/11 and Katrina. It then morphs into a rant about war, religion, and the lack of love America has for its residents.
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“I’m so high the ground is gone…” Yes, I think it’s pretty safe to say this song starts off about getting high. I’m going to take a wild guess and say “Ground Zero” is about being intoxicated. Some of the lyrics are up for interpretation. I’m not sure if Shanell’s presence is so enjoyable because she’s a great singer or because she balances out Wayne’s odd delivery on some of these songs, but she’s a welcome addition nonetheless. This song also gives a first taste of Shanell, Wayne’s lone backup singer minus the feature with Kevin Rudolph. It builds nicely and the narrative is something we all understand, wanting something and not being able to have it. From a construction standpoint, this is a decent song. Next is “Prom Queen.” It’s louder and definitely more interesting. Unless of course you are disturbed by how lackluster it is. It’s a pretty smart entrance that’s not overly raucous and won’t turn off anyone to the album immediately. “American Star” is a mid-tempo, laid back introduction of sorts as Wayne explains his rock alter-ego which is quite similar to his Hip-Hop persona: he’s from New Orleans, he’s rich, and girls get naked around him. Rebirth kicks off with a typical rock overture as the musicians air out the instruments and build a bit of suspense prior to getting into the first song. It’s not phenomenal, but I’m sure many of you didn’t expect it would be. Whether you see this change as a purely artistic detour or a way to get in a few more folks’ pockets while alienating your original fan base, the album is here and it’s a sound attempt. Folks were still reeling from the emo non-rap masterpiece known as 808’s and Heartbreak and members of the Hip-Hop nation were starting to feel disenfranchised by artists who were ready to take that step out of the musical box.
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Raised eyebrows and snickers flourished when the New Orleans native told the world that he was going to pick up a guitar and get his Jimi Hendrix on. Yet, he was missing one thing that every rock God needs: a rock album. This decade of evolution has played host to Wayne’s metamorphosis from a down south rapper to full-fledged rock star. It’s also hard to believe that he has hitched pop culture to his bandwagon and has it cosigning everything he does. It’s hard to believe that the clean-faced teenager who told us he was broadcasting live from the block at the turn of the century is now the top artist in Hip-Hop.