Bring Back The Old Carters , 20 Oct 2008
The Carter 3 is a good album , but is Waynes weakest by far.
If you havnt heard the old Carters then i suggest that you listen to them before claiming C3 is Waynes greatest album.
Dont get me wrong C3 is still a top album ( 5 Stars ) but i think it is highly overated.
Most Recognisable Tracks include Lil Waynes hit Lollipop Ft Static Major.
A Millie
And Got Money Ft T-Pain
Artist such as Juelz Santana, Fabolous, Bobby Valentino and Jay-Z also feature among others.
I recomend this album to anyone but suggest that listeners also listen to Waynes early work Eg. The Carters 1 & 2 , 500 Degreez.
Also Waynes Mixtapes Eg. The Droughts , Dedications , The Leaks.


Wayne has SURPRISED ME!!, 29 Aug 2008
What can i say? I'm not a fan of Lil Wayne probably because of his "I'm the greatest rapper alive" which he clearly isn't, but this album has made me think that he may not be the best but he definitely can rap now! I don't like all his songs but a few of them do have a vibe of flow and hard hitting lyrics. I have liked his previous music from past years, this man definitely can be put into top 20 rappers of all time, he is the first pure artist since Mr. Slim Shady but don't be foolish because he doesn't come close to Tupac, Eminem, Nas and a few others. Those are the Untouchables.

Not saying Wayne is average but I don't see him trading lyrical content with Eminem and winning.


This is the Carter, 27 Aug 2008
Great Album. Everytime I get into my car I start at track 15, Fabolous kills that with his Wayans Brother Rhyme.
I have been a Lil Wayne fan since the Hot Boys and he came into his own with THE CARTER album. This is the Carter is an all time classic single.

I just wish Mannie Fresh did some production on this album, that would have made it perfect.

Great Album, do not judge it by the Lollipop Single (Which I think is rubbish), it was made for the mainstream.

What the hell is wrong with people?, 16 Jul 2008
A powerful rich white man sits in his leather chair atop his huge music empire. Prising a Cuban cigar from his mouth, he smiles as he approaches the young black man that has just entered his office. The young black man awkwardly accepts the rich white man's offer of a handshake. The white man excitedly urges the young black man to sit down. His excitement increases upon the sight of the loose-fitting apparel and silver chain donned by the young black man.

"So how are you going to make us richer?" the powerful white man asks, aroused now as he notices a bullet scar on the left side of the young black man's neck.

"Well, I want my lyrics to inspire kids to stay clear of guns, drugs and violen..."

"Get out."

The next day, the same powerful, rich white man is smoking his cigar. Another young black man enters the building. Awkwardly dressed in a suit, the rich white man offers a less-than-enthusiastic handshake. The young black man seems uneasy with the gesture, but eventually unfolds his arms and reaches out his left hand. The rich white man surveys the black man, noting with dismay a lack of scars. He asks the same question as they both sit down.

"So how are you going to make us richer?"

The young black man thinks for awhile, before answering:

"Well, I want to rap about bitches and killing niggas and shi..."

"I'll have you on MTV this afternoon."


The sad fact is, record company execs do not want to distribute to the mainstream audience hip-hop that is thought-provoking and intelligent, free of violence, doused with hope. Those artists that do convey such a message are relegated to smaller labels or merely recieve limited exposure. The argument that they are simply supplying to the demand of their audience is not a valid one. These people have the power and influence to control what the audience demands. Were labels, radio and music-channels to continually expose the likes of Common, Immortal Technique, Lyrics Born, Atmosphere, Talib Kweli, The Roots, Jurassic 5, Blackalicious, Nas etc. to the same extent that they do the likes of Soulja Boy or Lil Wayne, there is no doubt that the audience's demands would change.

Unfortunately, that is not, and possibly never will be, the case. Instead of offering young kids positive role models, inspiring aspirations that do not involve bitches, guns and violence, the people with the power continue to put their backing into illiterate dumb thugs. We don't want to see black people as intelligent and inspirational! No, we want them to continue appearing as violent and uneducated, as a threat to our society.

This guy Lil Wayne is just another example of this racist mechanism that continues to pump out mind-numbingly awful black musicians. He has the lyrical writing ability of a 5-year old; lines about bitches and not being "no homo" are constantly ended with swear words, such is his inability to rhyme properly. The generic Southern beats do nothing to set him apart from his equally-moronic peers Lil Jon and T-Pain. Yet, he recieves the exposure and all the hype. That this album could even be considered the finest of the year, a year in which sees Nas return to form with his incredible Unitled album, simply highlights how widespread this problem has become.

Hip-Hop is not dead. Behind the morons parading on TV with their bling-out teeth, intelligible lyrics and booty-shaking "ho's", there is a huge base of intelligent, conscious rappers. Hip-hop is alive and well; unfortunately those that continue to breathe new life into it are cast aside, labelled "left-field" and "underground", ignored by the powerful rich white people who define the demands of a dumbed-down generation. You can help however by ignoring this terrible artist and his ilk, and searching for the aforementioned talents that are so abundant within this genre. Good music does not have to remain underground.

diverse, 05 Jul 2008
i'll be quick in what i have to say: this album is diverse. It has everything. some soulful tracks, some poppy-little-bit-commercial tracks and some pure street bass-heavy hip-hop.

best track on the album for me: A Milli (this is the heaviest track i've heard in a long time)

Hip-Hop is not dead.

Bring Back The Old Carters , 20 Oct 2008
The Carter 3 is a good album , but is Waynes weakest by far.
If you havnt heard the old Carters then i suggest that you listen to them before claiming C3 is Waynes greatest album.
Dont get me wrong C3 is still a top album ( 5 Stars ) but i think it is highly overated.
Most Recognisable Tracks include Lil Waynes hit Lollipop Ft Static Major.
A Millie
And Got Money Ft T-Pain
Artist such as Juelz Santana, Fabolous, Bobby Valentino and Jay-Z also feature among others.
I recomend this album to anyone but suggest that listeners also listen to Waynes early work Eg. The Carters 1 & 2 , 500 Degreez.
Also Waynes Mixtapes Eg. The Droughts , Dedications , The Leaks.


Wayne has SURPRISED ME!!, 29 Aug 2008
What can i say? I'm not a fan of Lil Wayne probably because of his "I'm the greatest rapper alive" which he clearly isn't, but this album has made me think that he may not be the best but he definitely can rap now! I don't like all his songs but a few of them do have a vibe of flow and hard hitting lyrics. I have liked his previous music from past years, this man definitely can be put into top 20 rappers of all time, he is the first pure artist since Mr. Slim Shady but don't be foolish because he doesn't come close to Tupac, Eminem, Nas and a few others. Those are the Untouchables.

Not saying Wayne is average but I don't see him trading lyrical content with Eminem and winning.


This is the Carter, 27 Aug 2008
Great Album. Everytime I get into my car I start at track 15, Fabolous kills that with his Wayans Brother Rhyme.
I have been a Lil Wayne fan since the Hot Boys and he came into his own with THE CARTER album. This is the Carter is an all time classic single.

I just wish Mannie Fresh did some production on this album, that would have made it perfect.

Great Album, do not judge it by the Lollipop Single (Which I think is rubbish), it was made for the mainstream.

What the hell is wrong with people?, 16 Jul 2008
A powerful rich white man sits in his leather chair atop his huge music empire. Prising a Cuban cigar from his mouth, he smiles as he approaches the young black man that has just entered his office. The young black man awkwardly accepts the rich white man's offer of a handshake. The white man excitedly urges the young black man to sit down. His excitement increases upon the sight of the loose-fitting apparel and silver chain donned by the young black man.

"So how are you going to make us richer?" the powerful white man asks, aroused now as he notices a bullet scar on the left side of the young black man's neck.

"Well, I want my lyrics to inspire kids to stay clear of guns, drugs and violen..."

"Get out."

The next day, the same powerful, rich white man is smoking his cigar. Another young black man enters the building. Awkwardly dressed in a suit, the rich white man offers a less-than-enthusiastic handshake. The young black man seems uneasy with the gesture, but eventually unfolds his arms and reaches out his left hand. The rich white man surveys the black man, noting with dismay a lack of scars. He asks the same question as they both sit down.

"So how are you going to make us richer?"

The young black man thinks for awhile, before answering:

"Well, I want to rap about bitches and killing niggas and shi..."

"I'll have you on MTV this afternoon."


The sad fact is, record company execs do not want to distribute to the mainstream audience hip-hop that is thought-provoking and intelligent, free of violence, doused with hope. Those artists that do convey such a message are relegated to smaller labels or merely recieve limited exposure. The argument that they are simply supplying to the demand of their audience is not a valid one. These people have the power and influence to control what the audience demands. Were labels, radio and music-channels to continually expose the likes of Common, Immortal Technique, Lyrics Born, Atmosphere, Talib Kweli, The Roots, Jurassic 5, Blackalicious, Nas etc. to the same extent that they do the likes of Soulja Boy or Lil Wayne, there is no doubt that the audience's demands would change.

Unfortunately, that is not, and possibly never will be, the case. Instead of offering young kids positive role models, inspiring aspirations that do not involve bitches, guns and violence, the people with the power continue to put their backing into illiterate dumb thugs. We don't want to see black people as intelligent and inspirational! No, we want them to continue appearing as violent and uneducated, as a threat to our society.

This guy Lil Wayne is just another example of this racist mechanism that continues to pump out mind-numbingly awful black musicians. He has the lyrical writing ability of a 5-year old; lines about bitches and not being "no homo" are constantly ended with swear words, such is his inability to rhyme properly. The generic Southern beats do nothing to set him apart from his equally-moronic peers Lil Jon and T-Pain. Yet, he recieves the exposure and all the hype. That this album could even be considered the finest of the year, a year in which sees Nas return to form with his incredible Unitled album, simply highlights how widespread this problem has become.

Hip-Hop is not dead. Behind the morons parading on TV with their bling-out teeth, intelligible lyrics and booty-shaking "ho's", there is a huge base of intelligent, conscious rappers. Hip-hop is alive and well; unfortunately those that continue to breathe new life into it are cast aside, labelled "left-field" and "underground", ignored by the powerful rich white people who define the demands of a dumbed-down generation. You can help however by ignoring this terrible artist and his ilk, and searching for the aforementioned talents that are so abundant within this genre. Good music does not have to remain underground.

diverse, 05 Jul 2008
i'll be quick in what i have to say: this album is diverse. It has everything. some soulful tracks, some poppy-little-bit-commercial tracks and some pure street bass-heavy hip-hop.

best track on the album for me: A Milli (this is the heaviest track i've heard in a long time)

Hip-Hop is not dead.



All Good In Da Hood, 10 Nov 2008
The song 'Dead and Gone' is the standout track on the album!

Lil Wayne sounds awful on 'Swagga Like Us' and if you heard that before Tha Carter 3 then I don't think he would've sold a quarter than what he has.

A solid album from TI with enough Raw tracks and a couple of Radio Friendly songs thrown in for him to make his $$$.



His BEST ALBUM yet. Period., 14 Oct 2008
His best album yet without a doubt. This album has so much to offer and if it is T.I.'s last album (and 6th) then he's done very well indeed with a plethora of A-star producers and guest features. However, T.I. manages to stand out throughout. Lyrically T.I. is very strong on the album which probably reflects the fact he has resumed writing his lyrics down. Considering his personal drama in the last year, this album was highly-anticipated and does not fail to deliver after a rather boring T.I.P. vs. T.I. -- It is hard to discuss each track in detail but below are what I consider to be the stand out tracks:
Whatever You Like: This is an excellent song which is really radio friendly. Again T.I. sounds relaxed and effortless on this track.
Live Ya Life ft. Rihanna: Rihanna was a great choice for this song not just because she is everywhere at the moment. Just Blaze does great production and T.I. delivers great lyrics which are positive and shows that he has matured in his genre. Great party track too and for blaring out of your car like I have all weekend.
No Matter What: produced by Danja (think Justin Timberlake, Madonna, Britney, anything Timbaland has done for about 3 years now). This is my favourite song on the album and it is probably the most personal for T.I. as well.
Swagga Like Us ft. Kanye West, Jay Z and Lil Wayne: this is a really good track, booming production by Kanye West. Nevermind all these veterans and A-star rapper, T.I. still sounds the strongest (then Jay Z, K West and Lil W). Considering that these guys are all probably going to go head-to-head for Best Hip Hop Album of the year at the Grammys in 2009, this song is apt for them to be on.
On Top Of the World ft. Ludacris / Slide Show ft. John Legend: both these songs deserve a mention. T.I. and Ludacris have joined together to make an excellent song as Kings of the South while John Legend sounds so smooth like liquid on this track.
This is a stand-out album and should be on your must buy list very soon. I cannot recommend it more highly. 4.5 stars.

Bring Back The Old Carters , 20 Oct 2008
The Carter 3 is a good album , but is Waynes weakest by far.
If you havnt heard the old Carters then i suggest that you listen to them before claiming C3 is Waynes greatest album.
Dont get me wrong C3 is still a top album ( 5 Stars ) but i think it is highly overated.
Most Recognisable Tracks include Lil Waynes hit Lollipop Ft Static Major.
A Millie
And Got Money Ft T-Pain
Artist such as Juelz Santana, Fabolous, Bobby Valentino and Jay-Z also feature among others.
I recomend this album to anyone but suggest that listeners also listen to Waynes early work Eg. The Carters 1 & 2 , 500 Degreez.
Also Waynes Mixtapes Eg. The Droughts , Dedications , The Leaks.


Wayne has SURPRISED ME!!, 29 Aug 2008
What can i say? I'm not a fan of Lil Wayne probably because of his "I'm the greatest rapper alive" which he clearly isn't, but this album has made me think that he may not be the best but he definitely can rap now! I don't like all his songs but a few of them do have a vibe of flow and hard hitting lyrics. I have liked his previous music from past years, this man definitely can be put into top 20 rappers of all time, he is the first pure artist since Mr. Slim Shady but don't be foolish because he doesn't come close to Tupac, Eminem, Nas and a few others. Those are the Untouchables.

Not saying Wayne is average but I don't see him trading lyrical content with Eminem and winning.


This is the Carter, 27 Aug 2008
Great Album. Everytime I get into my car I start at track 15, Fabolous kills that with his Wayans Brother Rhyme.
I have been a Lil Wayne fan since the Hot Boys and he came into his own with THE CARTER album. This is the Carter is an all time classic single.

I just wish Mannie Fresh did some production on this album, that would have made it perfect.

Great Album, do not judge it by the Lollipop Single (Which I think is rubbish), it was made for the mainstream.

What the hell is wrong with people?, 16 Jul 2008
A powerful rich white man sits in his leather chair atop his huge music empire. Prising a Cuban cigar from his mouth, he smiles as he approaches the young black man that has just entered his office. The young black man awkwardly accepts the rich white man's offer of a handshake. The white man excitedly urges the young black man to sit down. His excitement increases upon the sight of the loose-fitting apparel and silver chain donned by the young black man.

"So how are you going to make us richer?" the powerful white man asks, aroused now as he notices a bullet scar on the left side of the young black man's neck.

"Well, I want my lyrics to inspire kids to stay clear of guns, drugs and violen..."

"Get out."

The next day, the same powerful, rich white man is smoking his cigar. Another young black man enters the building. Awkwardly dressed in a suit, the rich white man offers a less-than-enthusiastic handshake. The young black man seems uneasy with the gesture, but eventually unfolds his arms and reaches out his left hand. The rich white man surveys the black man, noting with dismay a lack of scars. He asks the same question as they both sit down.

"So how are you going to make us richer?"

The young black man thinks for awhile, before answering:

"Well, I want to rap about bitches and killing niggas and shi..."

"I'll have you on MTV this afternoon."


The sad fact is, record company execs do not want to distribute to the mainstream audience hip-hop that is thought-provoking and intelligent, free of violence, doused with hope. Those artists that do convey such a message are relegated to smaller labels or merely recieve limited exposure. The argument that they are simply supplying to the demand of their audience is not a valid one. These people have the power and influence to control what the audience demands. Were labels, radio and music-channels to continually expose the likes of Common, Immortal Technique, Lyrics Born, Atmosphere, Talib Kweli, The Roots, Jurassic 5, Blackalicious, Nas etc. to the same extent that they do the likes of Soulja Boy or Lil Wayne, there is no doubt that the audience's demands would change.

Unfortunately, that is not, and possibly never will be, the case. Instead of offering young kids positive role models, inspiring aspirations that do not involve bitches, guns and violence, the people with the power continue to put their backing into illiterate dumb thugs. We don't want to see black people as intelligent and inspirational! No, we want them to continue appearing as violent and uneducated, as a threat to our society.

This guy Lil Wayne is just another example of this racist mechanism that continues to pump out mind-numbingly awful black musicians. He has the lyrical writing ability of a 5-year old; lines about bitches and not being "no homo" are constantly ended with swear words, such is his inability to rhyme properly. The generic Southern beats do nothing to set him apart from his equally-moronic peers Lil Jon and T-Pain. Yet, he recieves the exposure and all the hype. That this album could even be considered the finest of the year, a year in which sees Nas return to form with his incredible Unitled album, simply highlights how widespread this problem has become.

Hip-Hop is not dead. Behind the morons parading on TV with their bling-out teeth, intelligible lyrics and booty-shaking "ho's", there is a huge base of intelligent, conscious rappers. Hip-hop is alive and well; unfortunately those that continue to breathe new life into it are cast aside, labelled "left-field" and "underground", ignored by the powerful rich white people who define the demands of a dumbed-down generation. You can help however by ignoring this terrible artist and his ilk, and searching for the aforementioned talents that are so abundant within this genre. Good music does not have to remain underground.

diverse, 05 Jul 2008
i'll be quick in what i have to say: this album is diverse. It has everything. some soulful tracks, some poppy-little-bit-commercial tracks and some pure street bass-heavy hip-hop.

best track on the album for me: A Milli (this is the heaviest track i've heard in a long time)

Hip-Hop is not dead.



All Good In Da Hood, 10 Nov 2008
The song 'Dead and Gone' is the standout track on the album!

Lil Wayne sounds awful on 'Swagga Like Us' and if you heard that before Tha Carter 3 then I don't think he would've sold a quarter than what he has.

A solid album from TI with enough Raw tracks and a couple of Radio Friendly songs thrown in for him to make his $$$.



His BEST ALBUM yet. Period., 14 Oct 2008
His best album yet without a doubt. This album has so much to offer and if it is T.I.'s last album (and 6th) then he's done very well indeed with a plethora of A-star producers and guest features. However, T.I. manages to stand out throughout. Lyrically T.I. is very strong on the album which probably reflects the fact he has resumed writing his lyrics down. Considering his personal drama in the last year, this album was highly-anticipated and does not fail to deliver after a rather boring T.I.P. vs. T.I. -- It is hard to discuss each track in detail but below are what I consider to be the stand out tracks:
Whatever You Like: This is an excellent song which is really radio friendly. Again T.I. sounds relaxed and effortless on this track.
Live Ya Life ft. Rihanna: Rihanna was a great choice for this song not just because she is everywhere at the moment. Just Blaze does great production and T.I. delivers great lyrics which are positive and shows that he has matured in his genre. Great party track too and for blaring out of your car like I have all weekend.
No Matter What: produced by Danja (think Justin Timberlake, Madonna, Britney, anything Timbaland has done for about 3 years now). This is my favourite song on the album and it is probably the most personal for T.I. as well.
Swagga Like Us ft. Kanye West, Jay Z and Lil Wayne: this is a really good track, booming production by Kanye West. Nevermind all these veterans and A-star rapper, T.I. still sounds the strongest (then Jay Z, K West and Lil W). Considering that these guys are all probably going to go head-to-head for Best Hip Hop Album of the year at the Grammys in 2009, this song is apt for them to be on.
On Top Of the World ft. Ludacris / Slide Show ft. John Legend: both these songs deserve a mention. T.I. and Ludacris have joined together to make an excellent song as Kings of the South while John Legend sounds so smooth like liquid on this track.
This is a stand-out album and should be on your must buy list very soon. I cannot recommend it more highly. 4.5 stars.

Possibly Americas Next Superstar, 19 Nov 2008
Cant believe no one has reviewd this album yet! I first heard of Flo Rida probably like most people through his first single LOW with T-Pain which was one of the biggest tracks this year. I thought good track but if thought hes probably gonna be like Mims and be a one hit wonder then I heard Elevator with Timbaland which was a hot track too.

So i thought id give it a go and im glad i did this album is hott, im not gonna say its a classic cos its not but this is a cd well worth having. Every track on this album is a great track and its mostly upbeat stuff.

The album ha a few guest stars with the man of the moment Lil Wayne, Birdman, Will.I.AM, Sean Kingston, Young Joc. The tracks with the guest apperances are some of the best tracks

Overall this cd is hot and should be bought cos its better than most of whats out these days!!

Bring Back The Old Carters , 20 Oct 2008
The Carter 3 is a good album , but is Waynes weakest by far.
If you havnt heard the old Carters then i suggest that you listen to them before claiming C3 is Waynes greatest album.
Dont get me wrong C3 is still a top album ( 5 Stars ) but i think it is highly overated.
Most Recognisable Tracks include Lil Waynes hit Lollipop Ft Static Major.
A Millie
And Got Money Ft T-Pain
Artist such as Juelz Santana, Fabolous, Bobby Valentino and Jay-Z also feature among others.
I recomend this album to anyone but suggest that listeners also listen to Waynes early work Eg. The Carters 1 & 2 , 500 Degreez.
Also Waynes Mixtapes Eg. The Droughts , Dedications , The Leaks.


Wayne has SURPRISED ME!!, 29 Aug 2008
What can i say? I'm not a fan of Lil Wayne probably because of his "I'm the greatest rapper alive" which he clearly isn't, but this album has made me think that he may not be the best but he definitely can rap now! I don't like all his songs but a few of them do have a vibe of flow and hard hitting lyrics. I have liked his previous music from past years, this man definitely can be put into top 20 rappers of all time, he is the first pure artist since Mr. Slim Shady but don't be foolish because he doesn't come close to Tupac, Eminem, Nas and a few others. Those are the Untouchables.

Not saying Wayne is average but I don't see him trading lyrical content with Eminem and winning.


This is the Carter, 27 Aug 2008
Great Album. Everytime I get into my car I start at track 15, Fabolous kills that with his Wayans Brother Rhyme.
I have been a Lil Wayne fan since the Hot Boys and he came into his own with THE CARTER album. This is the Carter is an all time classic single.

I just wish Mannie Fresh did some production on this album, that would have made it perfect.

Great Album, do not judge it by the Lollipop Single (Which I think is rubbish), it was made for the mainstream.

What the hell is wrong with people?, 16 Jul 2008
A powerful rich white man sits in his leather chair atop his huge music empire. Prising a Cuban cigar from his mouth, he smiles as he approaches the young black man that has just entered his office. The young black man awkwardly accepts the rich white man's offer of a handshake. The white man excitedly urges the young black man to sit down. His excitement increases upon the sight of the loose-fitting apparel and silver chain donned by the young black man.

"So how are you going to make us richer?" the powerful white man asks, aroused now as he notices a bullet scar on the left side of the young black man's neck.

"Well, I want my lyrics to inspire kids to stay clear of guns, drugs and violen..."

"Get out."

The next day, the same powerful, rich white man is smoking his cigar. Another young black man enters the building. Awkwardly dressed in a suit, the rich white man offers a less-than-enthusiastic handshake. The young black man seems uneasy with the gesture, but eventually unfolds his arms and reaches out his left hand. The rich white man surveys the black man, noting with dismay a lack of scars. He asks the same question as they both sit down.

"So how are you going to make us richer?"

The young black man thinks for awhile, before answering:

"Well, I want to rap about bitches and killing niggas and shi..."

"I'll have you on MTV this afternoon."


The sad fact is, record company execs do not want to distribute to the mainstream audience hip-hop that is thought-provoking and intelligent, free of violence, doused with hope. Those artists that do convey such a message are relegated to smaller labels or merely recieve limited exposure. The argument that they are simply supplying to the demand of their audience is not a valid one. These people have the power and influence to control what the audience demands. Were labels, radio and music-channels to continually expose the likes of Common, Immortal Technique, Lyrics Born, Atmosphere, Talib Kweli, The Roots, Jurassic 5, Blackalicious, Nas etc. to the same extent that they do the likes of Soulja Boy or Lil Wayne, there is no doubt that the audience's demands would change.

Unfortunately, that is not, and possibly never will be, the case. Instead of offering young kids positive role models, inspiring aspirations that do not involve bitches, guns and violence, the people with the power continue to put their backing into illiterate dumb thugs. We don't want to see black people as intelligent and inspirational! No, we want them to continue appearing as violent and uneducated, as a threat to our society.

This guy Lil Wayne is just another example of this racist mechanism that continues to pump out mind-numbingly awful black musicians. He has the lyrical writing ability of a 5-year old; lines about bitches and not being "no homo" are constantly ended with swear words, such is his inability to rhyme properly. The generic Southern beats do nothing to set him apart from his equally-moronic peers Lil Jon and T-Pain. Yet, he recieves the exposure and all the hype. That this album could even be considered the finest of the year, a year in which sees Nas return to form with his incredible Unitled album, simply highlights how widespread this problem has become.

Hip-Hop is not dead. Behind the morons parading on TV with their bling-out teeth, intelligible lyrics and booty-shaking "ho's", there is a huge base of intelligent, conscious rappers. Hip-hop is alive and well; unfortunately those that continue to breathe new life into it are cast aside, labelled "left-field" and "underground", ignored by the powerful rich white people who define the demands of a dumbed-down generation. You can help however by ignoring this terrible artist and his ilk, and searching for the aforementioned talents that are so abundant within this genre. Good music does not have to remain underground.

diverse, 05 Jul 2008
i'll be quick in what i have to say: this album is diverse. It has everything. some soulful tracks, some poppy-little-bit-commercial tracks and some pure street bass-heavy hip-hop.

best track on the album for me: A Milli (this is the heaviest track i've heard in a long time)

Hip-Hop is not dead.



All Good In Da Hood, 10 Nov 2008
The song 'Dead and Gone' is the standout track on the album!

Lil Wayne sounds awful on 'Swagga Like Us' and if you heard that before Tha Carter 3 then I don't think he would've sold a quarter than what he has.

A solid album from TI with enough Raw tracks and a couple of Radio Friendly songs thrown in for him to make his $$$.



His BEST ALBUM yet. Period., 14 Oct 2008
His best album yet without a doubt. This album has so much to offer and if it is T.I.'s last album (and 6th) then he's done very well indeed with a plethora of A-star producers and guest features. However, T.I. manages to stand out throughout. Lyrically T.I. is very strong on the album which probably reflects the fact he has resumed writing his lyrics down. Considering his personal drama in the last year, this album was highly-anticipated and does not fail to deliver after a rather boring T.I.P. vs. T.I. -- It is hard to discuss each track in detail but below are what I consider to be the stand out tracks:
Whatever You Like: This is an excellent song which is really radio friendly. Again T.I. sounds relaxed and effortless on this track.
Live Ya Life ft. Rihanna: Rihanna was a great choice for this song not just because she is everywhere at the moment. Just Blaze does great production and T.I. delivers great lyrics which are positive and shows that he has matured in his genre. Great party track too and for blaring out of your car like I have all weekend.
No Matter What: produced by Danja (think Justin Timberlake, Madonna, Britney, anything Timbaland has done for about 3 years now). This is my favourite song on the album and it is probably the most personal for T.I. as well.
Swagga Like Us ft. Kanye West, Jay Z and Lil Wayne: this is a really good track, booming production by Kanye West. Nevermind all these veterans and A-star rapper, T.I. still sounds the strongest (then Jay Z, K West and Lil W). Considering that these guys are all probably going to go head-to-head for Best Hip Hop Album of the year at the Grammys in 2009, this song is apt for them to be on.
On Top Of the World ft. Ludacris / Slide Show ft. John Legend: both these songs deserve a mention. T.I. and Ludacris have joined together to make an excellent song as Kings of the South while John Legend sounds so smooth like liquid on this track.
This is a stand-out album and should be on your must buy list very soon. I cannot recommend it more highly. 4.5 stars.

Possibly Americas Next Superstar, 19 Nov 2008
Cant believe no one has reviewd this album yet! I first heard of Flo Rida probably like most people through his first single LOW with T-Pain which was one of the biggest tracks this year. I thought good track but if thought hes probably gonna be like Mims and be a one hit wonder then I heard Elevator with Timbaland which was a hot track too.

So i thought id give it a go and im glad i did this album is hott, im not gonna say its a classic cos its not but this is a cd well worth having. Every track on this album is a great track and its mostly upbeat stuff.

The album ha a few guest stars with the man of the moment Lil Wayne, Birdman, Will.I.AM, Sean Kingston, Young Joc. The tracks with the guest apperances are some of the best tracks

Overall this cd is hot and should be bought cos its better than most of whats out these days!!

great album period., 17 Sep 2008
excellent album great tracks from start to finish. best southern rapper by far in my opinion. if you liked the first 2 albums then you defintely enjoy this get it you wont be dissapointed.

At a time when experimentation is taboo in most overground rap, that's all Outkast seem intent on executing. Firstly, the double CD Speakerboxxx/The Love Below has no cohesive link, other than the fact that it sounds like a pair of solo albums stitched together to demonstrate exactly how Andre's yin works to augment Big Boi's yang. Andre 3000's The Love Below disc rates as the more eclectic of the two, given that, on it, he's turned in his emcee credentials to become a full-on funk-soul-jazz vocalist who mostly sings about items of love ("Happy Valentine's Day"), carnal lust ("Spread") and female adoration ("Prototype"). Minus the big band schmaltz of "Love Hater" and cheesy cover jobs ("My Favorite Things"), Andre's disc is great.

As is to be expected, the Big Boi disc is less arty, more gangsta and worldly, and features the less-progressive guest raps of ATL crunk purveyors Lil' Jon and the Eastside Boyz ("Last Call") and Jay-Z, who rhymes the hook on "Flip Flop Rock". Unlike Big Boi, Andre keeps his collaborations to a minimum, once crooning alongside Norah Jones on the cool yet sappy "Take Off Your Cool", and once with Kelis. Boi fulfils his Dungeon Family duty with flying colours by flipping some dirty southern up-tempo raps over electro beats on "GhettoMusick". By the time Cee-Lo sermonises on "Reset", Speakerboxx and Love Below rate mostly as majestic and inspiring, with the remaining 23 per cent being just plain incredible. --Dalton Higgins

Bring Back The Old Carters , 20 Oct 2008
The Carter 3 is a good album , but is Waynes weakest by far.
If you havnt heard the old Carters then i suggest that you listen to them before claiming C3 is Waynes greatest album.
Dont get me wrong C3 is still a top album ( 5 Stars ) but i think it is highly overated.
Most Recognisable Tracks include Lil Waynes hit Lollipop Ft Static Major.
A Millie
And Got Money Ft T-Pain
Artist such as Juelz Santana, Fabolous, Bobby Valentino and Jay-Z also feature among others.
I recomend this album to anyone but suggest that listeners also listen to Waynes early work Eg. The Carters 1 & 2 , 500 Degreez.
Also Waynes Mixtapes Eg. The Droughts , Dedications , The Leaks.


Wayne has SURPRISED ME!!, 29 Aug 2008
What can i say? I'm not a fan of Lil Wayne probably because of his "I'm the greatest rapper alive" which he clearly isn't, but this album has made me think that he may not be the best but he definitely can rap now! I don't like all his songs but a few of them do have a vibe of flow and hard hitting lyrics. I have liked his previous music from past years, this man definitely can be put into top 20 rappers of all time, he is the first pure artist since Mr. Slim Shady but don't be foolish because he doesn't come close to Tupac, Eminem, Nas and a few others. Those are the Untouchables.

Not saying Wayne is average but I don't see him trading lyrical content with Eminem and winning.


This is the Carter, 27 Aug 2008
Great Album. Everytime I get into my car I start at track 15, Fabolous kills that with his Wayans Brother Rhyme.
I have been a Lil Wayne fan since the Hot Boys and he came into his own with THE CARTER album. This is the Carter is an all time classic single.

I just wish Mannie Fresh did some production on this album, that would have made it perfect.

Great Album, do not judge it by the Lollipop Single (Which I think is rubbish), it was made for the mainstream.

What the hell is wrong with people?, 16 Jul 2008
A powerful rich white man sits in his leather chair atop his huge music empire. Prising a Cuban cigar from his mouth, he smiles as he approaches the young black man that has just entered his office. The young black man awkwardly accepts the rich white man's offer of a handshake. The white man excitedly urges the young black man to sit down. His excitement increases upon the sight of the loose-fitting apparel and silver chain donned by the young black man.

"So how are you going to make us richer?" the powerful white man asks, aroused now as he notices a bullet scar on the left side of the young black man's neck.

"Well, I want my lyrics to inspire kids to stay clear of guns, drugs and violen..."

"Get out."

The next day, the same powerful, rich white man is smoking his cigar. Another young black man enters the building. Awkwardly dressed in a suit, the rich white man offers a less-than-enthusiastic handshake. The young black man seems uneasy with the gesture, but eventually unfolds his arms and reaches out his left hand. The rich white man surveys the black man, noting with dismay a lack of scars. He asks the same question as they both sit down.

"So how are you going to make us richer?"

The young black man thinks for awhile, before answering:

"Well, I want to rap about bitches and killing niggas and shi..."

"I'll have you on MTV this afternoon."


The sad fact is, record company execs do not want to distribute to the mainstream audience hip-hop that is thought-provoking and intelligent, free of violence, doused with hope. Those artists that do convey such a message are relegated to smaller labels or merely recieve limited exposure. The argument that they are simply supplying to the demand of their audience is not a valid one. These people have the power and influence to control what the audience demands. Were labels, radio and music-channels to continually expose the likes of Common, Immortal Technique, Lyrics Born, Atmosphere, Talib Kweli, The Roots, Jurassic 5, Blackalicious, Nas etc. to the same extent that they do the likes of Soulja Boy or Lil Wayne, there is no doubt that the audience's demands would change.

Unfortunately, that is not, and possibly never will be, the case. Instead of offering young kids positive role models, inspiring aspirations that do not involve bitches, guns and violence, the people with the power continue to put their backing into illiterate dumb thugs. We don't want to see black people as intelligent and inspirational! No, we want them to continue appearing as violent and uneducated, as a threat to our society.

This guy Lil Wayne is just another example of this racist mechanism that continues to pump out mind-numbingly awful black musicians. He has the lyrical writing ability of a 5-year old; lines about bitches and not being "no homo" are constantly ended with swear words, such is his inability to rhyme properly. The generic Southern beats do nothing to set him apart from his equally-moronic peers Lil Jon and T-Pain. Yet, he recieves the exposure and all the hype. That this album could even be considered the finest of the year, a year in which sees Nas return to form with his incredible Unitled album, simply highlights how widespread this problem has become.

Hip-Hop is not dead. Behind the morons parading on TV with their bling-out teeth, intelligible lyrics and booty-shaking "ho's", there is a huge base of intelligent, conscious rappers. Hip-hop is alive and well; unfortunately those that continue to breathe new life into it are cast aside, labelled "left-field" and "underground", ignored by the powerful rich white people who define the demands of a dumbed-down generation. You can help however by ignoring this terrible artist and his ilk, and searching for the aforementioned talents that are so abundant within this genre. Good music does not have to remain underground.

diverse, 05 Jul 2008
i'll be quick in what i have to say: this album is diverse. It has everything. some soulful tracks, some poppy-little-bit-commercial tracks and some pure street bass-heavy hip-hop.

best track on the album for me: A Milli (this is the heaviest track i've heard in a long time)

Hip-Hop is not dead.



All Good In Da Hood, 10 Nov 2008
The song 'Dead and Gone' is the standout track on the album!

Lil Wayne sounds awful on 'Swagga Like Us' and if you heard that before Tha Carter 3 then I don't think he would've sold a quarter than what he has.

A solid album from TI with enough Raw tracks and a couple of Radio Friendly songs thrown in for him to make his $$$.



His BEST ALBUM yet. Period., 14 Oct 2008
His best album yet without a doubt. This album has so much to offer and if it is T.I.'s last album (and 6th) then he's done very well indeed with a plethora of A-star producers and guest features. However, T.I. manages to stand out throughout. Lyrically T.I. is very strong on the album which probably reflects the fact he has resumed writing his lyrics down. Considering his personal drama in the last year, this album was highly-anticipated and does not fail to deliver after a rather boring T.I.P. vs. T.I. -- It is hard to discuss each track in detail but below are what I consider to be the stand out tracks:
Whatever You Like: This is an excellent song which is really radio friendly. Again T.I. sounds relaxed and effortless on this track.
Live Ya Life ft. Rihanna: Rihanna was a great choice for this song not just because she is everywhere at the moment. Just Blaze does great production and T.I. delivers great lyrics which are positive and shows that he has matured in his genre. Great party track too and for blaring out of your car like I have all weekend.
No Matter What: produced by Danja (think Justin Timberlake, Madonna, Britney, anything Timbaland has done for about 3 years now). This is my favourite song on the album and it is probably the most personal for T.I. as well.
Swagga Like Us ft. Kanye West, Jay Z and Lil Wayne: this is a really good track, booming production by Kanye West. Nevermind all these veterans and A-star rapper, T.I. still sounds the strongest (then Jay Z, K West and Lil W). Considering that these guys are all probably going to go head-to-head for Best Hip Hop Album of the year at the Grammys in 2009, this song is apt for them to be on.
On Top Of the World ft. Ludacris / Slide Show ft. John Legend: both these songs deserve a mention. T.I. and Ludacris have joined together to make an excellent song as Kings of the South while John Legend sounds so smooth like liquid on this track.
This is a stand-out album and should be on your must buy list very soon. I cannot recommend it more highly. 4.5 stars.

Possibly Americas Next Superstar, 19 Nov 2008
Cant believe no one has reviewd this album yet! I first heard of Flo Rida probably like most people through his first single LOW with T-Pain which was one of the biggest tracks this year. I thought good track but if thought hes probably gonna be like Mims and be a one hit wonder then I heard Elevator with Timbaland which was a hot track too.

So i thought id give it a go and im glad i did this album is hott, im not gonna say its a classic cos its not but this is a cd well worth having. Every track on this album is a great track and its mostly upbeat stuff.

The album ha a few guest stars with the man of the moment Lil Wayne, Birdman, Will.I.AM, Sean Kingston, Young Joc. The tracks with the guest apperances are some of the best tracks

Overall this cd is hot and should be bought cos its better than most of whats out these days!!

great album period., 17 Sep 2008
excellent album great tracks from start to finish. best southern rapper by far in my opinion. if you liked the first 2 albums then you defintely enjoy this get it you wont be dissapointed.

for once, believe the hype, 16 Mar 2008
it's ridiculous how much this album is slated. People seem unable to appreciate OutKast without comparing this to their old work. The fact is that they managed to combine hiphop with a range of musical styles AND IT WORKS. There's no need to give examples, cos cases can be made for all the songs. Admittedly there are songs which seem to be dwarfed by the rest, but that just shows the strength of the other songs.
people say they gave this album one listen and couldn't do it again. their loss. Speakerboxxx/Love Below takes a few listens to fully appreciate, but once you do, you won't regret it

Fantastic!, 04 Jan 2008
I took a chance on this and boy am I glad I did.
I'll be honest and tell you this review is based solely on the Andre 3000 cd. I'm not even bothered by the other one.
It is simply the best set of songs I have heard for longer than I care to remember. Being a middle aged white man I normally listen to rock, country, 70's, mor, aor.
I can't get over how original and fresh this sounds.
Great tunes, great lyrics, great production.
Genius.

Outkast indeed !!, 07 Sep 2007
I personally have never understood OUTKAST, i mean their not REALLY hip-hop now are they? Anyhow, i would have to say that this double album is pretty good value for for money, especially if you want to listen to something different no matter what genre you into. Disk 2 (The Love Below) is muuuuucch better than Speakerboxx which has only one or possibly two good tracks on the whole thing. There is even a bonus of having 'hey ya' on The Love Below which will please all you radio heads out there no end.... Literally no end to it !!! All in all good, but not great.

A landmark rap album - for people who don't like rap, 26 Oct 2006
Think you don't like rap much? Then definitely buy this ground breaking double album.

Oukast are a duo but this is effectively two solo albums for the price of one. Andre 3000's "The Love below" is the more adventurous of the two discs. Forget any preconceptions you might have about rap as a musical genre - this hugely ambitious project actually involves very liitle rapping. What you get instead is in effect almost a potted history of black popular music featuring everything from orchestrated show tunes, to Jazz, soul, funk, R n B and yes even a little rap woven around a loose concept about the trials and tribulations of Andre's love life. There are even a few very funny spoken interludes between some of the tracks which help to link one or two of the songs together into a lose narrative. The sheer diversity of musical styles is at times quite dizzying, yet it rarely feels self indulgent. Not many rap albums feature a duet with Norah Jones, but if you had to plump for just one musical influence exhibited here it would have to be Prince. "Shake it like a polaroid picture" indeed.

Big Boi's "Speaker-box" would in almost any other company sound pretty adventurous too but compared to Andre's effort it sounds a little more like a mainstream rap album, albeit one that is at times a very fine and innovative one with some great songs such as "The way you move". If you had to be critical one might say that things do get a little more self indulgent here and perhaps there are one or two collaborations which fall a a bit short of the mark.

Overall this is however a great album - one that will undoubtedly still be talked about as a classic in years to come, and with both discs clocking in at over 60 minutes it also has to rated as terrific value for money.

AWSOME, 01 Aug 2006
Hey ya , has gotta be one of the best songs ever made, fulls stop. I hate r n b, but i adore outkast, and there style always sounds fresh to me. Great songs on the album,other songs not so great. My favourites, "hey ya", "prootype". If u knock the album y wud u buy it?

Bring Back The Old Carters , 20 Oct 2008
The Carter 3 is a good album , but is Waynes weakest by far.
If you havnt heard the old Carters then i suggest that you listen to them before claiming C3 is Waynes greatest album.
Dont get me wrong C3 is still a top album ( 5 Stars ) but i think it is highly overated.
Most Recognisable Tracks include Lil Waynes hit Lollipop Ft Static Major.
A Millie
And Got Money Ft T-Pain
Artist such as Juelz Santana, Fabolous, Bobby Valentino and Jay-Z also feature among others.
I recomend this album to anyone but suggest that listeners also listen to Waynes early work Eg. The Carters 1 & 2 , 500 Degreez.
Also Waynes Mixtapes Eg. The Droughts , Dedications , The Leaks.


Wayne has SURPRISED ME!!, 29 Aug 2008
What can i say? I'm not a fan of Lil Wayne probably because of his "I'm the greatest rapper alive" which he clearly isn't, but this album has made me think that he may not be the best but he definitely can rap now! I don't like all his songs but a few of them do have a vibe of flow and hard hitting lyrics. I have liked his previous music from past years, this man definitely can be put into top 20 rappers of all time, he is the first pure artist since Mr. Slim Shady but don't be foolish because he doesn't come close to Tupac, Eminem, Nas and a few others. Those are the Untouchables.

Not saying Wayne is average but I don't see him trading lyrical content with Eminem and winning.


This is the Carter, 27 Aug 2008
Great Album. Everytime I get into my car I start at track 15, Fabolous kills that with his Wayans Brother Rhyme.
I have been a Lil Wayne fan since the Hot Boys and he came into his own with THE CARTER album. This is the Carter is an all time classic single.

I just wish Mannie Fresh did some production on this album, that would have made it perfect.

Great Album, do not judge it by the Lollipop Single (Which I think is rubbish), it was made for the mainstream.

What the hell is wrong with people?, 16 Jul 2008
A powerful rich white man sits in his leather chair atop his huge music empire. Prising a Cuban cigar from his mouth, he smiles as he approaches the young black man that has just entered his office. The young black man awkwardly accepts the rich white man's offer of a handshake. The white man excitedly urges the young black man to sit down. His excitement increases upon the sight of the loose-fitting apparel and silver chain donned by the young black man.

"So how are you going to make us richer?" the powerful white man asks, aroused now as he notices a bullet scar on the left side of the young black man's neck.

"Well, I want my lyrics to inspire kids to stay clear of guns, drugs and violen..."

"Get out."

The next day, the same powerful, rich white man is smoking his cigar. Another young black man enters the building. Awkwardly dressed in a suit, the rich white man offers a less-than-enthusiastic handshake. The young black man seems uneasy with the gesture, but eventually unfolds his arms and reaches out his left hand. The rich white man surveys the black man, noting with dismay a lack of scars. He asks the same question as they both sit down.

"So how are you going to make us richer?"

The young black man thinks for awhile, before answering:

"Well, I want to rap about bitches and killing niggas and shi..."

"I'll have you on MTV this afternoon."


The sad fact is, record company execs do not want to distribute to the mainstream audience hip-hop that is thought-provoking and intelligent, free of violence, doused with hope. Those artists that do convey such a message are relegated to smaller labels or merely recieve limited exposure. The argument that they are simply supplying to the demand of their audience is not a valid one. These people have the power and influence to control what the audience demands. Were labels, radio and music-channels to continually expose the likes of Common, Immortal Technique, Lyrics Born, Atmosphere, Talib Kweli, The Roots, Jurassic 5, Blackalicious, Nas etc. to the same extent that they do the likes of Soulja Boy or Lil Wayne, there is no doubt that the audience's demands would change.

Unfortunately, that is not, and possibly never will be, the case. Instead of offering young kids positive role models, inspiring aspirations that do not involve bitches, guns and violence, the people with the power continue to put their backing into illiterate dumb thugs. We don't want to see black people as intelligent and inspirational! No, we want them to continue appearing as violent and uneducated, as a threat to our society.

This guy Lil Wayne is just another example of this racist mechanism that continues to pump out mind-numbingly awful black musicians. He has the lyrical writing ability of a 5-year old; lines about bitches and not being "no homo" are constantly ended with swear words, such is his inability to rhyme properly. The generic Southern beats do nothing to set him apart from his equally-moronic peers Lil Jon and T-Pain. Yet, he recieves the exposure and all the hype. That this album could even be considered the finest of the year, a year in which sees Nas return to form with his incredible Unitled album, simply highlights how widespread this problem has become.

Hip-Hop is not dead. Behind the morons parading on TV with their bling-out teeth, intelligible lyrics and booty-shaking "ho's", there is a huge base of intelligent, conscious rappers. Hip-hop is alive and well; unfortunately those that continue to breathe new life into it are cast aside, labelled "left-field" and "underground", ignored by the powerful rich white people who define the demands of a dumbed-down generation. You can help however by ignoring this terrible artist and his ilk, and searching for the aforementioned talents that are so abundant within this genre. Good music does not have to remain underground.

diverse, 05 Jul 2008
i'll be quick in what i have to say: this album is diverse. It has everything. some soulful tracks, some poppy-little-bit-commercial tracks and some pure street bass-heavy hip-hop.

best track on the album for me: A Milli (this is the heaviest track i've heard in a long time)

Hip-Hop is not dead.



All Good In Da Hood, 10 Nov 2008
The song 'Dead and Gone' is the standout track on the album!

Lil Wayne sounds awful on 'Swagga Like Us' and if you heard that before Tha Carter 3 then I don't think he would've sold a quarter than what he has.

A solid album from TI with enough Raw tracks and a couple of Radio Friendly songs thrown in for him to make his $$$.



His BEST ALBUM yet. Period., 14 Oct 2008
His best album yet without a doubt. This album has so much to offer and if it is T.I.'s last album (and 6th) then he's done very well indeed with a plethora of A-star producers and guest features. However, T.I. manages to stand out throughout. Lyrically T.I. is very strong on the album which probably reflects the fact he has resumed writing his lyrics down. Considering his personal drama in the last year, this album was highly-anticipated and does not fail to deliver after a rather boring T.I.P. vs. T.I. -- It is hard to discuss each track in detail but below are what I consider to be the stand out tracks:
Whatever You Like: This is an excellent song which is really radio friendly. Again T.I. sounds relaxed and effortless on this track.
Live Ya Life ft. Rihanna: Rihanna was a great choice for this song not just because she is everywhere at the moment. Just Blaze does great production and T.I. delivers great lyrics which are positive and shows that he has matured in his genre. Great party track too and for blaring out of your car like I have all weekend.
No Matter What: produced by Danja (think Justin Timberlake, Madonna, Britney, anything Timbaland has done for about 3 years now). This is my favourite song on the album and it is probably the most personal for T.I. as well.
Swagga Like Us ft. Kanye West, Jay Z and Lil Wayne: this is a really good track, booming production by Kanye West. Nevermind all these veterans and A-star rapper, T.I. still sounds the strongest (then Jay Z, K West and Lil W). Considering that these guys are all probably going to go head-to-head for Best Hip Hop Album of the year at the Grammys in 2009, this song is apt for them to be on.
On Top Of the World ft. Ludacris / Slide Show ft. John Legend: both these songs deserve a mention. T.I. and Ludacris have joined together to make an excellent song as Kings of the South while John Legend sounds so smooth like liquid on this track.
This is a stand-out album and should be on your must buy list very soon. I cannot recommend it more highly. 4.5 stars.

Possibly Americas Next Superstar, 19 Nov 2008
Cant believe no one has reviewd this album yet! I first heard of Flo Rida probably like most people through his first single LOW with T-Pain which was one of the biggest tracks this year. I thought good track but if thought hes probably gonna be like Mims and be a one hit wonder then I heard Elevator with Timbaland which was a hot track too.

So i thought id give it a go and im glad i did this album is hott, im not gonna say its a classic cos its not but this is a cd well worth having. Every track on this album is a great track and its mostly upbeat stuff.

The album ha a few guest stars with the man of the moment Lil Wayne, Birdman, Will.I.AM, Sean Kingston, Young Joc. The tracks with the guest apperances are some of the best tracks

Overall this cd is hot and should be bought cos its better than most of whats out these days!!

great album period., 17 Sep 2008
excellent album great tracks from start to finish. best southern rapper by far in my opinion. if you liked the first 2 albums then you defintely enjoy this get it you wont be dissapointed.

for once, believe the hype, 16 Mar 2008
it's ridiculous how much this album is slated. People seem unable to appreciate OutKast without comparing this to their old work. The fact is that they managed to combine hiphop with a range of musical styles AND IT WORKS. There's no need to give examples, cos cases can be made for all the songs. Admittedly there are songs which seem to be dwarfed by the rest, but that just shows the strength of the other songs.
people say they gave this album one listen and couldn't do it again. their loss. Speakerboxxx/Love Below takes a few listens to fully appreciate, but once you do, you won't regret it

Fantastic!, 04 Jan 2008
I took a chance on this and boy am I glad I did.
I'll be honest and tell you this review is based solely on the Andre 3000 cd. I'm not even bothered by the other one.
It is simply the best set of songs I have heard for longer than I care to remember. Being a middle aged white man I normally listen to rock, country, 70's, mor, aor.
I can't get over how original and fresh this sounds.
Great tunes, great lyrics, great production.
Genius.

Outkast indeed !!, 07 Sep 2007
I personally have never understood OUTKAST, i mean their not REALLY hip-hop now are they? Anyhow, i would have to say that this double album is pretty good value for for money, especially if you want to listen to something different no matter what genre you into. Disk 2 (The Love Below) is muuuuucch better than Speakerboxx which has only one or possibly two good tracks on the whole thing. There is even a bonus of having 'hey ya' on The Love Below which will please all you radio heads out there no end.... Literally no end to it !!! All in all good, but not great.

A landmark rap album - for people who don't like rap, 26 Oct 2006
Think you don't like rap much? Then definitely buy this ground breaking double album.

Oukast are a duo but this is effectively two solo albums for the price of one. Andre 3000's "The Love below" is the more adventurous of the two discs. Forget any preconceptions you might have about rap as a musical genre - this hugely ambitious project actually involves very liitle rapping. What you get instead is in effect almost a potted history of black popular music featuring everything from orchestrated show tunes, to Jazz, soul, funk, R n B and yes even a little rap woven around a loose concept about the trials and tribulations of Andre's love life. There are even a few very funny spoken interludes between some of the tracks which help to link one or two of the songs together into a lose narrative. The sheer diversity of musical styles is at times quite dizzying, yet it rarely feels self indulgent. Not many rap albums feature a duet with Norah Jones, but if you had to plump for just one musical influence exhibited here it would have to be Prince. "Shake it like a polaroid picture" indeed.

Big Boi's "Speaker-box" would in almost any other company sound pretty adventurous too but compared to Andre's effort it sounds a little more like a mainstream rap album, albeit one that is at times a very fine and innovative one with some great songs such as "The way you move". If you had to be critical one might say that things do get a little more self indulgent here and perhaps there are one or two collaborations which fall a a bit short of the mark.

Overall this is however a great album - one that will undoubtedly still be talked about as a classic in years to come, and with both discs clocking in at over 60 minutes it also has to rated as terrific value for money.

AWSOME, 01 Aug 2006
Hey ya , has gotta be one of the best songs ever made, fulls stop. I hate r n b, but i adore outkast, and there style always sounds fresh to me. Great songs on the album,other songs not so great. My favourites, "hey ya", "prootype". If u knock the album y wud u buy it?


King of the south, 08 Mar 2008
Iv just bought this album today yes it took me long but thats because i thort wayne was going to be wack like TI but then i heard his song Hustle Musik and i thort it was dope so i took a chance and im glad i did its DOPE and i have a new respect for him now cant wait till the CARTER 3.

Buy this album - don't sleep!, 18 Dec 2006
A lot of people in the UK will not have heard of Lil Wayne, or Weezy F Baby, as he calls himself, but this will change if this album is anything to go by. This is a masterpiece, and I've owned it for a year and still play it regularly. Wayne has been rapping since the age of 13 with Baby's Cash Money label, and has developed a legendary following from his Sqad Up mixtape series. His most famous cameo was on the Destiny's Child song 'Soldier', but he hasnt achieved superstardom over here like over in America. The stand out tracks here are 'Money on my Mind', 'Best Rapper Alive', 'Hit Em Up' and 'Carter 2'.

Best flow and delivary since Jay-Z, 22 Mar 2006
If lyrics are you're thing in the rap game this isn't the greatest. However lil waynes delivary and flow are the greatest since jay-z or as he puts it on The Carter "best rapper alive, since the best rapper retired". He rides every beat perfectly choping and changing his style through out the album to adjust to each beat. He flows on every track making just about anything ryhme and catches everybeat with ah punch line. My favourite rapper since 500 degreez and still is. Buy this album!

Sick, A must have...1 of the Future Star of Hip Hop, 08 Mar 2006
From the moment i heard him on his old track "shine" i thought..this guy is different...this is the 1st lil wayne album i bought and wont be the last..after hearing "go dj" and "earthquake" off his last album i knew i had 2 get the follow up.."the carter 2"..this album is sick..very sick..nearly every track is brilliant, his flow and his delivery are his main assets..along with his weezy voice which adds 2 his unique rap style..best songs in my opinion are "THA MOBB, FIREMAN, OH NO, MONEY ON MY MIND AND MY FAVOURITE..."SHOOTER"...THIS ALBUM IS A MUST HAVE

Sick!, 03 Jan 2006
This is the first Lil' wayne album i have bought, and it is one of the best albums i have. Weezy's flow is sick although hard to follow at times. Beats are brilliant and tracks are good. Fireman is a brill song and is really catchy. I bought this on the bases of Go DJ, which is not on here but that song is nowhere near as good as the one's on this album. Once you have listened to it, it will stay in your CD player for months! It's infectious

With their feel-good humanism, uniquely rural perspective, and melodic blend of funk and rap, Arrested Development seemed like the next big thing in 1992. The group hailed from Atlanta, which was not then a capital of hip-hop and R&B, and this, their debut recording, won the New York Village Voice's Pazz & Jop critics poll. Speech, the primary lyricist, wrote and delivered eloquent attacks on gangsta rap's mindless nihilism: the band's first hit, "Tennessee", spoke of reclaiming Southern black traditions from the racism that sullied their memory, while their second, "People Everyday", deftly updated the Sly Stone classic. Although Speech's rapping style was not distinctive, Dionne Farris's keening vocals highlighted the band's front line. Unfortunately, Speech began to run short of ideas and the band failed to maintain the high standards that this debut set. They disbanded a few years later. --Martin Johnson

Bring Back The Old Carters , 20 Oct 2008
The Carter 3 is a good album , but is Waynes weakest by far.
If you havnt heard the old Carters then i suggest that you listen to them before claiming C3 is Waynes greatest album.
Dont get me wrong C3 is still a top album ( 5 Stars ) but i think it is highly overated.
Most Recognisable Tracks include Lil Waynes hit Lollipop Ft Static Major.
A Millie
And Got Money Ft T-Pain
Artist such as Juelz Santana, Fabolous, Bobby Valentino and Jay-Z also feature among others.
I recomend this album to anyone but suggest that listeners also listen to Waynes early work Eg. The Carters 1 & 2 , 500 Degreez.
Also Waynes Mixtapes Eg. The Droughts , Dedications , The Leaks.


Wayne has SURPRISED ME!!, 29 Aug 2008
What can i say? I'm not a fan of Lil Wayne probably because of his "I'm the greatest rapper alive" which he clearly isn't, but this album has made me think that he may not be the best but he definitely can rap now! I don't like all his songs but a few of them do have a vibe of flow and hard hitting lyrics. I have liked his previous music from past years, this man definitely can be put into top 20 rappers of all time, he is the first pure artist since Mr. Slim Shady but don't be foolish because he doesn't come close to Tupac, Eminem, Nas and a few others. Those are the Untouchables.

Not saying Wayne is average but I don't see him trading lyrical content with Eminem and winning.


This is the Carter, 27 Aug 2008
Great Album. Everytime I get into my car I start at track 15, Fabolous kills that with his Wayans Brother Rhyme.
I have been a Lil Wayne fan since the Hot Boys and he came into his own with THE CARTER album. This is the Carter is an all time classic single.

I just wish Mannie Fresh did some production on this album, that would have made it perfect.

Great Album, do not judge it by the Lollipop Single (Which I think is rubbish), it was made for the mainstream.

What the hell is wrong with people?, 16 Jul 2008
A powerful rich white man sits in his leather chair atop his huge music empire. Prising a Cuban cigar from his mouth, he smiles as he approaches the young black man that has just entered his office. The young black man awkwardly accepts the rich white man's offer of a handshake. The white man excitedly urges the young black man to sit down. His excitement increases upon the sight of the loose-fitting apparel and silver chain donned by the young black man.

"So how are you going to make us richer?" the powerful white man asks, aroused now as he notices a bullet scar on the left side of the young black man's neck.

"Well, I want my lyrics to inspire kids to stay clear of guns, drugs and violen..."

"Get out."

The next day, the same powerful, rich white man is smoking his cigar. Another young black man enters the building. Awkwardly dressed in a suit, the rich white man offers a less-than-enthusiastic handshake. The young black man seems uneasy with the gesture, but eventually unfolds his arms and reaches out his left hand. The rich white man surveys the black man, noting with dismay a lack of scars. He asks the same question as they both sit down.

"So how are you going to make us richer?"

The young black man thinks for awhile, before answering:

"Well, I want to rap about bitches and killing niggas and shi..."

"I'll have you on MTV this afternoon."


The sad fact is, record company execs do not want to distribute to the mainstream audience hip-hop that is thought-provoking and intelligent, free of violence, doused with hope. Those artists that do convey such a message are relegated to smaller labels or merely recieve limited exposure. The argument that they are simply supplying to the demand of their audience is not a valid one. These people have the power and influence to control what the audience demands. Were labels, radio and music-channels to continually expose the likes of Common, Immortal Technique, Lyrics Born, Atmosphere, Talib Kweli, The Roots, Jurassic 5, Blackalicious, Nas etc. to the same extent that they do the likes of Soulja Boy or Lil Wayne, there is no doubt that the audience's demands would change.

Unfortunately, that is not, and possibly never will be, the case. Instead of offering young kids positive role models, inspiring aspirations that do not involve bitches, guns and violence, the people with the power continue to put their backing into illiterate dumb thugs. We don't want to see black people as intelligent and inspirational! No, we want them to continue appearing as violent and uneducated, as a threat to our society.

This guy Lil Wayne is just another example of this racist mechanism that continues to pump out mind-numbingly awful black musicians. He has the lyrical writing ability of a 5-year old; lines about bitches and not being "no homo" are constantly ended with swear words, such is his inability to rhyme properly. The generic Southern beats do nothing to set him apart from his equally-moronic peers Lil Jon and T-Pain. Yet, he recieves the exposure and all the hype. That this album could even be considered the finest of the year, a year in which sees Nas return to form with his incredible Unitled album, simply highlights how widespread this problem has become.

Hip-Hop is not dead. Behind the morons parading on TV with their bling-out teeth, intelligible lyrics and booty-shaking "ho's", there is a huge base of intelligent, conscious rappers. Hip-hop is alive and well; unfortunately those that continue to breathe new life into it are cast aside, labelled "left-field" and "underground", ignored by the powerful rich white people who define the demands of a dumbed-down generation. You can help however by ignoring this terrible artist and his ilk, and searching for the aforementioned talents that are so abundant within this genre. Good music does not have to remain underground.

diverse, 05 Jul 2008
i'll be quick in what i have to say: this album is diverse. It has everything. some soulful tracks, some poppy-little-bit-commercial tracks and some pure street bass-heavy hip-hop.

best track on the album for me: A Milli (this is the heaviest track i've heard in a long time)

Hip-Hop is not dead.



All Good In Da Hood, 10 Nov 2008
The song 'Dead and Gone' is the standout track on the album!

Lil Wayne sounds awful on 'Swagga Like Us' and if you heard that before Tha Carter 3 then I don't think he would've sold a quarter than what he has.

A solid album from TI with enough Raw tracks and a couple of Radio Friendly songs thrown in for him to make his $$$.



His BEST ALBUM yet. Period., 14 Oct 2008
His best album yet without a doubt. This album has so much to offer and if it is T.I.'s last album (and 6th) then he's done very well indeed with a plethora of A-star producers and guest features. However, T.I. manages to stand out throughout. Lyrically T.I. is very strong on the album which probably reflects the fact he has resumed writing his lyrics down. Considering his personal drama in the last year, this album was highly-anticipated and does not fail to deliver after a rather boring T.I.P. vs. T.I. -- It is hard to discuss each track in detail but below are what I consider to be the stand out tracks:
Whatever You Like: This is an excellent song which is really radio friendly. Again T.I. sounds relaxed and effortless on this track.
Live Ya Life ft. Rihanna: Rihanna was a great choice for this song not just because she is everywhere at the moment. Just Blaze does great production and T.I. delivers great lyrics which are positive and shows that he has matured in his genre. Great party track too and for blaring out of your car like I have all weekend.
No Matter What: produced by Danja (think Justin Timberlake, Madonna, Britney, anything Timbaland has done for about 3 years now). This is my favourite song on the album and it is probably the most personal for T.I. as well.
Swagga Like Us ft. Kanye West, Jay Z and Lil Wayne: this is a really good track, booming production by Kanye West. Nevermind all these veterans and A-star rapper, T.I. still sounds the strongest (then Jay Z, K West and Lil W). Considering that these guys are all probably going to go head-to-head for Best Hip Hop Album of the year at the Grammys in 2009, this song is apt for them to be on.
On Top Of the World ft. Ludacris / Slide Show ft. John Legend: both these songs deserve a mention. T.I. and Ludacris have joined together to make an excellent song as Kings of the South while John Legend sounds so smooth like liquid on this track.
This is a stand-out album and should be on your must buy list very soon. I cannot recommend it more highly. 4.5 stars.

Possibly Americas Next Superstar, 19 Nov 2008
Cant believe no one has reviewd this album yet! I first heard of Flo Rida probably like most people through his first single LOW with T-Pain which was one of the biggest tracks this year. I thought good track but if thought hes probably gonna be like Mims and be a one hit wonder then I heard Elevator with Timbaland which was a hot track too.

So i thought id give it a go and im glad i did this album is hott, im not gonna say its a classic cos its not but this is a cd well worth having. Every track on this album is a great track and its mostly upbeat stuff.

The album ha a few guest stars with the man of the moment Lil Wayne, Birdman, Will.I.AM, Sean Kingston, Young Joc. The tracks with the guest apperances are some of the best tracks

Overall this cd is hot and should be bought cos its better than most of whats out these days!!

great album period., 17 Sep 2008
excellent album great tracks from start to finish. best southern rapper by far in my opinion. if you liked the first 2 albums then you defintely enjoy this get it you wont be dissapointed.

for once, believe the hype, 16 Mar 2008
it's ridiculous how much this album is slated. People seem unable to appreciate OutKast without comparing this to their old work. The fact is that they managed to combine hiphop with a range of musical styles AND IT WORKS. There's no need to give examples, cos cases can be made for all the songs. Admittedly there are songs which seem to be dwarfed by the rest, but that just shows the strength of the other songs.
people say they gave this album one listen and couldn't do it again. their loss. Speakerboxxx/Love Below takes a few listens to fully appreciate, but once you do, you won't regret it

Fantastic!, 04 Jan 2008
I took a chance on this and boy am I glad I did.
I'll be honest and tell you this review is based solely on the Andre 3000 cd. I'm not even bothered by the other one.
It is simply the best set of songs I have heard for longer than I care to remember. Being a middle aged white man I normally listen to rock, country, 70's, mor, aor.
I can't get over how original and fresh this sounds.
Great tunes, great lyrics, great production.
Genius.

Outkast indeed !!, 07 Sep 2007
I personally have never understood OUTKAST, i mean their not REALLY hip-hop now are they? Anyhow, i would have to say that this double album is pretty good value for for money, especially if you want to listen to something different no matter what genre you into. Disk 2 (The Love Below) is muuuuucch better than Speakerboxx which has only one or possibly two good tracks on the whole thing. There is even a bonus of having 'hey ya' on The Love Below which will please all you radio heads out there no end.... Literally no end to it !!! All in all good, but not great.

A landmark rap album - for people who don't like rap, 26 Oct 2006
Think you don't like rap much? Then definitely buy this ground breaking double album.

Oukast are a duo but this is effectively two solo albums for the price of one. Andre 3000's "The Love below" is the more adventurous of the two discs. Forget any preconceptions you might have about rap as a musical genre - this hugely ambitious project actually involves very liitle rapping. What you get instead is in effect almost a potted history of black popular music featuring everything from orchestrated show tunes, to Jazz, soul, funk, R n B and yes even a little rap woven around a loose concept about the trials and tribulations of Andre's love life. There are even a few very funny spoken interludes between some of the tracks which help to link one or two of the songs together into a lose narrative. The sheer diversity of musical styles is at times quite dizzying, yet it rarely feels self indulgent. Not many rap albums feature a duet with Norah Jones, but if you had to plump for just one musical influence exhibited here it would have to be Prince. "Shake it like a polaroid picture" indeed.

Big Boi's "Speaker-box" would in almost any other company sound pretty adventurous too but compared to Andre's effort it sounds a little more like a mainstream rap album, albeit one that is at times a very fine and innovative one with some great songs such as "The way you move". If you had to be critical one might say that things do get a little more self indulgent here and perhaps there are one or two collaborations which fall a a bit short of the mark.

Overall this is however a great album - one that will undoubtedly still be talked about as a classic in years to come, and with both discs clocking in at over 60 minutes it also has to rated as terrific value for money.

AWSOME, 01 Aug 2006
Hey ya , has gotta be one of the best songs ever made, fulls stop. I hate r n b, but i adore outkast, and there style always sounds fresh to me. Great songs on the album,other songs not so great. My favourites, "hey ya", "prootype". If u knock the album y wud u buy it?


King of the south, 08 Mar 2008
Iv just bought this album today yes it took me long but thats because i thort wayne was going to be wack like TI but then i heard his song Hustle Musik and i thort it was dope so i took a chance and im glad i did its DOPE and i have a new respect for him now cant wait till the CARTER 3.

Buy this album - don't sleep!, 18 Dec 2006
A lot of people in the UK will not have heard of Lil Wayne, or Weezy F Baby, as he calls himself, but this will change if this album is anything to go by. This is a masterpiece, and I've owned it for a year and still play it regularly. Wayne has been rapping since the age of 13 with Baby's Cash Money label, and has developed a legendary following from his Sqad Up mixtape series. His most famous cameo was on the Destiny's Child song 'Soldier', but he hasnt achieved superstardom over here like over in America. The stand out tracks here are 'Money on my Mind', 'Best Rapper Alive', 'Hit Em Up' and 'Carter 2'.

Best flow and delivary since Jay-Z, 22 Mar 2006
If lyrics are you're thing in the rap game this isn't the greatest. However lil waynes delivary and flow are the greatest since jay-z or as he puts it on The Carter "best rapper alive, since the best rapper retired". He rides every beat perfectly choping and changing his style through out the album to adjust to each beat. He flows on every track making just about anything ryhme and catches everybeat with ah punch line. My favourite rapper since 500 degreez and still is. Buy this album!

Sick, A must have...1 of the Future Star of Hip Hop, 08 Mar 2006
From the moment i heard him on his old track "shine" i thought..this guy is different...this is the 1st lil wayne album i bought and wont be the last..after hearing "go dj" and "earthquake" off his last album i knew i had 2 get the follow up.."the carter 2"..this album is sick..very sick..nearly every track is brilliant, his flow and his delivery are his main assets..along with his weezy voice which adds 2 his unique rap style..best songs in my opinion are "THA MOBB, FIREMAN, OH NO, MONEY ON MY MIND AND MY FAVOURITE..."SHOOTER"...THIS ALBUM IS A MUST HAVE

Sick!, 03 Jan 2006
This is the first Lil' wayne album i have bought, and it is one of the best albums i have. Weezy's flow is sick although hard to follow at times. Beats are brilliant and tracks are good. Fireman is a brill song and is really catchy. I bought this on the bases of Go DJ, which is not on here but that song is nowhere near as good as the one's on this album. Once you have listened to it, it will stay in your CD player for months! It's infectious

One of the greatest hip-hop albums in history!, 17 Aug 2006
Any true hip-hop fan simply MUST buy a copy of this album. Fans of A Tribe Called Quest, De La Soul, Jurassic 5, etc. will love the funky beats and laid-back style of this album.

There's no filler here, just an album packed full of soulful hip-hop, the way it should be done. The phrase "They just don't make them like this anymore" has never been more appropriate than when applied to this album.

If you like hip-hop and you haven't got this album, it's a massive gap in your collection. Get one, no - get two, now! It really is that good!

Compelling and inspirational, 14 Jun 2004
This innovative album opens with Man's Final Frontier, a funky number with lots of scratching and samples. It is followed by the amazingly positive and life-affirming Mama's Always On Stage and People Everyday, black pride anthem and intelligent protest against violence.

Mr Wendall is another gem of a song, about homelessness and recognising the dignity in others. It also has a most compelling arrangement and gripping vocals. Arrested Development highlights personal and social problems without sounding preachy.

The jazzy Raining Revolution is a moving spiritual rap, and Fishin' 4 Religion is a critical look at organized religion. The energetic Give A Man A Fish deals with the music business whilst the bubbly uptempo U and the gentle, melodious Natural are about love and relationships.

Dawn Of The Dreads has lots of pop appeal with its catchy sung parts alternating with the rap; Tennessee has soulful female vocals, and the album concludes on a high note with the spiritual poem Washed Away. What a great album, so original in sound and uplifting in spirit! It encompasses a stunning variety of styles in a set of highly accomplished songs.

Did it really take that long to record?, 16 Mar 2001
Don't be put off by the ridiculous clothes they're all wearing on the cover, this is a truly fantastic album - "Mr Wendal", "People Everyday" (with a strong assist from Sly and the Family Stone), and, of course, the globally huge "Tennessee", are indisputable classics, and there's a splendifferous supporting cast of songs to back them up, including the frenetic "U", and the reflective "Washed Away".

Along with late 80's and early 90's contemparies like De La Soul, Disposable Heroes of Hiphoprisy, and the Dream Warriors, Arrested Development presented a fluffy alternative to the gold chain festooned, uzi totin', woman hatin' image that many hip hop acts have succumbed to over the years. But underneath all the cheerfulness, there is a real intellectual depth to this album, and a sometimes painful search for identity, and you shouldn't pass it by.

With their fourth-album, Outkast invoke the rebel Southern spirit to full effect. Realising there is something rotten in the state of hip hop, the Atlantan local heroes have staked out their own territory, Stankonia, a Utopian republic representing the best of the Dirty South. As if in tribute to Funkadelic's America Eats Its Young , the album cover finds Dre and Big Boi staring out in front of a black and white stars and stripes. Inside they waste no time in revealing their radical agenda. "Don't everyone like the smell of gasoline?" hollers Andre 3000 on opener "Gasoline Dreams", as he sets fire to the constitution over a scorching electric guitar. The single "B.O.B." (aka "Bombs Over Baghdad") is Outkast's state-of-the-union address, a rousing gothic gospel number that advocates a "power music electric revival" as it approaches the speed of Reprazent's "Who Told You" and the epic feel of "Bohemian Rhapsody". On "Miss Jackson", they assume the role of exemplary southern Gentleman begging forgiveness from their hoochie's mama over a backing with spooky shades of Prince's "When Doves Cry". Elsewhere they eschew tradition (on tracks like "?", "Snappin & Trappin" and the B-Real-guesting "Xplosion") to invest their dirty funk with a distinctly avant-garde afro-sheen. Come election day, just sniff this stank to inhale freedom. --Chris Campion

Bring Back The Old Carters , 20 Oct 2008
The Carter 3 is a good album , but is Waynes weakest by far.
If you havnt heard the old Carters then i suggest that you listen to them before claiming C3 is Waynes greatest album.
Dont get me wrong C3 is still a top album ( 5 Stars ) but i think it is highly overated.
Most Recognisable Tracks include Lil Waynes hit Lollipop Ft Static Major.
A Millie
And Got Money Ft T-Pain
Artist such as Juelz Santana, Fabolous, Bobby Valentino and Jay-Z also feature among others.
I recomend this album to anyone but suggest that listeners also listen to Waynes early work Eg. The Carters 1 & 2 , 500 Degreez.
Also Waynes Mixtapes Eg. The Droughts , Dedications , The Leaks.


Wayne has SURPRISED ME!!, 29 Aug 2008
What can i say? I'm not a fan of Lil Wayne probably because of his "I'm the greatest rapper alive" which he clearly isn't, but this album has made me think that he may not be the best but he definitely can rap now! I don't like all his songs but a few of them do have a vibe of flow and hard hitting lyrics. I have liked his previous music from past years, this man definitely can be put into top 20 rappers of all time, he is the first pure artist since Mr. Slim Shady but don't be foolish because he doesn't come close to Tupac, Eminem, Nas and a few others. Those are the Untouchables.

Not saying Wayne is average but I don't see him trading lyrical content with Eminem and winning.


This is the Carter, 27 Aug 2008
Great Album. Everytime I get into my car I start at track 15, Fabolous kills that with his Wayans Brother Rhyme.
I have been a Lil Wayne fan since the Hot Boys and he came into his own with THE CARTER album. This is the Carter is an all time classic single.

I just wish Mannie Fresh did some production on this album, that would have made it perfect.

Great Album, do not judge it by the Lollipop Single (Which I think is rubbish), it was made for the mainstream.

What the hell is wrong with people?, 16 Jul 2008
A powerful rich white man sits in his leather chair atop his huge music empire. Prising a Cuban cigar from his mouth, he smiles as he approaches the young black man that has just entered his office. The young black man awkwardly accepts the rich white man's offer of a handshake. The white man excitedly urges the young black man to sit down. His excitement increases upon the sight of the loose-fitting apparel and silver chain donned by the young black man.

"So how are you going to make us richer?" the powerful white man asks, aroused now as he notices a bullet scar on the left side of the young black man's neck.

"Well, I want my lyrics to inspire kids to stay clear of guns, drugs and violen..."

"Get out."

The next day, the same powerful, rich white man is smoking his cigar. Another young black man enters the building. Awkwardly dressed in a suit, the rich white man offers a less-than-enthusiastic handshake. The young black man seems uneasy with the gesture, but eventually unfolds his arms and reaches out his left hand. The rich white man surveys the black man, noting with dismay a lack of scars. He asks the same question as they both sit down.

"So how are you going to make us richer?"

The young black man thinks for awhile, before answering:

"Well, I want to rap about bitches and killing niggas and shi..."

"I'll have you on MTV this afternoon."


The sad fact is, record company execs do not want to distribute to the mainstream audience hip-hop that is thought-provoking and intelligent, free of violence, doused with hope. Those artists that do convey such a message are relegated to smaller labels or merely recieve limited exposure. The argument that they are simply supplying to the demand of their audience is not a valid one. These people have the power and influence to control what the audience demands. Were labels, radio and music-channels to continually expose the likes of Common, Immortal Technique, Lyrics Born, Atmosphere, Talib Kweli, The Roots, Jurassic 5, Blackalicious,