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. ' Released: January 27, 2009. ' Released: December 3, 2009. ' Released: February 2, 2010.
' Released: February 9, 2010 Rebirth is the seventh by American rapper, released February 2, 2010, on,. The album's production was primarily handled by,.
Subscribe to the official Lil Wayne channel on YouTube for rare and exclusive footage of Weezy! Stay up to date on all the latest news, releases, and tour in. Rebirth Lil Wayne. Released February 2, 2010. Rebirth Tracklist. Seem to take a hip-hop approach to the songs. Riffs are looped, and strong structure seems minimal. Wayne actually branches.
Rebirth was promoted as Wayne's debut, though it includes some tracks. The album debuted at number 2 on the US, selling 176,000 copies in its first week. The album became Wayne's seventh top-ten album in the United States and produced four singles, that which attained chart success. Upon its release, Rebirth received generally negative reviews from music critics. The album has been certified by the (RIAA), with domestic shipment of 500,000 copies in the United States.
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Retrieved February 28, 2015. If necessary, click Advanced, then click Format, then select Album, then click SEARCH. External links. at.
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When the 2009 documentary The Carter hit DVD, much was made of ’s reckless syrup sipping during the film, but longtime fans had already accepted their hero was a drug abuser because they had bothered to listen to his lyrics. What made the faithful flip was a scene where the previously unstoppable Weezy announced he was a rock star, picked up a guitar, raised a fist in the air, brought the pick down, and then proceeded to deliver one of the most lackluster guitar solos caught on video, and that’s including YouTube. After the widespread indifference to his debut rap-rock single “Prom Queen,” the late 2009 hip-hop mixtape No Ceilings was greeted with universal acclaim, so it seems ’s sense of quality control is strong when it comes to rap, but very weak when it comes to rap-rock. Like “Prom Queen,” the rap-rock album is dragged down by drab backing tracks which are akin to the canned heavy metal the world of video games gave up years previously. Hearing bark “I’m so high that the ground is gone/I don’t even know what cloud I’m on” over a tribal rock beat could be special if this wasn’t some uninspired, studio musician’s idea of “tribal”.
While his lyrics are still peppered with the usual wit and laugh-out-loud punch lines, crunching guitars bring out a tedious mopey side of the man you won’t find elsewhere, and many cuts go into downward spirals of weeping and wailing. Then, out of nowhere, comes the jittery new wave of “Get a Life,” and suddenly Weezy’s riding the beats with his usual flair and dropping F-bombs through the Auto-Tune as if Cash Money just signed and couldn’t be happier. Connects with the tune perhaps because of its synthetic, synth pop nature. The rest of the album finds him trying hard - mostly too hard - to interact and feed off live musicians when he’s well aware, and has often said, he’s best on his own. It’s more interesting to ponder s reasons for making than to actually listen to it, because the end result is a loud and ignorable bore.