Whatever the reason for the delay of Wayne’s upcoming Tha Carter V, he makes a convincing case here it’s not for a lack of the unhinged, smart-dumb word-mangling that once let him get away with claiming the title “Best Rapper Alive,” in the process of opening doors for Nicki Minaj, Drake and a host of more recent hip-hop eccentrics.
It’s unclear what’s really happening, but Wayne has blamed Tha Carter V‘s postponement on his longtime label home, Cash Money (see David Drake’s feature, Something Is Rotten in the State of Cash Money). This remix of Future’s Mike WiLL Made-It-produced gothic rumbler from 2014′s Honest, then, is the first taste from Wayne’s upcoming stopgap mixtape, Sorry 4 the Wait 2, a sequel to 2011′s Sorry the 4 Wait.
And Wayne goes for it, with so many of his signature tics. There are oddball ’90s-kid references (the wordless vocal part from Boyz II Men’s “Motownphilly”). There are simple-yet-effective uses of obscure words (he dismisses the Cash Money kerfuffle as “so yesterweek”). There’s absurdly unsexy sex talk (even HBO’s Girls probably wouldn’t use the phrase “maximus gluteus” to describe a libidinous act) and amusingly culinary threat-making (“Keep my name out your mouth, I hope it tastes like cayenne”). Wayne’s voice even goes back to that rabid-hyena place where he gives a sense he’s enjoying just how on top of his game he is: “They like ‘Tunechi, you good,’ I’m like ‘bob yessiree,’” he practically yelps.
Though Wayne sings more than once that he’s sorry — after all, the mixtape is titled Sorry 4 the Wait 2 — the overall effect is winningly unrepentant. Right before the end, he narrates, “She said, ‘Don’t apologize for shit, ’cause you the shit/ And we know Tha Carter 5 the shit.” It’s been a long while since a new Wayne album was a cause for celebration rather than a reason to brace for disappointment, but he has graced several solid-to-excellent tracks over the past year, including “D’usse,” “Gotti,”and “Off Day,” plus Young Thug collaboration “Take Kare” and Minaj’s Drake-assisted “Truffle Butter.”
If label drama is what it takes to push Wayne back to that place where he was “so motherfuckin’ high I can eat a star,” Cash Money chief Birdman might deserve whatever cut he’s taking.