The arrival of a long-awaited album with a tumultuous history often comes with a feeling of relief or thankfulness.
He said this chapter would be about growth, and then he would be gone.
However, due to contractual disputes with his label, Cash Money, those dates came and went.
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He was a myth, but one that remained ever-present.
But the scope has limits beyond that.
In fact, it is impossible to ignore the overtones of rudimentary misogyny which permeate the album.
But what the song boils down to is “you might’t trust women.”
On “Open Safe,” Wayne casually mentions sticking a woman’s hand in fan blades.
It would be boring and exhausting regardless of the year, but it has a highlighted tone of skippability.
Wayne is, by nature, an exciting rapper.
The album’s highlights come when Wayne finds himself dabbling in regret, fear, or romantics.
“Dope New Gospel” manages to be triumphant without drowning the triumphs in generic braggadocio.
Wayne is joined on “Famous” by his first-born daughter, Reginae Carter.
There are moments of that here, but few and far between.
