Lil Wayne - The Carter III

[Lucifuge]

can some one upload that tracks with jigga and luda?

['EclipZe]

I like some beats and songs, but the half of the album is garbage.... i've expected more imo.

[K.Dub]

can some one upload that tracks with jigga and luda?

Two posts above you says the track with Luda never leaked.

[Lucifuge]

can some one upload that tracks with jigga and luda?

Two posts above you says the track with Luda never leaked.

my bad,then just with jigga.

[heat]

Gotta give it up to Weezy, his new album is really good, seems like he gon sell a whole bunch of albums of it too, he deserves the success following now..

[Jome]

can some one upload that tracks with jigga and luda?

Two posts above you says the track with Luda never leaked.

Last number of Norwegian FHM says that the Wayne/Luda track is mandatory download, and maybe the "best track on the album".. 

[Lord Funk]

I copped this yesterday. As I said in my comments way earlier in this thread when I listened to the leak, it's OK. In fact, it's better than I thought when I first heard it. 'Mr Carter' is great. The monologue at the end of 'Dontgetit' is one of the most interesting things I've heard on a hip-hop album in a while. And even that 'La La' joint... well, I've heard far wacker music than that praised highly elsewhere on this board.

The album reminds me of 'Graduation' - it's the sound of a rapper who wants to make a mainstream album but is still a little too wacked out (in Wayne's case on drugs, in Kanye's on the buzz of his own ego) to make something totally mainstream.

Good on Wayne. He gets a lot of hate but he's worked hard - like Bishop Lamont, he's given away so much quality music on mixtapes that other artists would hold for albums. I figured after all that he earned my £8 for the album.

[K.Dub]

can some one upload that tracks with jigga and luda?

Two posts above you says the track with Luda never leaked.

Last number of Norwegian FHM says that the Wayne/Luda track is mandatory download, and maybe the "best track on the album".. 

[MontrealCity's Most]

so who can hook up this hole record?

[heat]

http://www.albumhunt.com

[Elano]

Tha Carter III is finally here, leaked online and now in stores, too. The overall reception has been favorable, though there’s been some rumblings over whether Lil Wayne properly delivered considering the sizable buzz he built. According to his engineer, however, Young Money/Terror Squad family Fabian Marasciullo, TC3 is even better than intended. Plenty of songs leaked to the Internet that could have made the cut. New songs were added literally days before the product was shipped. But the end result, he says, is a quality album. Here, Marasciullo, who rode shotgun for the entire making of the album, speaks to XXLmag.com about the records that didn’t make the album, mixing and mastering the album, and the pesky leaks that slowed down the project in the first place. On meeting Lil Wayne…I’ve been working with Wayne since the 500 Degreez stuff. I was working with Rodney Jerkins and we were doing shit like Michael Jackson and stuff like that. I was Rodney’s exclusive engineer and I met the Cash Money guys including Lil Wayne and we hit it off well. I didn’t really start working with them until Tha Carter, the first one. The first record I mixed was “Go DJ.” So I been with Lil Wayne as an artist for a while now.When we started with Tha Carter III and seeing all the leaks, there was frustration because we had been working on this for years. When it came time to mix, the first record that we mixed was “Lollipop.” In the past, Wayne was never involved in the technical process before this album. He just gave us the songs and we mixed it, compiled the album, and put it out. We, meaning Slim, Baby, and me.He would give us the songs he wanted, and Baby and Slim had more input on the original albums. But Wayne always gave us the records. And then we would mix, put the spacing and do all that shit. But this album was really more hands on for Wayne. The first record we mixed was “Lollipop” and it was kind of a weird situation. It was Wayne’s first time really being involved in the mix process and at the time there also was a couple different version of the record, so there was confusion getting started. We might have mixed that record three times before you guys even heard the final product; there were three different versions of where we were going. From that point, me and Wayne had a meeting about the vibe he had and what he wanted it to be. We kind of pushed the envelope as far as rap stuff goes. He kind of did it a little funkier, wild, and far out for rap shit, as opposed to the typical straight up, rap album. His manager left me with Tha Carter III drive and they left overseas to do some shows. They were gone like a month and while they were gone I just started mixing stuff.On getting started on Tha Carter III…When it comes to Wayne it’s always been more of a family thing so I always go in a little bit different for him than for anybody else. So they left me with that and we started going in. We did “La La,” the David Banner record. I mix records every day, but then you get someone like Wayne and just because you know it’s a more anticipated thing, not to mention it’s my brother, so you have to go in a little bit more different and you got to think about things differently. When we were working with Michael Jackson, it was like, it’s Michael, we got to go in. So we’re looking at Wayne in the same light nowadays, really, because he’s who everyone is looking to. So to go in on that means to just give things a 10th listen instead of 9. We go in with more passion and more heart, just because it’s a family thing. And we knew this was the most important one so we had to make it perfect. So we did “Lollipop then we did “La La,” then we did the Alchemist record. From there, I did a record called “Phone Home,” which was produced by Cool and Dre. And it was dope, because I kind of took Wayne’s lead on that. In the first verse he said, “We are not the same, I am a Martian.” And he sounds crazy, like a Martian when he says that word. So in the intro, the record didn’t have any of that computer shit, the space and all that stuff. So I listened to the record and I was like, We need to take this up to the next level. I got a bunch of sound effects, I created the countdown at the beginning, the spaceship taking off, that’s what I mean by going in. The next step. So I went in and added all those sound effect and Wayne heard it and was like, ‘You’re retarded.’ It was great.The whole time it was just so stressful. We had a safe in the studio. Because I knew I was the only person that had a copy of these records at the time. So it was so stressful we literally had a safe. I locked everything up every night, leave. No one had the combination. Nobody had access to this thing, not even Baby and Slim. In fact, I got married in the middle of the process and went on my honeymoon; I was in Italy for two weeks. They were calling because they needed a record to send over for clearance. And they couldn’t even get it, because I had the key on me. It was funny. This shit was literally under lock and key. They were like, ‘Damn, we can’t even get to it.’ From there, we mixed a couple of really dope records that didn’t make the album. I’m sure they’ll be out on mixtapes or on the Internet in the next month or so, you know how that shit goes?

Fabian Marascuillo mixes records for Young Money and Terror Squad.On leaked records…The way I look at it, everything happens for a reason. As far as the stuff leaking, I was always Cash Money’s mix engineer. And Andrews Correa was the tracking engineer. There was always two guys that they could always go to. Baby and them were still in old-school world and Wayne was never too into the technical process before. They would have to come to us to burn a disc, do this. It was always more of a pain in the ass for us, but it was good because no one had access to things and you didn’t have to worry about much. So now Wayne blew up, he goes all over the world, he goes here, he goes there. So of course now there’s more margin for error. As opposed to being in the studio in New Orleans, we record here, or we’re in Atlanta, you send it to me and we mix it in Miami, then it goes to mastering. But now he’s all over the world, so there’s 10 engineers doing 10 different things. So of course there’s more of a margin for the shit to get leaked. But anybody that hears this stuff can tell you that the records that got leaked were always super dope. But the final album…it’s like, thank God for the leaks. Because the final album is killing what would have been the final album, in my opinion.On what made the album and what didn’t…The “Playing with Fire” joint, the Streetrunner record. That originally was a Rolling Stones sample that they used and there wasn’t no way it was gonna get cleared and everyone was tripping about it. Streetrunner went back in, unbeknownst to Wayne, got Betty Wright, replayed the guitars on the record. Up until the day before mastering it wasn’t on the album. We were in New York paying the album and I was like, What about “Playing with Fire?” It was one of the records I really enjoyed listening to the whole thing. Wayne was like, ‘We can’t get it cleared, We can’t use it.’ I told him he re-did it and Wayne was so excited. It cost Universal so much money because the artwork was done already; they printed almost 2 million copies of the album to ship out. And Wayne was like, ‘No, make it happen.’ I was watching people from the label scrambling to put the shit on there. But that was another thing that people probably don’t know about. Literally we were mastering and adding songs. Like Jay-Z, I didn’t get that verse until the day we were mastering. So I mixed that record. I was in New York and I had to go over to Quad and mix Jay-Z’s vocals into the record literally within minutes of completing mastering.There was this record that Develop produced, and it was called “American Dream.” It had a Mike Tyson sample on there, when he was going crazy that one time talking about I’ll eat your children. They couldn’t get the sample cleared but it was crazy hearing Mike, and then Wayne talking about he’s the baddest and on that level, that eat your children type of shit. It was dope, it was extreme, it was really hard, but obviously they couldn’t get it cleared, they had to call HBO, they had to call Don King, it was like 10 different clearances that needed to be done. So it wasn’t worth putting it on there.On his favorites…Definitely my favorite record on the album, there’s two, “Mr. Carter” and “Tie My Hands” is just such a dope record. The ending is so legendary [on “Mr. Carter”]. But it’s kind of like a milestone where we are in the rap community. There was always Biggie and Pac, you got Nas…then you have Jay-Z. That’s the king, but I think people are starting to, if they haven’t already, obviously compare Wayne and Jay, so to hear them together is just so legendary. And to hear Jay give Wayne his props and say, ‘Go ‘head, go get it.’ Just the whole presentation was legendry. And Drew and Infamous killed that beat, it was retarded. “Tie My Hands,” that’s like a movie, its theatrical. He could be talking about the soldiers, the hardships, people trying to make it, and your hands are still tied. So I know we’ve all been there, we all could be doing better but something is holding us back. And the collaboration between them two, that’s something you’ll continue to see. Robin Thicke is an incredible artist and Wayne already respected that. I think that’s a collaboration that you’ll always see from here on out whenever anyone of them puts an album out.

(xxl)

[J$crILLa]

dude is wack to me,.... could care less about this album

[Kool Beenz]

i liked it

[Elano]

Pitchfork review
Rating: 8.7

"Where the fuck is my guitar?"

Lil Wayne is a terrible guitarist. Just incredibly bad. The fact was evident at this year's Summer Jam, when he spent two and a half interminable minutes noodling and crooning all by his lonesome while a stadium full of New York's most devout hip-hop fans looked on bewildered. "Is he really playing the guitar right now?" giggled a teenage girl. "That's not a chord or anything!" Still, she recorded Wayne in all his tatted-up Tracy Chapman glory for YouTube posterity just the same. While everyone else on the day's bill-- from Alicia Keys to Kanye West-- filled their shortened, festival-style sets with hits and finely-tailored theatrics, the audience's most anticipated act took the opportunity get his Guitar for Dummies on; Lil Wayne is, as he likes to say, "different." Always has been.

Earmarked as a gifted elementary school student in New Orleans, he became the token prodigy of his hometown's Cash Money clique at the age of 16, spitting pipsqueak gangsterisms over skittering Mannie Fresh beats. And, opposed to the typical rap flame-out trajectory, Wayne got better-- and stranger-- with each album. Now, nine years after his first solo LP, and on the heels of an unprecedented glut of increasingly remarkable mixtape and internet leaks, we get Tha Carter III, the epic culmination of a lifetime of eccentricities. This is Wayne's moment and he embraces it on his own terms. Instead of hiding his bootleg-bred quirks in anticipation of the big-budget spotlight, he distills the myriad metaphors, convulsing flows, and vein-splitting emotions into a commercially gratifying package that's as weird as it wants to be; he eventually finds his guitar but keeps the strumming in check.

"I pay my dues, you keep the difference."

As the major music industry continues to wheeze and splinter, Lil Wayne's spitball marketing plan for C3 is an unprecedented masterstroke. Over the past couple of years, he's given away more worthwhile free music online than most artists of his stature ever release officially. Using the mixtape market as a free-for-all training ground, Wayne expanded his persona, voice, and talent while presumptively killing off thousands of wannabe MCs hoping to charge five bucks for some garbage CD-R. For that alone, he deserves thanks. Wayne set the definition for a Web 2.0 MC-- his output pours through computer speakers at broadband speeds. And while stellar tapes like Dedication 2 and Da Drought 3 offered-up plenty of hidden darts for sun-deprived message board nerds, his Just Say Yes policy toward any and all guest invitations (Enrique Iglesias? Why not!) provided maximum visibility and chiseled his radio-friendly chops. Piggybacking on hits by Chris Brown and Lloyd undoubtedly did wonders for his giggling teenage girl fan base, but a lesser-known assist appears to have had an even bigger effect on the new record.

"Gotta work everyday/ Gotta not be cliché/ Gotta stand out like Andre 3K."

One of the few satisfying tracks on OutKast's bungled Idlewild album was a woozy bitchfest called "Hollywood Divorce" featuring Lil Wayne. In hindsight, the invite feels like an act of sanctification. The song's a lesson in winning idiosyncrasies-- Andre, Big Boi, and Wayne are all salty, but they make sure to side-step pessimism (Big Boi deems rumor mongers "M&M's with no nuts"). Traces of the South's most genre-bursting, P-Funk-worshipping ATLiens can be heard all over C3, from Wayne's staccato phrasing on "Mr. Carter" to the extraterrestrial fetishism of "Phone Home" to the eclectic unpredictability of it all. The musical open-mindedness also lifts C3 above regional niches-- the #1 hit "Lollipop" sounds more like it was born on Jupiter than anywhere on earth. While Wayne isn't quite ready to produce something like "Hey Ya!", don't be shocked if you see him held up by a pair of leprechaun suspenders in the not-so-distant future.

"I've done it before, please don't make me do it no more."

C3 is Wayne's most absurd album to date but it's also his most personal. "Shoot Me Down", with its "Lose Yourself"-style guitar chug and ominous hook, has the rapper looking all the way back to age 12, when he accidentally shot himself with a .44 Magnum while toying with the gun in a mirror. "Two more inches I'd have been in that casket/ According to the doctor I could've died in traffic," he rhymes on "3 Peat", possibly referring to the day in 2001 when a disgruntled groupie shot at his tour bus, planting a bullet in his chest. Such details add even more gravitas to his grizzled, elastic timbre, which suggests an impossibly hoarse (and high) David Ruffin at times. "All I ask is don't take our love for granted," sings a perfectly sympathetic Babyface alongside Wayne on the lush ballad "Comfortable", the line coming off more like a saucer-eyed plea than a threat. And the LP's best track doubles as its most crazed and pained.

"Playing With Fire" is a full-on faux-metal stunner that hearkens back to Bad Boy's cinematic peak. On it, Wayne reaches Ghostface levels of paranoid distress: "I'm doin' the same shit Martin Luther King did/ Checkin' in the same hotel, in the same suite, bitch/ Same balcony like assassinate me, bitch!" His claims of MLK grandeur are far-fetched, but his impassioned delivery makes them seem more believable than one would think possible. Apparently, those Biggie and Pac references are getting to his codeine-addled brain-- after all, at 25, Wayne is now older than both legends were when they were gunned down. The implicit danger of carrying on such a legacy only adds to the rapper's dramatic reading, and his anguish burns as hot as his punchlines.

"I think everybody gonna like this one...I got one!"

Considering his running-faucet leak rate, there are bound to be fanboy quibbles about the intricacies of C3's tracklist (e.g., the buoyant web gem "La La La" should replace "La La" and its braindead Busta Rhymes verse, and what about the hazy "I Feel Like Dying" or the promising speed-soul track "3 a.m."?). But considering there are probably several hard drives stuffed with syrupy odes featuring Wayne's dubious auto-tuned howl, the final tally is exquisitely balanced and considered. After dozens of listens, the record's overflowing minutiae-- from Fabulous and Juelz Santana's overachieving cameos to Wayne's hilariously apropos kinship with "Macho Man" Randy Savage-- still feels limitless. Just as the record's cover playfully skews the Ready to Die/Illmatic baby-picture formula with Photoshopped tattoos, Wayne updates what it means to be the best rapper alive here. Gangster dandy. Fender-slinging sex god. Intergalactic prankster. It's all in him.

[Makaveli's Food & Liquor]

Apparently this is a snippet of 'Eat You Alive' feat. Luda but i dunno, lol thought i'd post it anyway...

http://limelinx.com/media/7ca2e59e1e3343e9b291a32e3c880bd1.aspx