lil wayne dedication 2 album free download Lil Wayne & DJ Drama – Dedication 2. Dedication 2 is an official mixtape by Lil Wayne hosted by DJ Drama, which was released in 2006. There are a total of 25 tracks on the tape and it is the sequel to Weezy ‘s previous mixtape, Dedication . You can view the tracklist and download link below: 1. Best In The Business 2. Get ‘Em 3. They Still Like Me 4. I’m The Best Rapper Alive 5. Cannon (AMG Remix) featuring Freeway, Willie The Kid, Detroit Red, and Juice 6. Workin ‘Em featuring Fee Banks 7. SportsCenter 8. Welcome To The Concrete Jungle featuring Juelz Santana 9. Spitter 10. South Muzik 11. This What I Call Her 12. Dedication 2 13. Weezy On Retirement 14. Poppin’ Them Bottles featuring Mack Maine and Currency 15. What U Kno 16. Where Da Cash At featuring Currency and Remy Ma 17. Ridin’ With The AK featuring Currency and Mack Maine 18. Weezy On The Streets Of N.O. 19. Walk It Off 20. Hustlin’ 21. Gettin’ Some Head featuring Pharrell 22. A Dedication After Disaster 23. No Other featuring Juelz Santana 24. Outta Here 25. Georgia… Bush & Weezy’s Ambitionz. The password for the .rar file is: www.lilwaynehq.com | More info on extracting .rar files can be found on the mixtape page Share and Enjoy: Social Networks. Subscribe Now. Enter your e-mail address above to get Lil Wayne updates sent to you via e-mail. Happy 10th Birthday To Lil Wayne’s Dedication 2 , The Mixtape So Good It Killed Mixtapes. DJ Drama is right: it’s the mixtape that changed everything. In 2005, on his album Tha Carter II , Lil Wayne — then just 23, still more precocious than acclaimed — called himself the best rapper alive. The music industry (ever easily flummoxed) was quite flummoxed. The very next year, he proved himself right. It was May 22, 2006, to be exact, in the midst of what is now an all-time classic run of mixtape logorrhea. That’s when Wayne gave us Dedication 2 . To mark its ten-year anniversary, I myself went back to revisit the place where I first found that wonderful thing: Status Ain’t Hood, the great Village Voice blog from now-Stereogum writer Tom Breihan. Read Next: Birdman, Roddy Ricch, and Lil Wayne team up for “Stunnaman” Here’s Breihan, in 2006: [Lil Wayne’s] just a monster here, tossing around liquid non-sequiturs . and diamond-hard snarls … like it's the easiest thing in the world. He's on such a ridiculous roll these days that he can just sit back on the beat and keep batting around ridiculous boasts like a cat with a ball of yarn and he'll still consistently be the best rapper working … It's amazing how this guy just keeps getting better. Right now, he has no ceiling. And here’s another thing Breihan wrote at the time, a little disclaimer: “I'm not generally predisposed to raving about mixtapes.” The term “mixtape” is as prevalent now as it was in 2006, but its meaning has evolved so much from then: perception-wise, there is increasingly little distinction between a mixtape and a “proper” album. Even to try to distinguish a mixtape from an album by calling the former a “free” release seems odd. If You’re Reading This It’s Too Late , Drake’s 2015 epic, was for sale on iTunes but Drake insisted on referring to it as a tape. And what the hell is the “correct” term for Chance’s recent breakthrough Coloring Book , the first streaming-only release to make the Billboard 200 album chart? No one really knows, or really cares. Back in the days of Dedication 2 , the term mixtape meant something more specific. It was a self-released product, conceptualized and funded by the artist or their DJ without record label involvement. Shipped out nearly as soon as it was done, it was for sale in a slim jewel case or, if you could find it, available as a free download online. It was very often made up of beats jacked from other artists. Using preexisting beats meant you didn’t need a production budget, but it was much more than a cost-cutting measure: the point was to take someone else’s beats, rap better than them, and “own” the beats yourself. There was no bad blood over the practice of lifting beats because everyone did it; back then, a lovely socialistic attitude prevailed. All in all, it meant mixtapes were almost, by definition, flawed: they were alternate releases from great or hot artists, rawer but not necessarily worse than albums, thrown together in a fit of raw productivity. Dedication 2 changed all that. To start with: it wasn’t at all tossed off, but rather carefully assembled by DJ Drama, then the reigning king of the mixtape circuit. His Gangsta Grillz series, thanks to beloved tapes like Young Jeezy’s Trap or Die , was the most trusted brand name in the game. And Drama’s voice, sandwiched between the tracks, had its own appeal. For many of us, hearing his ad-libs again these days — “DJ the fuck Drama!”; “Barack O’ Drama !” — brings little buzzes of sentimental joy. More importantly: Dedication 2 was an expression of Wayne at the height of his formidable powers. It didn’t matter if tracks cut off after barely a verse, or if the tape pinged between bizarre spoken-word interludes and circular snatches of music, or if we’d heard the beats before. Definitely not the last one — Wayne was funnier, and sadder, and meaner, and madder than anyone who'd graced the tracks before him. All that is what made Dedication 2 great: it felt like being inside of Lil Wayne’s martian brain. In that, it was a highwater mark of the form. The ironic thing about all that: according to Drama himself, the success of Dedication 2 doomed the mixtape as we then knew it. “The lines were becoming skewed around those times,” Drama told The FADER this week. “Unbeknownst outlets, they started bootlegging mixtapes. They were taking it to the next level: they were selling the shit in stores, putting barcodes on them. The shit got crazy.” Mixtapes were always for sale. The difference, suddenly, was that they went from the black or gray market — shoe stores, mixtape huts, sidewalk vendors with their wares spread out on ratty blankets — to licensed brick-and-mortar music shops. “It was street culture originally,” Dama said. “But because of projects like Dedication 2 , they were in demand. People were going beyond mixtapes that stemmed from Canal Street in New York or the flea markets in Atlanta. Consumers were going to the regular music outlets and saying, ‘Where’s Lil Wayne’s Dedication 2 ?’” And with that heretofore unseen demand came unwanted attention. Nearly exactly nine months after Dedication 2 dropped, Drama’s Atlanta’s studio — 147 Walker Street, where he recorded much of the Gangsta Grillz series, including Dedication 2 — was raided. Working in coordination with the RIAA, officers from the Morrow, Georgia, police department confiscated just about everything that was on the premises: recording gear, vehicles, 81,000 CDs. They also arrested Drama and his business partner Don Cannon, charged them each with a felony violation of Georgia’s RICO law, and held them on $100,000 bond. “I saw cops jump out, M16s drawn, and they put me directly on the ground,” Drama recalled in 2008. “They were screaming and yelling, causing a ruckus … They brought the dogs in there, basically asking, ’Where are the guns and drugs?’ You tell them a bunch of times, ’Nah.’ “January 17, ‘07,” Drama says now. “That was a real pivotal moment.” As The New York Times explained at the time, “The [RIAA] makes no distinction between counterfeit CDs and unlicensed compilations like those that DJ Drama is known for.” Meaning: the RIAA didn’t care that artists were working directly with Drama. Gangsta Grillz releases contained unlicensed material, meaning both the jacked beats and the artist’s own original verses, which were technically proprietary to the record labels with which they were then under contract. They were considered, as a whole, illegal. RICO is short for the Racketeer Influenced and Corrupt Organizations Act; it was created in 1970 to combat the mafia, and gives law enforcement right to seize all your assets. Eventually, Drama’s lawyers negotiated the charges down from a felony to a misdemeanor. What he was actually convicted with was a violation of Georgia’s “true names and addresses” law. (It was a technicality of a law, promoted by the RIAA in many states, to define and fight bootlegging: to be considered legal for sale, a CD had to have an address on it.) Drama was fined $250,000. But he’d already had a bank account seized during the initial investigation, and that bank account was never returned to him. And that account, he said, had “ waaaay more than $250,000 in it.” After the raid, Drama and Cannon were advised to find separate legal representation. Over the course of the proceedings, things got messy; for a couple of years, the best friends and business partners fell out altogether. At one point, as part of their agreement with the RIAA, they were forced to record an anti-bootlegging PSA for the RIAA. Awkwardly, without really speaking to one another, Drama and Cannon made themselves look in the camera and plead with faceless bootleggers to respect the rights of artists everywhere — the same kind of artists that they’d helped make iconic with Gangsta Grillz. The PSA was never released. The RIAA had taken a big swing, and it had the desired effect. The sight of Drama and Cannon, in cuffs and county prison jumpsuits, sent a chill through the mixtape circuit. Lil Wayne - Tha Carter IV (2011) [FLAC] Tha Carter IV is the ninth studio album by American rapper Lil Wayne, released on August 29, 2011, through Young Money Entertainment, Cash Money Recordsand Universal Republic Records. Recording sessions for the album began in late 2008, shortly after Lil Wayne's sixth studio album, Tha Carter III (2008) was released to strong sales and critical acclaim: however, the sessions were put on hold, as Lil Wayne claimed he did not want to follow an album he held in high regard so quickly with another, potentially inferior release. In the interim, Lil Wayne released his two other albums in 2010: the largely rock-themed Rebirth , and I Am Not a Human Being . The latter was reportedly composed from unreleased material from the original Tha Carter IV sessions, as the album was released whilst Wayne served a prison sentence at Rikers Island prison for illegal possession of a weapon, and was thus unable to record any new material: this also meant Tha Carter IV' s recording sessions were once more put on hold. Following Wayne's release from prison, the album was re-recorded from scratch. The recording sessions resumed at various locations, involving several record producers including Bangladesh, Detail, T-Minus, Noah "40" Shebib, Polow da Don, Jim Jonsin, Kane Beatz, Boi-1da, Willy Will, Streetrunner, Cool & Dre, Young Ladd, The Smeezingtons, and Kanye West. The album's largely concerns the themes of sex, violence, drugs and crime, but also love, hurt and emotional conflict. Appearances on the album include Cory Gunz, Drake, T-Pain, Tech N9ne, Andre 3000, Rick Ross, John Legend, Bruno Mars, Birdman, Kevin Rudolf, Jadakiss, Bun B, Nas, Shyne, and Busta Rhymes. Following a heavily delayed release, Tha Carter IV was released to digital retailers at midnight on August 28, 2011, following Wayne's scheduled performance at the MTV Video Music Awards, and physical retailers received the album the following day. Tha Carter IV achieved first week sales of 964,000 copies in the United States and became Lil Wayne's second album to top the US Billboard 200 in its first week. The album received generally mixed reviews from music critics, who were divided in their responses towards the album's production and Wayne's own performances on the album: they felt it a disappointment compared to his previous work. The entire album according to Lil Wayne is an allegory of the negative aspects of the West. Background and development. In June 2008, after a similarly delayed release, Lil Wayne released his previous album in the Tha Carter series, Tha Carter III (2008). The album sold 1,005,545 copies in its first week of sales in the United States, and produced three top ten singles in the US, including the number one-hit "Lollipop". The album became the highest selling of the year in the United States. In a September 2008 interview with Shaheem Reid of MTV Mixtape Monday, Lil Wayne revealed that he had begun work on his next official mixtape, Dedication 3 (2008) and also confirmed a sequel to Tha Carter III , titled Tha Carter IV . Initial recording sessions for the album began in early October 2008, but these were put on hold, as later that month Wayne claimed that he did not want the album to follow Tha Carter III immediately. No more information emerged on the album until October 2009, when Cash Money Records CEO Birdman reported that Wayne would release three studio albums on December 15, 2009: Tha Carter IV , Rebirth , an album being promoted as Wayne's debut rock music album, and We Are Young Money , a collaborative recording with members of Wayne's record label, Young Money Entertainment. However, it was later confirmed that Rebirth and We Are Young Money would be released separately and that Tha Carter IV would be released in 2011. Tha Carter IV was going to be released in late May, but was pushed back to June. Mack Maine confirmed that the album's release was postponed because they still needed time to make it perfect. On June 2, 2011, the album was pushed back further, and the album was due for release on August 29, 2011. The album's cover was released to the internet on April 19, 2011. A deluxe edition has been confirmed for Tha Carter IV , with the album's cover being released to the internet as well. Also the track "Dear Anne (Stan Part 2)" (originally "Anne") was supposed to be on Tha Carter IV but was removed from the album. Lil Wayne said in an interview with XXL that he was not a fan of "Dear Anne" and that it had been planned to appear on Tha Carter III . On July 8, 2011, producer Swizz Beatz hinted at Wayne possibly re-recording a new version of Anne, after he had said the verses were too "old". Prior to Tha Carter IV' s release, Swizz Beatz released the song on his Monster Mondays free music program through his official website. On June 13, 2011, a track called "Nightmares of the Bottom" from Tha Carter IV was confirmed on MTV's Unplugged by Lil Wayne performing live. On July 11, 2011, Lil Wayne confirmed in an interview with MTV that Tha Carter IV is finished and will be releasing on August 29, 2011. On August 7–8, 2011 videos of Lil Wayne recording a song called "She Will" and featuring Drake was posted online and would be on the album. The song was released on the Internet on August 12, 2011. HipHollywood released a YouTube video about T-Pain giving a song to Lil Wayne for his album called, "How to Hate," confirming that it will be on the album. The 20 Best Lil’ Wayne Mixtape Tracks. A few months ago, someone tried to tell me that Kendrick Lamar was superior to Lil’ Wayne. I would’v e found their argument defensible had it been centered on Kendrick’s cultural impact, for he has become hip-hop’s most influential voice during this decade’s racially and politically- charged social environment. Instead, this person was adamant that Kendrick’s pure mic-skills are of a higher standard than Lil Wayne’s ever were. I quickly found that, despite being only four years younger than me, my combatant wasn’t old enough to remember Wayne’s Apex. This individual’s pro-Kendrick stance was in large part due to his Wayne memories neglecting everything that happened prior to 2008’s Tha Carter III . We dissect a rapper’s resume by their studio albums. This serves as the measuring stick for their legacy. In Lil’ Wayne’s case, this strategy is impossible, if not irresponsible. You can’t separate mixtape-Wayne from album-Wayne, for the former represents the MC at his absolute peak. An entire generation of Hip-hop heads — between the ages of 21–30 — has never seen a rapper approach the heights of Lil’ Wayne between 2004–08. Over this five-year period, he dropped 15 mixtapes and four studio albums; establishing the blueprint for a hip-hop heat-check. Wayne’s ridiculous run made him a transcendent star, while solidifying his status as the “Best Rapper Alive.” In honor of Lil’ Wayne’s unprecedented ascent, here are the 20 best mixtape songs in his catalog. #20 — Run This Town. Mixtape: No Ceilings (2009) On October 22, 2009, Lil Wayne pleaded guilty to attempted criminal possession of a weapon. He was due for sentencing in February 2010 and was expected to receive a one-year county jail sentence. Eight days later, he released No Ceilings . Fittingly, the last mixtape he released before spending eight months in prison, was his final classic. “Run This Town” was the tape’s highlight, as Wayne jumped on the moment’s hottest song, making the Jay-Kanye original, obsolete. #19 — Kush. Mixtape: The Leak (2007) Lil’ Wayne released The Leak — a five song EP — in December 2007. Recorded during Tha Carter III sessions, the tracks were leaked online early, forcing Wayne to package them as an EP. While “I’m Me” dominated the airwaves with its feeling of urgency, “Kush” was Wayne at his most playful. The track was an ode to his drug of choice, comprised of weed-based punchlines. If you didn’t know any better, you would’ve sworn that Wayne sounded genuinely happy. #18 — Let’s Talk It Over. Mixtape: The Drought Is Over 2 (The Carter 3 Sessions) (2007) “Let’s Talk It Over” was one of an endless array of tracks that leaked while Wayne flooded the market during 2006 and 2007, before finding its home on The Drought Is Over 2 — a mixtape compiled of 20 tracks presumed to be recorded for his upcoming album Tha Carter III. Produced by Streetrunner, it was soaked with the sped up soul samples which became the duo’s go-to sound. Even at his lyrical peak, Wayne never sounded more at home than when rapping over exuberant soul. #17 — I’m a Beast. Mixtape: The Drought Is Over 2 (The Carter 3 Sessions) (2007) The beat’s a monster in its own right — no pun intended — yet it couldn’t prevent Wayne from grabbing hold of the listener within seconds. The track showcases Wayne’s unrivaled ability to sound urgent while rapping about seemingly nothing. His magnetic charisma is on stage during the first four lines, as he justifies not rhyming this line — “My bitches act snobby/Because I feed them thousands” — by saying, “I know that didn’t rhyme but I’m just being honest.” By the time he ends the second verse claiming hip-hop’s throne is his for the taking, it’s impossible to not believe him. #16 — Prostitute Flange. Mixtape: The Drought Is Over 2 (The Carter 3 Sessions) (2007) By 2007, every rapper was using Auto-Tune to compensate for their lack of melody. Wayne hadn’t done as much as dabble with the growing fad, making “Prostitute” that much more surreal. Imagining his rasp alongside Auto-Tune seemed like a disaster, until we heard it. Over six minutes, Wayne used his raw emotions to turn an ode about a hooker into an undeniably catchy track. Without “Prostitute”, there is no “Lollipop” and “How to Love.” #15 — Get Em. Mixtape: Dedication 2 (2006) Dedication 2 is the moment Lil’ Wayne was beginning to be considered the “Best Rapper Alive”, and the mixtape’s opener — Get Em — sets the stage accordingly. Following a fitting voice-over (“You are watching a master at work”), Wayne delivers on his promise. It was the most precise and motivated he had ever sounded, spending three-straight minutes going after every doubter — make believe or otherwise — that was still arguing Wayne’s status. #14 — Swag Surf. Mixtape: No Ceilings (2009) In the Summer of 2009, “Swag Surfin” became inescapable. It was a refreshing radio hit which sounded like nothing else, with an upcoming group — FLY (Fast Life Yungstaz) at the helm. Leave it to Wayne to render the original, irrelevant. Like he had done many times before, Wayne captured the overarching melody of the song, while making it his own. Looking back, it’s the final classic moment on his last classic mixtape. A moment in which, Wayne was still undeniably, the best rapper alive. #13 — Pussy Money Weed. Mixtape: N/A. “Pussy Money Weed” leaked in October 2007, mere months after Wayne dropped back-to-back mixtapes — Da Drought 3 and The Drought Is Over 2 . Somehow, this track never found a home. Given its lasting-power, perhaps Wayne did this on purpose. Ten years on, the track’s iconic title has influenced countless others; but only Lil’ Wayne could take a tongue-in-cheek stance on such an ignorant title. #12 — Sportscenter. Mixtape: Dedication 2 (2006) Tha Carter documents Lil’ Wayne in the period before and shortly after the release of his commercially acclaimed album, Tha Carter III. Various parts of the film follow Wayne recording in his hotel room, with ESPN’s Sportscenter looping in the background. It’s worth noting only because it’s surreal to see the most popular rapper alive, one who happens to be the quirkiest, coming off as your boy-next-door. Three years prior, Wayne introduced his love of sports on this Dedication 2 offering. He spends the track’s opening thirty seconds name-checking every relevant ESPN show, before unleashing a two minute verse without breaks. The nonchalant way he panned from sports-talk to straight BARS, exemplifies Wayne’s “always-rapping” persona. #11 — I Feel Like Dying. Mixtape: The Drought Is Over 2 (The Carter 3 Sessions) (2007) Only peak-Wayne, at his most eccentric, could twist a drug-induced ode to death into a perky tale of life. Over a creepy, yet melodic beat, he gives us a glimpse into the mind of a codeine-crazed drug addict. Wayne is able to make non-syrup drinkers feel like they know the high. In recent years, having witnessed cough syrup’s presence throughout Future’s discography, it’s hard to imagine him being able to do so, without Lil’ Wayne; and specifically, “I Feel Like Dying.” #10 — Cannon. Mixtape: Dedication 2 (2006) “Cannon” is too chaotic to distinguish what sounds you’re hearing. Masterfully, Wayne uses the simultaneous pandemonium to produce one of the greatest lyrical exercises of his career. Most importantly, though, the track is an example of Wayne’s ability to command the room. You quickly forget about the looping tag provided by producer DJ Cannon — “Cannon…Cannon” — because all you are worried about is listening to the master at work. #9 — Upgrade. Mixtape: Da Drought 3 (2007) It’s easy to forget that Beyonce’s “Upgrade U” was a hit-song before Lil’ Wayne freestyled over the Swizz Beatz-produced track on Da Drought 3. Wayne convinces the listener that the beat couldn’t have been meant for anyone but him. Backed by Swizz’ trademark horns and claps, Wayne does lyrical gymnastics for three-straight minutes. Fittingly, the original featured a verse from Jay-Z. By the time you listened to Wayne’s version, Jay’s mediocre verse was cringe-worthy. #8 — Georgia Bush. Mixtape: Dedication 2 (2006) Kanye may have been the first rapper to call-out George Bush in the aftermath of Hurricane Katrina, but Lil’ Wayne’s response is the only one that matters. As a New Orleans-native, Wayne gives a first-person account of a city left in shambles, verbally attacking the sitting-POTUS. Wayne’s genius, though, is his juxtaposition of the nostalgic feeling of Field Mobb’s “Georgia” with his palpable anger; Following up each “Georgia” voice-over, with his self-inserted, “Bush.” #7 — La La La. Mixtape: The Drought Is Over 2 (The Carter 3 Sessions) (2007) Although Tha Carter III is a certified “classic”, we’ll always wonder what could’ve been. Due to an endless amount of leaks while recording the album, Wayne was forced to package all of the tracks into a mixtape; for all intents and purposes, known as The Carter 3 Sessions . While some of the songs may have been left on the cutting room floor, even without any leaks, “La La La” feels like it was one of the casualties. Even though “Tie My Hands” is an emotional masterpiece about his hometown post-Katrina, “La La La” is an ode to New Orleans, soaked in pure exuberance. #6 — Something You Forgot. Mixtape: The Drought Is Over 2 (The Carter 3 Sessions) (2007) What other rapper could sample Heart’s corny 1985 hit, “What About Love”, without turning it into a tacky attempt at a heart-wrenching love song? No one. On “Something You Forgot” Lil’ Wayne uses the ’80s ballad as the back-drop for a tale of regret and lost love. Unlike the soul samples at that time, which were commonly altered to evoke nostalgia and buoyancy, the pop-rock sample is left largely unchanged. Listening to it ten years later, it’s still hard to understand how it works; only that, somehow, it does. #5 — Dough Is What I Got. Mixtape: Da Drought 3 (2007) Jay-Z retired in 2003, leaving the throne unoccupied. Over the next two years, 50 Cent, T.I., and Young Jeezy grabbed it momentarily; but only when Lil’ Wayne proclaimed himself the “Best Rapper Alive” on 2005’s Tha Carter II , did it feel like hip-hop was close to crowning a new king. The following year, Jay-Z returned with his first single “Show Me What You Got.” The track, as well as its accompanying album, Kingdom Come , felt forced. Enter, Lil’ Wayne. In April 2007, he boldly used the beat for Da Drought 3 , flipping the chorus into “Dough Is What I Got.” In an instant, the torch was passed. #4 — Cry Out (Amen) Mixtape: Lil Weezy Ana Vol. 1 (2006) You would never consider Lil’ Wayne to be a sentimentalist. In the rare times he does bear his soul, though, perhaps no other rapper is more effective. On “Amen”, David Ruffin’s “Hey Woman” provides a melancholic vibe for Wayne to spill his emotions for four-straight minutes. The most touching line of the song comes while Wayne reflects on the people in his life who’ve passed away — “And I swear I got a lump in my throat/But I’mma keep on pumpin the flow.” This is what makes the track such a masterpiece — Wayne is able to strike the listener’s nerves despite focusing on issues most personal to him. Simply, “Amen” is heart-wrenching; yet somehow, inspirational. #3 — I’m Me. Mixtape: The Leak (2007) When you’re surrounded by yes-men building you up constantly, I suppose it’s impossible to maintain the chip-on-your-shoulder mindset which helps push rappers toward hip-hop’s upper echelon during the early stages of their career. Once you reach a certain level of popularity, the rest is in your hands. Fortunately for us, Lil’ Wayne didn’t succumb to overwhelming praise. He claimed to be the “Best Rapper Alive” in 2005, and continued to do so until his status was cemented in 2008. In 2007, “I’m Me” was his latest record built on self-affirmation. Fittingly, Lil’ Wayne used a poop reference to reinforce his streak of dusting the competition. “ The only time I will depend is when I’m 70 years old That’s when I can’t hold my shit within, so I shit on myself ’Cause I’m so sick and tired of shittin’ on everybody else.” #2 — We Takin’ Over. Mixtape: Da Drought 3 (2007) On 2007’s best posse cut — DJ Khaled’s “We Takin’ Over — Lil’ Wayne only needed the final 40 seconds to contribute the track’s best verse, if not the best of the year. Two months later on Da Drought 3 , Wayne laid down a two minute verse which made the original seem nothing more than a prelude. In its entirety, the verse stands as one of the best of his career, but the final 30 seconds may be the most accurate testament to his greatness; specifically, when Wayne spends four-straight lines uttering words ( “Beef! Yes! Chest! Feet!Tag! Bag! Blood! Sheets!Yikes! Yeeks!). Somehow, the sequence makes sense. Wayne blacked out so effortlessly, so often, that his brilliance made him immune to following the rules taught in Grammar School. #1 — Sky’s The Limit. Mixtape: Da Drought 3 (2007) Hip-hop accepted Lil’ Wayne’s habit of beat-jacking, in large part because his remixes frequently supplanted the originals. There is no better example of this than “Sky Is the Limit”, which uses the beat from Mike Jones’ single “Mr. Jones.” Wayne didn’t just use the beat to showcase his unmatched prowess, but also crafted an entirely new song out of the triumphantly dark instrumental. Ten years on, “Sky Is the Limit” is the best anthem in Wayne’s catalog, if not one of the greatest in hip-hop’s last decade. Most importantly, though, it represents Wayne at his most urgent; one year before being unanimously considered the “Best Rapper Alive”, on this track, he was still playing the role of underdog. Dedication 2. Scrobbling is when Last.fm tracks the music you listen to and automatically adds it to your music profile. Recent Listening Trend. 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