It was delightful to witness him grow into an unorthodox but talented lyricist that could employ a multitude of flows while cleverly stringing together seemingly arbitrary topics in free-associative wordplay on Da Drought 3. Then the lyrical prowess developed rapidly through that unprecedented and unduplicated run of mixtapes. Who Wayne was as a solo artist was unclear and untapped, but he would slowly prove he could construct comprehensive yet marketable albums on his own up through Tha Carter II. He started out young on the grandest stage, spouting silly earworms like “wobbledy, wobbledy, drop, drop it like it’s hot” and coining phrases like “bling bling,” muffled among many voices. Most rappers with superstar ambitions start local and go global, ultimately taking less pride in their work as their lyrics lose their uniqueness and quality along the way. The path Lil Wayne took had diverged from the typical ascendant mainstream rapper and brought him full circle. The run of stellar mixtapes like Dedication 2 and Da Drought 3 from 2005-2008 made one hell of case that he was the Best Rapper Alive - a title he frequently claimed for himself - and served as a perpetual buzz-building album rollout for Tha Carter III. Tha Carter I and Tha Carter II proved he was tops in the South by 2005. He one-upped Juvenile’s 400 Degreez with 500 Degreez to show he was the best on his label in 2002. He was no longer the kid that signed to Cash Money at nine playing second fiddle to Lil’ Doogie (later known as B.G.) in the B.G.’z or the teenager with hypeman phrases and hooks in the Hot Boys. Weezy wasn’t only at the top of his game, he was at the top of the rap game.
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