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Across Lil Wayne’s discography, his mixtapes and flat albums acquire consistently been advised as abstracted entities: the above featuring Wayne’s best aesthetic work, and the closing home to his added able material. Of course, there’s an added bisect aural his bartering catalog, with his Carter alternation apery the accomplished bank his flat offerings, the blockbuster releases amenable for authoritative Wayne a superstar.

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The Carter alternation provides an authentic roadmap of Wayne’s career, with anniversary of the bristles installments tracking his position in the rap d at the time of its release: 2004’s Tha Carter saw Wayne escape the Hot Boys’ adumbration and authorize himself as a abeyant star; 2005’s C2 broke him as the admired to accroach JAY-Z as the Best Rapper Alive; 2008’s C3 was the official coronation, cementing Wayne as the defining rapper of his generation; 2011’s C4 kick-started his decline; and, finally, 2018’s C5, the long-awaited return, and a admonition as to why we fell in adulation with Wayne in the aboriginal place.

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In account of Lil Wayne’s contempo 36th birthday, and the cutting acclaim Tha Carter V has accustomed from critics and admirers alike, we acquire ranked the 36 best songs from Tha Carter series.

Editor’s Note: Bonus tracks, like “Gossip,” were not considered.

Album Representation: Tha Carter (7), Tha Carter II (11), Tha Carter III (10), Tha Carter IV (4), Tha Carter V (4)

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In March 2010, Lil Wayne began confined an eight-month bastille book at Rikers, abrogation the fate of his Adolescent Money authority to the label’s ascent star, Drake. Up until that point, their accord followed an accustomed hierarchy, with Wayne, the Best Rapper Alive, acceleration as the bright alpha to his YMCMB protégé Drizzy. That all afflicted during Wayne’s bastille stint, however, as Drake collapsed up with a Platinum admission and accustomed himself as the rap game’s top dog. The afterward year, the brace affiliated up on “She Will,” their aboriginal accord aback Wayne’s acknowledgment home, and the third distinct from Wayne’s post-prison release, C4. The clue served as a admonition that Adolescent Money’s co-kings were affective in adverse directions, with Drake bedeviled on the head and Wayne absorbed on proving he was still at his apex. Acceptance Drizzy abandoned handles the hook, “She Will” acquainted like the apocalypse that laid out by Wayne on 2010’s “Money to Blow”—“We gon’ be alright if we put Drake on every hook”—had been fulfilled.

Overshadowed by the aberrant affluence of Lil Wayne’s bewitched mid-2000s run is his allure with ambassador StreetRunner. From 2006 and 2007, arch up to Tha Carter III, the go-to Florida ambassador was amenable for a scattering of advance that abide in the assize of Wayne classics—songs like “Cry Out (Amen),” “Let’s Talk It Over,” “Pray to the Lord,” and “Trouble”—with his sped-up, soulful beats confined as the accomplishments for some of Wayne’s best affecting moments. “Dope New Gospel,” the 20th clue on Tha Carter V, is produced by R!O and Kamo, but it ability as able-bodied be alleged “StreetRunner’s Interlude,” as Wayne raps over the blazon of soul-laden assembly that the ambassador would be appreciative of.

Lil Wayne acceptable a acceptability as the complete R&B-pop rapper by architecture a resume fabricated up of arch bedfellow spots on bubblegum R&B hits (“Soldier,” “Gimme That,” “You”) and bland abysmal cuts off his own projects (“Comfortable,” “Shooter,” “Tie My Hands”) Rarely, though, does “Grown Man” appear up in this conversation. I acquire that ability be because it sounds out of abode on Tha Carter II, and is swallowed up by the project’s overarching swagger. Still, there’s no abstinent that the clue is authentic ear candy, and backed by a T-Mix exhausted plucked beeline out of the Nelly-Ja Rule era of the early-2000s, Wayne couldn’t complete added at home.

“How to Love” was appear as the third distinct from Tha Carter IV in May 2011, a time aback Lil Wayne’s bootless axis into rock—2010’s Rebirth—was still alpha in our minds. As such, “How to Love” acquainted like a misguided, stripped-down attack by Wayne to prove he could not abandoned crossover into boilerplate pop—as he’d already auspiciously done with 2008’s “Lollipop”—but ballista into a new brand entirely. On some level, he did, as the distinct became his aboriginal admission on developed a radio stations. Abandoned in hindsight, though, has the song’s accurate appulse been absolutely realized, with it influencing the complete of a accumulating of R&B/pop/rock amalgam stars who’ve bedeviled in contempo years, a la Approaching and Post Malone.

You could altercate that Lil Wayne is on cruise ascendancy for abundant of Tha Carter III, bringing his A-game to abandoned a scattering of songs, particularly, rappity-rap advance “3 Peat,” “Mr. Carter,” “A Milli,” “Let the Exhausted Build,” and “Shoot Me Down.” But aback the penultimate track, “You Ain’t Got Nuthin,” rolls around, Wayne flips a switch. Exceptional, punch-line-laden verses from Faous and Juelz Santana leave Wayne no best but to accompany out the big guns. And boy, did he ever. Batting clean-up, he wastes no time reminding us why he was the best rapper alive, wiping the attic with his guests afore catastrophe his ballad with a picture-perfect mic-drop—“Weezy, I’m at the top, basal up in your basal / Huh, abuse I mean, basal up in your ass / I bang that bits now gon’ put it in the trash.”

As anon as he ascended into hip-hop’s high degree in the aboriginal bisected of the decade, rap admirers labeled Kendrick Lamar the beneficiary credible to Lil Wayne, a agreeable ability aces of capturing the head already active by his idol. Unfortunately, their peaks never overlapped—with Kendrick hitting his stride appropriate as Wayne began his decline—and we were affected to acquire the abstraction of an in-his-prime Lamar rapping circles about a done Wayne. Alas, four years afterwards the clue was aboriginal teased, the two let apart on “Mona Lisa,” a standout from Tha Carter V, as the GOAT added than holds his own in the aforementioned arena as rap’s accepted king.

In an alternating universe, “Bring It Back,” the aboriginal distinct appear off Tha Carter, catapults Lil Wayne into the mainstream, authoritative its additional single, “Go DJ,” annihilation but gravy. Of course, the adverse happened. Afterwards the above bootless to accomplish babble in the summer of 2004, the closing hit airwaves that October, giving Wayne his aboriginal hit, and in turn, authoritative him a ambiguous pop star. Nevertheless, it’s fair to altercate that “Bring It Back” is still superior, a accurate ode to New Orleans animation music that rings out like authentic Southern affair rap.

If Tha Carter is the activity that adumbrated the career-defining run that Lil Wayne would go on during the mid-to-late 2000s, afresh its aperture track, “Walk In,” is the moment he hit the barrage on. On it, Wayne is arrogant but still vulnerable, application the hookless accession to escape the spotlight of adolescent Hot Boy Juvenile and arouse himself as his own entity—the new face of Cash Money and the -to-be Best Rapper Alive.

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On Tha Carter IV, Lil Wayne articulate dispirited, and appropriately so, because that the anthology was recorded afterwards his eight-month assignment in Rikers, afterward a run of seven beeline years in which he’d operated at the aiguille of his powers, calamity the bazaar with an amaranthine accumulation of archetypal material. Granted, he still best his spots, which amounted to flashes of accuracy brindled throughout the album. “John,” appear as the additional distinct four months afterwards he alternate home from prison, is one of these moments, with Wayne aural refreshed, energetic, and hungry, absorbed on reaffirming his abode as the Best Rapper Alive.

Lil Wayne has never shied abroad from complete his emotions, but aback speaking on accepted or ex-lovers, he’s consistently tip-toed the band amid animalism and love, accepted to adopt the former. An exception, of course, is “Receipt,” an underrated abysmal cut from C2, congenital on a Heatmakerz collective that samples the Isley Brothers’ “Lay Away.” Arguably one of the best underrated songs in his discography, it serves as an ode to his then-girlfriend Trina, and is the aing Wayne’s anytime appear to absolutely aural romantic, showering her with curve like, “My babe appetite accession / Sister or brother / And you attractive like a mother.” 

For a rapper who’s congenital his complete acceptability on swagger, there’s annihilation absolutely like a accessible Lil Wayne, the attenuate moments aback he lowers his bouncer and lets admirers into his psyche. “Open Letter,” the 10th clue from Tha Carter V, finds Wayne ytic his purpose and advertent suicide, autograph an accessible letter to his ancestors and friends, while rapping to his kids, “I achievement I leave added of an consequence on my kids / To be destined to acquire blessings to accept in, Lord.” As is usually the case aback he battles his demons on wax, his blessings appear out on top.

If you’re activity to name a song afterwards the best atrociously advancing diss clue in hip-hop history, you’d bigger accompany your A-game. “Hit Em Up,” which serves as the actionable opener to the aback bisected of Tha Carter II, doesn’t disappoint. Sure, it’s not one of the bristles best songs on the project, nor is it remembered as affectionately as a scattering of inferior tracks, but it hardly matters. It succeeds by accomplishing added with less, as Wayne calmly handles angle duties, and wastes not one abridged of amplitude with some of his best confined on the album.

Backed by stripped-down Swizz Beatz production, Lil Wayne put his own circuit on a abstraction as old as the brand itself: authoritative hip-hop the arch appearance in a song. Only, this time, instead of arena the rapper’s adulation absorption as so abounding rappers had done before, Wayne treats the brand as his patient. As Dr. Carter, he addresses hip-hop’s depreciating gamesmanship, which, masterfully, helps backdrop him up in the process—a GOAT amid bald men.

In the early-2000s, Cash Money was at a crossroads. Afterwards establishing itself as the Bad Boy of the South during the late-‘90s, infighting led to the departures of the label’s then-biggest stars—Juvenile and B.G.—while the adolescent cipher tasked with arch the aggregation into the aing generation, Lil Wayne, had struggled to acknowledgment the bell on his aboriginal three albums. And so, by 2004, Birdman put all his activity (and funding) abaft Wayne and Tha Carter, with “BM J.R.,” the fourth clue on the album, confined as the aboriginal time the father-son accord was mentioned on wax.

By the time Tha Carter III formed around, Lil Wayne was amenable for no beneath than 11 mixtapes (official and unofficial), two albums, and an EP over the antecedent 36 months. The alarming acceleration at which he was animate was acquainted in every inch of amplitude on the album’s opener, “3 Peat.” Wayne begins his ballad as if he was already in the average of rapping aback the architect apprenticed record, altogether ambience the accent for the blow of the anthology with aloof one 40-bar verse.

If you pretend the advance on Tha Carter were recorded in the adjustment in which they are sequenced, afresh clue 20, “Ain’t That a Bitch,” credibility in the administration Lil Wayne was already branch in at the time of its June 2004 release. The song is four account of authentic energy, as a asthmatic Wayne performs at abounding capacity. In hindsight, it’s a snapshot of what was on the horizon, with the 22-year-old rapper set to activate a three-year run comprised of boundless highs and connected output.

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Lil Wayne wouldn’t acquire been faulted for demography his basal off the gas on “Fly Out,” the closing account off Tha Carter II. By that point, 21 advance later, apperception you, Wayne gave us a career-defining accession (“Tha Mobb”), his then-biggest distinct (“Fireman”), an all-important advertisement (“Best Rapper Alive”), the then-best song in his archive (“Hustler Musik”), and his aboriginal crossover hit (“Shooter”). Nevertheless, he concluded the activity with arguably the greatest closing account in hip-hop history, cementing his affirmation as the new King, rapping, “Chaperone of the South I got my bank / Yeah, and until I die I’m tha / Tha tha, tha tha—tha best rapper alive.”

Lil Wayne appear his magnum opus, 2006’s Dedication 2, beneath than a year afterwards Hurricane Katrina larboard New Orleans in shambles. On the tape’s closing track, “Georgia…Bush,” Wayne issues a accessible account advertisement on the tragedy, emasculating the then-POTUS for apathy his hometown. “Tie My Hands,” appear two years later, serves as the actionable sequel. This time, though, he attempts to inspire, rapping, “Take abroad the football team, the basketball aggregation / And all we got is me to represent New Orleans.”

By 2004, the Cash Money complete had continued aback been accustomed by Mannie Fresh, who was amenable for crafting the label’s bigger hits, including Lil Wayne’s blemish single, 1999’s “The Block Is Hot.” While “This Is the Carter” doesn’t alike able the top three Mannie Alpha beats on Tha Carter, let abandoned admission the heights of his greatest offerings (“Ha,” “Back That Ass Up,” “#1 Stunna,” “Still Fly,” “This Is How We Do”), it exists as one of the best representations of his sound, with his signature lush, actinic strings creating one of the best fun environments in which Wayne’s anytime rapped.

On paper, “Fireman” shouldn’t work. At aboriginal glance, everything—from its b appellation to a forgettable choir and on-the-nose beat—seems mawkish, until, that is, Lil Wayne starts rapping and the arduous force of his personality creates a hit. Appear as the aboriginal distinct from Tha Carter II, “Fireman” became Wayne’s aboriginal Platinum single, proving that the success of “Go DJ” was no accident while putting the blow of the rap d on notice—a new superstar was cat-and-mouse in the wings.

“Comfortable,” appear as the fifth and final distinct from Tha Carter III, was a victim of circumstance: afterward on the heels of the album’s four Platinum singles (“Lollipop,” “A Milli,” “Got Money,” and “Mrs. Officer”), it never had a adventitious to angle out on the radio; and, amid diehards, it was, acceptance maybe unfairly, overshadowed by fan favorites “Mr. Carter,” “Let the Exhausted Build,” “3 Peat,” and “Shoot Me Down.” Still, there’s no abstinent that “Comfortable” is one of the smoothest rap songs Wayne has anytime recorded, with Kanye’s production, Wayne’s bars, and Babyface’s crooning accumulation to actualize a masterpiece.

Being able to accumulate a listener’s absorption over 23 advance is a lot to ask of any rapper. Somehow, though, in year 19 of his career, and 90 account and 22 advance into his 13th abandoned album, a 36-year-old Wayne sounds as alpha as anytime on Tha Carter V’s affecting finale, “Let It All Assignment Out.” Over a addictive Sampha sample, Wayne crafts one of the best affecting songs in his complete catalog, acceptance that his much-referenced adventitious cutting aback he was 12 was absolutely a suicide attempt. In-of-itself, the closing account feels like a activation for Lil Wayne, who, afterwards four years of delays, lawsuits, and attempts on his life, assuredly sounds at ease.

Sandwiched amid the arrogant “Let the Exhausted Build” and anesthetic “Lollipop,” “Shoot Me Down” initially acquainted out of place. It didn’t bout the album’s overarching energy, had Wayne rapping at a snail’s pace, and featured a awkward exhausted fabricated up of a guitar riff and kick-drum. With anniversary consecutive listen, though, the clue become added of a fan favorite. It represented a auspicious heel-turn, kick-starting the aback bisected of C3 with some of Wayne’s best lyrics on the activity (“My account should be in the concordance / Aing to the ogue of ogue / Because alliteration is the ancestor of acquirements / And son I apperceive your barrell burnin’ but / Please don’t shoot me down”).

By the time Tha Carter II dropped, Lil Wayne had already catapulted into the boilerplate with club bangers “Go DJ” and “Fireman,” forth with bedfellow spots on R&B hits like Destiny’s Child’s “Soldier” and Chris Brown’s “Gimme That.” Still, neither of these attempts able us for what he active 15 advance into his green album. The ability of “Shooter” is two-fold. One, the song accepted that Wayne could rap over anything, alike a bluesy, piano-laden exhausted that articulate clashing annihilation he’d anytime been allotment of. And two, no artist, not alike Robin Thicke, was safe from Wayne across-the-board a song out from beneath them.

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Never one to abide quiet about his ambition to booty over the rap game, Lil Wayne took affairs into his own easily on Tha Carter II, proclaiming himself the Best Rapper Animate on the album’s seventh track. At the time, JAY-Z was two years into his “retirement,” Eminem was alpha his aesthetic decline, and the then-biggest rapper out, 50 Cent, seemed agreeable with assertive commercially, abrogation the head up for grabs. Wayne, though, had consistently apparent the appellation as his for the taking. And, as you already know, he was acceptable on his word.

“Money On My Mind,” clue cardinal three on Tha Carter II, is neither the best, catchiest, best recognizable, or best acknowledged song in Lil Wayne’s discography; in fact, it may not alike able the top ten in any of those categories. Instead, it’s accomplished a abundant college honor, acceptable the clue that best represents everything—from his incomparable bluster to his attraction with block cardboard and claiming to be “the shit,” by way of poop-soaked lyrics, of course—that makes Lil Wayne Wayne. In short, if he were to reincarnate in song form, Lil Wayne would appear aback as “Money On My Mind.”

Every action for hip-hop’s head has included a ability struggle, as the bounden baron fights to accumulate his acme from a athirst successor. Sometimes, though, this alteration of ability goes smoothly, as was the case in the mid-2000s aback the GOAT, JAY-Z, tossed the keys to the rap commonwealth to hip-hop’s new king, Lil Wayne. Of course, the abridgement of acrimony amid them had abundant to do with the actuality that Wayne’s Best Rapper Animate claims, while boastful, consistently admired Jay’s legacy. Consider: on 2004’s “Bring It Back,” Wayne abandoned claims to be “the best rapper animate aback the best rapper retired”; while on 2007’s “Dough Is What I Got,” he defers his own affluence again, calling himself the LeBron to Jay’s Jordan. And so, by the time the two affiliated up on “Mr. Carter,” in 2008, an official accession was in the air. In aloof over bristles minutes, the billy was passed, Jay’s administration was over, and Wayne’s had begun.

“Tha Mobb” is the aboriginal song we apprehend on Tha Carter II, but the complete accession is clue cardinal two, “Fly In.” While the above is loose, with Wayne aural like he entered the berth already rapping, the closing is calculated, as Wayne spends its aperture abnormal advertent the stakes absorbed to C2 (“So they ask me, ‘Young boy, what you gonna do the additional time around?”), afore ablution into a amaranthine ballad over the aing two minutes, advancing up for air abandoned afterwards he delivers 40 confined of beeline fire. As anon as Wayne’s finished, the song cuts abruptly and bleeds appropriate into “Money On My Mind,” abrogation admirers no time to abstract WTF aloof happened. Afresh again, you don’t absolutely acquire to; on activity alone, Wayne sets the date for the complete album, while giving admirers a glimpse of the future. In short, Wayne wouldn’t stop rapping (literally) until the head was his.

If you told me “Hustler Musik” was a audience for 50 Cent, I’d accept it wholeheartedly. In accession to the appellation and accountable matter being appropriate in 50’s wheelhouse, the beat, produced by T-Mix, sounds like it was crafted in the aforementioned lab as 50’s “Window Shopper”—which, coincidentally, came out one ages afore “Hustler Musik”—and Wayne’s commitment on the angle draws comparisons to 50’s banausic flow. If this was 50’s single, there’s no catechism it would’ve gone Platinum assorted times over, aloof like aggregate abroad he affected from 2003 to 2005, but it wouldn’t acquire had the aforementioned bequest that the song has acceptable in Wayne’s assize of classics. Appear as the additional distinct from Tha Carter II, the almanac bootless to admission the bartering heights accomplished by its antecedent (“Fireman”) yet age-old better, and is advised one of the few Wayne songs with a 100-percent approval rating.

Given the raw affect Lil Wayne harnesses while abode his body on “I Absence My Dawgs,” it’s accessible to balloon that the clue isn’t an ode to his asleep homies. Instead, it’s a accolade to the ex-Hot Boys—Turk, B.G., and Juvenile—who, by 2003, had all ancient from Cash Money over banking issues, abrogation Wayne as the group’s abandoned affiliate still beneath Birdman’s alert eye. Wayne uses anniversary of his three verses to abode anniversary affiliate of the group, clearly deading the infighting that allegedly splintered their relationships and proving that their band was stronger than their label’s pettiness.

By 2004, the fate of Cash Money adequate in the easily of the label’s best arresting star, Lil Wayne, and its centralized producer, Mannie Fresh, both of whom bare a hit, badly. At the time, Wayne was one bomb abroad from actuality done at 22, accepting afresh followed-up his Platinum debut, 1999’s The Block Is Hot, with back-to-back bartering failures (2000’s Lights Out and 2002’s 500 Degreez). Mannie Fresh, too, saw his b abatement at the about-face of the century, declining to admission the boundless highs set by the scattering of abstract he crafted during 1998 and 1999, a la “Ha,” “Back That Ass Up,” “The Block Is Hot,” “Bling Bling,” and “#1 Stunna.” Together, though, they adored in October 2004 on “Go DJ,” the additional distinct off Tha Carter. The song went on to become Wayne’s aboriginal abandoned hit—reaching the top three on the US Rap Archive and acceptable a top 20 single—making him hip-hop’s complete ascent star.

In the bounce of 2007, an affluence of leaked records—recorded with the ambition of actuality acclimated for Tha Carter III—flooded the internet, 20 of which were aggregate into the abominable actionable mixtape The Drought Is Over 2 (The Carter 3 Sessions). That June, accession scattering of songs sprung a leak, basic The Leak, a five-song EP that abandoned in December. By the alpha of 2008, as appointed absolution dates were pushed aback by anniversary new accumulation of leaks, rap admirers had no abstraction aback to apprehend the project, let abandoned what it would complete like. Finally, that March, we got our aboriginal taste: “Lollipop.” 

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Although Wayne had been experimenting at that time with Auto-Tune on mixtapes and bedfellow spots, it was absurd to anticipate he’d anytime absorb an complete song application it, abundant beneath on the aboriginal distinct from the ambitious bigger anthology of his career. But he did. He dared us to abatement in adulation with one of the weirdest songs anytime recorded by a rapper—which, of course, we did. For a rapper as lyrically-dependent and vocally raw as Wayne, to accomplish arguably the best Auto-Tune rap song of all time is why “Lollipop” is one of the best absorbing performances in his catalog. Accordingly, the archive took notice, with Wayne earning his aboriginal cardinal one on Billboard and acceptable a pop brilliant and civic abnormality in the process.

On November 16, 2010, aloof 11 canicule afterwards abiding home from Rikers, Wayne gave rap admirers their aboriginal dosage of post-prison Weezy in the anatomy of two bedfellow verses on Birdman’s “Fire Flame.” Predictably, his decayed achievement bootless to bout absurd fan expectations. However, apropos that Acme Wayne was gone for acceptable were laid to blow absolutely one ages later, with the aboriginal distinct from Tha Carter IV, “6 Basal 7 Foot.” The almanac acquainted like a complete attempt at those who’d anon accounting him off, as Wayne delivered a achievement that was, arguably, as acceptable as the greatest of his career—”A Milli”—if not better, accent by one of his best quotable curve (“Real Gs move in blackout like lasagna”). Added than anything, though, the Best Rapper Animate was aback to accost his abode aloft Mount Olympus, and all was appropriate afresh in the world.

Lil Wayne’s aesthetic advance from Tha Carter to Tha Carter II is accessible aloof by comparing the project’s aperture statements. On C1’s “Walk In,” a calmly assured Wayne raps for four hook-less account over a above Mannie Alpha beat; but on Tha Carter II’s intro, “Tha Mobb,” Wayne is done arena around, advancing beyond as a added developed, polished, and audacious adaptation of his above self, rapping for bristles beeline account over the Heatmakerz’ corybantic production. Aural as acceptance it was plucked beeline from one of Wayne’s archetypal mixtapes, “Tha Mobb” is the greatest and best important accession in his discography, one that signaled his alteration from abeyant brilliant to rap’s new King.

When discussing the best start-to-finish rapping performances in Lil Wayne’s catalog, rap admirers about amphitheater aback to a scattering of accepted suspects—“A Milli,” “I’m Me,” “Sky’s the Limit,” and “Dough Is What I Got.” While absurd to beating any of these choices, the botheration with this band of cerebration is that it conforms to the angle that Wayne’s greatest achievement charge be from a song in which he raps lights-out, relentlessly, confrontationally, and energetically. On the cast side, you could accomplish a case that “Let the Exhausted Build” appearance the best rapping dispensary in Wayne’s catalog. Sure, it ability not bout the activity and ache of “I’m Me” and “Dough Is What I Got,” nor is it a tour-de-force of annal like “A Milli” and “Sky’s the Limit,” but the adorableness of “Let the Exhausted Build” is that it doesn’t acquire to be any of those things. Instead, it serves as Wayne’s defining achievement lap, the best fun and blissful bristles account in his complete discography.

Unless your academician wasn’t developed abundant to abundance abiding memories, you were in a medically-induced blackout (God forbid), you were active in your kidnapper’s basement with no admission to the alfresco apple (ditto), or you were, literally, active beneath a bedrock (because, accept me, alike the abandoned citizenry didn’t absence this), afresh I’ll bet you bethink audition “A Milli” for the aboriginal time. 

Released as the additional distinct from C3 in the bounce of 2008, it was a perfectly-calculated chase up to “Lollipop,” an complete agreeable advance in which Wayne reminded anybody that he was the Best Rapper Alive. Ten years on, it still slaps, and is the go-to acknowledgment to any catechism apropos “the greatest Lil Wayne (blank)?” It’s the best, best recognizable, and best important clue of his career, featuring the best lyrics, lines, and achievement he’s anytime laid on wax. Added than anything, though, it captured him at the exact moment aback he’d entered dainty air—the Best Rapper Alive, now and forever. 

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