All 14 Lil Wayne Albums, Ranked (Staff Picks)
More from Billboard
Angie Martinez Speaks on Her New 'IRL' Podcast and the Importance of Vulnerability in Her Interviews
Here's What Advice Kendrick Lamar Gave Ray Vaughn During His Battle With Joey Bada$$
Cardi B Stresses 'Music Is a Collaboration' While Accepting 2025 ASCAP Voice of the Culture Award
Over the years, Weezy has evolved into a genre-defining figure, and his catalog as a result is a wild ride filled with exorbitant highs (Tha Carter III) and crushing lows (Rebirth). Not every Wayne album is perfect — and from our first handful of listens, Tha Carter VI might unfortunately be one of his more imperfect releases — but the New Orleans spitter has made a career out of taking creative risks regardless of the outcome, and that needs to be applauded. Even when these risks haven't paid off, it's undeniable that Wayne has forever changed the course of mainstream rap because of them.
Whether you're a longtime fan or not, the breakdown below of Wayne's albums aim to celebrate the highs, acknowledge the missteps and explore how Weezy's music reflects a career forever defined by resilience, reinvention and a relentless amount of unparalleled lyricism. Let's dive in and see how the legacy stacks up, one album at a time.
While Lil Wayne should be praised for his experimentation, Rebirth's risky venture down a rock-and-roll-trodden path didn't garner the best results. 'Drop The World' was the only major success, as Weezy's Auto-Tuned drizzlings and occasional guitar riffs couldn't save the record from flop status. Regardless, it reaffirmed his status as a creative risktaker, and you can't fully hate on Wayne's earnest-if-dated attempt to try and shake up the music industry snow globe. (Weezy did rap 'Confidence is the stain they can't wipe off' on 'Drop.') His commitment was and remains endearing. — MACKENZIE CUMMINGS-GRADY
Unlike Tom Cruise's Mission: Impossible franchise — which only seems to get better over time — the same can't be said for Lil Wayne's beloved Carter series. On Friday (June 6), Wayne unloaded his sixth entry and whiffed entirely. The lackluster showing isn't solely his fault — he flashes glimpses of vintage, Martian-level creativity on the BigXthaPlug-assisted 'Hip-Hop' and the ovation-worthy outro 'Written History.' But what derails the entire experience is his porous beat selection: 'Peanuts 2 N Elephant,' produced by Lin-Manuel Miranda, is a full-blown trainwreck, while 'If I Played Guitar' is a putrid rehash of 'How to Love.' Unless Wayne brings in better producers, he may need to retire the Carter name before it further muddies the legacy of this legendary series. — CARL LAMARRE
While far from Wayne's strongest album, FWA makes sense under the context with which it was created. Made in 2015, during a time when Birdman appeared to holding Carter V hostage, FWA was created as an exclusive under the Tidal streaming service, with which Weezy was a fellow 'artist owner.' This means that FWA was created either with demos or under duress, either way leading to an uneven project filled with solid bars over solid beats. Memorability never felt like the goal of FWA, with songs like 'London Roads' and 'Murda' merely proving ghostly echoes of Carter IV's past. Instead, the set served as more of a necessary reminder that Weezy was still here, and largely succeeded at satiating his restless fans for a bit longer before the Carter V could finally see the light of day later in the decade. — M.C.G.
2002's 5000 Degreez showcased a young 19-year-old Lil Wayne finding his voice. The tape was full of ripe potential, with songs like 'Where You At' and 'Way of Life' offering glimpses of the hip-hop powerhouse Tunechi would soon become. But 5000 Degreez felt shrouded in a fog of monotony: The tape was obviously meant as an ode to Juvenile's 4000 Degreez, but what emerged in Weezy's version was a lot of similarly constructed club records that bled into one another. Pockets of greatness did emerge through that fog, but clearly the best was yet to come. — M.C.G.
I Am Not a Human Being 2 was almost destined to be a slump, considering even Weezy himself derided the project as a 'bum-ass album' before its 2013 release. The standout singles ('Love Me', 'Rich as F—k,' 'No Worries,') were the only particularly memorable tracks, making some solid impact in clubs and on radio. Even then, these were far from Weezy's greatest lyrical accomplishments, and at times felt almost satirical ('P—y in my face, I ain't got no worries'). Every other song came and went as quickly as a gentle breeze, and a major days-long health scare for Wayne lessened the work's commercial impact even further. — M.C.G.
The original I Am Not a Human Being came at a strange time in Weezy's career. Released right before his own release from jail on a gun possession charge, the album felt immeasurable in terms of what it meant for Wayne's career at this moment. And the Drake-assisted four-peat of 'Gonorrhea,' 'With You,' 'I'm Single' and 'Right Above It' all stuck the landing, capturing the waning Young Money chemistry at one of its last high points.
But the album's other tracks — even some of the ventures with Nicki Minaj — felt undercooked, considering how high the stakes were for Wayne's career. Would Weezy emerge from jail able to return to his era of dominance? Would he fall back and recalibrate? I Am Not a Human Being, which included songs mostly recorded before his eight month Rikers Island stint, did not offer any clear answers. — M.C.G.
Emerging after the pressure surrounding Carter V's release had finally lifted, 2020's Funeral served as a playful return to form for Weezy. Tapping back into a breakneck level of efficiency seen during his prolific post-Carter II mixtape run, Wayne raps about nothing in particular with a devilish glint in his eye. Songs like 'Bastard (Satan's Kid)' and 'Line Em Up' cover the usual array of braggadocious Wayne topics — being the best, smoking that loud, eliminating the opps — but it's clear he feels a sense of relief while he raps. Wayne can't seem to get the bars out fast enough. Yes, Funeral is bloated, and its slower songs drag the tape down to a slog, but hearing Wayne have fun again after the emotional and legal turmoil surrounding the Carter V made the highs of Funeral feel very high. — M.C.G.
Tha Block Is Hot will always have a nostalgic place in the heart of any longtime Weezy fan. Songs like 'Tha Block Is Hot' and 'Loud Pipes' will always get a party going, and 'F—k tha World' will always cause some diehard Wayne fan to step out of the woodwork and rap it word-for-word. Wayne's 1999 debut was quickly overshadowed by much of what came after, but Tha Block Is Hot is filled with the bristling potential of a future rap superstar. — M.C.G.
Arguably his most underrated album, 2000's Lights Out showed glimpses of Wayne's superstar potential and songwriting prowess. It's also the first album where he starts to hint at Jay-Z's influence — specifically on the track 'Lil One,' where he and Baby perform their own version of Jigga and Memphis Bleek's 'Coming of Age' series. Then, there's the standout Hot Boys posse cut 'Shine,' which proved once again that Weezy and Cash Money weren't just a Southern Rap phenomenon: It was a favorite in the New York City area back then, getting major play in this writer's car specifically. — ANGEL DIAZ
From the legal drama, to the personal turmoil between Birdman and Weezy, to the blockbuster run of Carter II through IV, The Carter V's hype was impossible to match by the time it dropped in 2018. Still, the album met the colossal moment to the best of its ability: 'Uproar' remains a classic, and gave Wayne his first lead major radio hit as a lead artist in years.
Meanwhile, 'Mona Lisa' made good on the long-awaited sparring match between K-Dot and Weezy with a tongue-twisting flurry of a song, and Nicki Minaj offered an excellent R&B feature on 'Dark Side of the Moon.' Still, there were only a few obvious standout moments across the album, which is surprising considering its nearly hour-and-a-half runtime. While it's far from Weezy's best Carter entry, Tha Carter V was an undeniably solid return for Tunechi. — M.C.G.
The album that started it all. While Tha Block Is Hot announced Weezy's arrival, Tha Carter announced his candidacy for Greatest Rapper Alive status. With Mannie Fresh cooking up some of his most gourmet instrumentals ever, Lil Wayne completely shifted his style of rapping to a braggadocious flair heavily inspired by the elegance of Jay-Z. 'Go D.J.,' 'Earthquake' and 'This Is The Carter' are just a few of the classics that appeared on the project, and while even better Carter editions would soon follow, the first served as the rumble of thunder in the distance, signaling that a massive storm was coming. — M.C.G.
After clinching a 'three-peat' with his trio of Carter albums, Wayne salivated at the idea of securing another game-winning performance on Tha Carter IV. Tracks like '6 Foot 7 Foot,' 'Nightmares of the Bottom,' 'She Will' and 'John' showcased the New Orleans werewolf still operating near his peak. But the album lacked the horsepower that made Carter II and Carter III hum, and though it delivered another near-million in first-week sales, a few unfortunate missteps — including his limp shots at Pusha T on 'It's Good' and his drowsy, insipid take on romance in 'How to Love' — ultimately soured Tha Carter IV's potential to match its two predecessors. — C.L.
After establishing himself as one of hip-hop's most cerebral lyricists on Tha Carter II, Wayne had his sights set on mainstream dominance with Tha Carter III. Unlike its predecessor, Wayne's stab at pop superstardom was deliberate. Songs like 'Lollipop' and 'Mrs. Officer' were melodic ear candy, while records such as 'A Milli' and 'Mr. Carter' fortified his lyrical firepower. Wayne's transformation from Hot Boy sidekick to Rap Goblin was complete when he decoded his genius on this 2008 masterwork, becoming hip-hop's most undeniable typhoon. — C.L.
Sometimes, a rapper enters a zone that few have been able to enter. Fresh off the promising first entry in Tha Carter series, Wayne entered rarified air and delivered his first classic album, which then put him on an ascent that he's just now recently coming down from. Tha Carter II officially made Lil Wayne a superstar, putting him in the conversation for Best Rapper Alive with songs like 'Tha Mobb,' 'Money on My Mind,' and 'Hustler Musik,' all of which remain classics in his catalog.
And while those tracks foreshadowed what he had up his sleeve lyrically with his much talked about mixtape run that came after, a record like 'Shooter' featuring Robin Thicke showed that he also had the mainstream appeal — which we would see come to a head on the massive third Carter album, when he sold a mind-boggling one million copies during its first week. Tha Carter II was his launching pad into a new stratosphere. — A.D.
Best of Billboard
Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1
Janet Jackson's Biggest Billboard Hot 100 Hits
H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
3 hours ago
- Yahoo
Latin Mafia, Eslabon Armado, & More: Who Had the Best New Latin Music Release This Week?
This week, Billboard's New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music, including collaborations by Latin Mafia and Omar Apollo; Elena Rose and Justin Quiles; and Mon Laferte and Conociendo Rusia, to name a few. On the groovy 'Hecho Para Ti,' Mexican indie band Latin Mafia and Indiana-native crooner Omar Apollo 'serve up a time-jumping cumbia pulled straight from your tío's VHS collection, while Apollo adds his signature blend of tender heartbreak,' Billboard Español's Isabela Raygoza describes. Co-produced by Tyler Spry, the track is an ode to failed love: 'If you're not going to love me, my love/ I'd prefer you hate me, sweetheart,' say the lyrics. More from Billboard Tame Impala Previews New Era With Latest Single, 'End of Summer' Kneecap Banned From Hungary for Posing 'National Security Threat' Drake Reunites With Central Cee for 'Which One' Single: Stream It Now Meanwhile, Carlos Vives recruited a collective of Colombian artists for his new song '500'—a heartfelt tribute to Santa Marta on its fifth centenary. Joining Vives (who's also celebrating 30 years of his album La Tierra del Olvido) on the historical and cultural song are Bomba Estéreo, Estereobeat, Gloria Torres, L'Omy, Lalo Ebratt, Laura Maré, Olga Lucía Vives, Pao Lacera, Rashid Zawady, and Yera—all from Santa Marta, where Vives was born. Other new releases this week include music from Christian Nodal, Eslabon Armado, and Cuban newcomers Melanie Santiler & Velito El Bufón. In last week's poll, Danna's 'Khe Calor' won with more than 80% of the vote. Which release this week do you think is best? Give these new releases a spin and vote for your favorite new Latin music release below: Editor's Note: The results of the weekly New Music Latin poll will be posted if the poll generates more than 1,000 votes. This poll closes at 7:30 a.m. ET on Monday, July 28. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart Solve the daily Crossword

USA Today
15 hours ago
- USA Today
Cardi B sued by fan for assault, battery after viral 2023 microphone-throwing incident
Two years after Cardi B was accused of assaulting a fan with a microphone during a live performance, the rapper is reportedly facing legal repercussions for the viral incident. The concertgoer, a woman from Cleveland, Ohio, filed a lawsuit alleging assault, battery and negligence against the Grammy-winning rapper on Monday, July 21, according to Rolling Stone and Billboard. The woman's attorney, Cierra N. Norris, confirmed the litigation in a July 24 press conference. "It is quite the feat to take on someone that is known and loved like Cardi B," Norris told news cameras. "Thank God we are not in a court of public opinion, but we are in a court of law." In an Instagram post, also confirming her client's complaint, Norris wrote: "No one should be afraid to hold someone accountable just because they are famous," adding that the woman is going by the pseudonym Jane Doe because she is "suffering from mental health issues as a result of the incident" and wants to avoid "potential backlash." Drai's Management Group, LLC, the owner of the Las Vegas venue where Cardi's performance took place, is also being sued for its alleged failure "to intervene or de-escalate the incident," Billboard reported. USA TODAY has reached out to Norris and representatives for Cardi B and Drai's Management Group for comment. In July 2023, Cardi B made social media headlines after footage from her performance at Drai's Beachclub showed her throwing her microphone at an attendee. In the video, which racked up over 100 million views to date, Cardi retaliated when a concertgoer standing at the edge of the stage tossed the contents of a large white cup, splashing her face and soaking her orange swimsuit cover-up as she performed her breakthrough hit "Bodak Yellow." Norris, however, offered a different version of events, saying during the press conference that Cardi had asked fans to slosh their drinks, and that simply because she had reached her limit does not excuse the "assault" and "battery" the fan endured. Cardi B fan reports battery after rapper threw microphone at her in Vegas In videos, the rapper is seen subsequently berating the individual as security retrieved her microphone and appeared to remove the fan. Cardi later reposted another video of the incident shared by a fan account. After the jarring encounter, the unidentified fan filed a police report for battery. No arrests or citations were issued, according to the Las Vegas Metropolitan Police Department. Norris, noting that the lawsuit is being filed years after the incident, said a friend of the fan had contacted her while she was still in Las Vegas, and that she had been the woman's lawyer since then. They wanted to due the litigation right, rather than capitalize on a "15 minutes" of fame, Norris argued. Cardi B's attorney criticizes Jane Doe lawsuit as 'financial shakedown' Doe claims Cardi B encouraged "light splashing from drinks" during her performance at Drai's Beachclub, according to Rolling Stone and Billboard. Additional social media footage shared at the time of Cardi's performance showed the rapper seemingly welcoming getting splashed by fans. "Give me water," Cardi said in one clip, after which fans splashed her backside. It's unclear whether the footage was taken before or after the face-splashing incident. The woman, "acting in accordance with the environment created by Cardi B's express words and conduct, and in a manner consistent with other attendees, splashed a small portion of her drink in Cardi B's direction," the lawsuit stated, per Rolling Stone and Billboard. "In apparent anger and without warning, Cardi B suddenly and forcefully threw her microphone directly at (Doe)." Cardi B's microphone from viral video placed in auction for $100K The aggrieved concertgoer said the incident caused her "severe emotional distress, shock, humiliation and physical injury," Rolling Stone reported. Additionally, Doe said the sale of Cardi B's microphone in an auction for nearly $100K "further publicized the incident and exacerbated (her) emotional distress." "Fame is not a license to harm," Norris said. "Just because Cardi B is one of the most loved entertainers in the world does not mean that she is free from accountability." In a statement to Billboard addressing the lawsuit, Cardi B's attorney Drew Findling slammed the woman's complaint as a "transparent and pitiful attempted financial shakedown." "The Las Vegas Metropolitan Police Department and the Clark County District Attorney's Office closed this matter for insufficient evidence a long time ago," Findling told the news outlet. "But apparently the opportunity to try to make money off of a celebrity was too much for some willing law firm to pass up." Contributing: Kim Willis and Anna Kaufman, USA TODAY


UPI
15 hours ago
- UPI
Watch: Mariah Carey releases 'Sugar Sweet,' teases new album on 'Kimmel'
1 of 4 | Mariah Carey released the new song "Sugar Sweet" and discussed her forthcoming album on "Jimmy Kimmel Live!" File Photo by Jim Ruymen/UPI | License Photo July 25 (UPI) -- Mariah Carey is back with new music. The "We Belong Together" singer, 56, dropped her new single "Sugar Sweet" with Shenseea and Kehlani on Friday ahead of her Sept. 26 album, Here for it All. She talked about her upcoming release on Jimmy Kimmel Live! Thursday with guest host Fortune Feimster. Feimster asked the icon why she waited seven years to release a new album. Carey last released Caution in 2018. "Really I was just getting it together. I would make like four songs and then be like, 'We can start making an album now,' and then I would never do it. And then I got up to like you know 10 songs and we were basically ready with an album," the singer said. The album has three covers, and 11 songs, including the previously released "Type Dangerous." Mariah Carey turns 56: a look back Mariah Carey won Top Pop Artist at the Billboard Music Awards on December 3, 1991. Earlier that year, her album self-titled album topped the Billboard charts. Photo by Jim Ruymen/UPI | License Photo