Listening to FWA-which is slight by design and not any kind of statement release-I kept thinking, "This is what listening to a new Dylan LP in the '80s must have felt like." You knew you were in the hands of a living great, and you could convince yourself a few songs every few years were worth saving. His last words on this record are "She said she wanted sprinkles, I said sprinkles are for winners." Closer "Pick Up Your Heart", a tedious attempt at channeling protégé Drake, features Wayne pleading "I don't wanna do it no more" but any kind of emotional resonance is nullified by a goofy spoken-word outro.
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The Free Weezy Album, then, has a double meaning.įor every memorable line or couplet (on "He’s Dead", he flatly admits "rest in peace to the Cash Money Weezy, gone but not forgotten," and on "Pull Up", a clear Young Thug diss song, he pulls some vocal acrobatics, mimicking Thug's percussive, ratatat delivery) there are many clunkers ("she get hard dick and McDonald’s 'cause she so tired of them whoppers," from "I Feel Good"). But, as an "artist owner" of Tidal, no one is telling him he can’t release things for free. The existence of FWA starts to make sense when you realize that Birdman (and by extension Cash Money) has essentially taken what would be Carter V hostage, and Wayne is currently prohibited from profiting from new music. Tidal is already looking like the MiniDisc of streaming services and it’s only been around for a few months. A set billed as a "Tidal exclusive" doesn’t exactly inspire confidence.
Fast-forward to 2015 and, after four years of hit-or-miss releases, The Free Weezy Album.
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