With his constant boasts, self-prophesizing and love from critics (Rolling Stone named him “Best MC” in their “Best of Rock 2008” issue) and fans alike, rapper Lil Wayne has a lot riding on his shoulders. He could either fly too close to the sun, mimicking the fate of doomed Greek mythological figure Icharus, or he could reign as hip-hop’s new king, complete with riches and respect from his peers.

Thanks to Tha Carter III, Lil Wayne (real name: Dwayne Michael Carter) firmly establishes himself in the latter category. The rapper insists he is cut from the same Gucci cloth as his legendary hip-hop predecessors, such as the Notorious B.I.G. and Jay-Z; like those acclaimed rappers, Lil Wayne wants an immortal legacy. He started declaring himself “the best rapper alive” after 2005’s Tha Carter II, and on Tha Carter III, Lil Wayne delivers a devastatingly awesome repeat (or “3 peat,” according to the album’s first single.)

Even though Lil Wayne hasn’t released an album in nearly three years, he has never left the game. His slew of mixtapes, which include the popular “The Drought is Over” series, his dozens of guest appearances and news-making legal troubles (most of which were for drug possession) have made the 25-year-old New Orleans native’s new album one of the most anticipated releases of the year. His progression as an artist is evident on Tha Carter III; it might have been a blessing in disguise that the album’s drop date was pushed back so many times, as Lil Wayne has just continued to grow as an artist.

The album is continuously entertaining thanks to Lil Wayne’s (also known as Lil Weezy) bluesy and raspy voice, and his imaginative and often bizarre lyrics also lift The Carter III’s caliber. Wayne uses his flow as an instrument, building it up and softening it to match the beats. Through these vocals, his free-wheeling personality is evident: You can envision Wayne staggering in the booth due to a few too many blunt puffs or sips of sizzurp. And just when you think you have him pegged as a typical misogynist, drug-addicted, gangsta rapper after listening to the annoyingly repetitive first single, “Lollipop,” Lil Wayne breaks out science fiction references on “Phone Home” and recites his thesis on systemic injustices on “Misunderstood.”

“A Milli” shows Lil Wayne brings more than just paper cups of promethazeen to the table. Between a screwed-and-chopped hook that is reminiscent of the chorus of “Money On My Mind” from Tha Carter II; Wayne kicks hilarious rhymes such as “You’re like a bitch with no ass, you ain’t shit” and “I’d rather be pushing flowers/ Than in the pen, sharing showers.” Equally funny is his tongue-in-cheek look at literally f—ing the police on “Mrs. Officer,” featuring R&B crooner Bobby Valentino.

One of Tha Carter III’s most ingenious tracks is “Dr. Carter.” Using a few story lines and vivid descriptions complete with medical terms, Lil Wayne raps about trying to operate on and save wack rappers from their lack of flow, song concepts, confidence and “respect for the game.” Lil Wayne wants to be the best, but he makes sure to pay homage to his teachers.

Although he excels in wittiness, Lil Wayne may be even better in exerting eeriness. On “Playing with Fire,” which features singer Betty Wright , Wayne goes on a melodic rant that makes him sound like a disturbed maniac, making ominous statements such as “I’m from where you’re nobody ’til you kill somebody” and “When you’re great, it’s not murder; it’s assassinate/ So assassinate me, bitch/ Cuz I’m doing the same shit Martin Luther King did.”

With Tha Carter III, Lil Wayne avoids Icharus’ fate. He may not have officially affirmed he is the best rapper alive, but his innovative style and unapologetic nature show he can hold his own – see: “Mr. Carter,” featuring Jay-Z – against those who reign supreme. If Lil Wayne keeps this up, future rappers may try to prove they’re his musical sons.

arush@umd.edu

RATING: 4 STARS OUT OF 5