Jay Sean speaks about a new supergroup called Cash Money Heroes in a Press Conference when he was in Paris recently. The supergroup consists of Lil Wayne, Birdman, Kevin Rudolf and Jay himself which will be Rap, Rock, Pop, and R&B music. The supergroup will be making an album and the “I Made It” record was just an introduction. Jay Sean also says the Cash Money artists will be working with Young Money artists a lot more, for example Jay will be working with Nicki Minaj, Drake, and Lil Twist etc. He also mentions that there will be another YMCMB tour later this year, and speaking about Cash Money, it was Baby’s birthday yesterday, so LilWayneHQ would just like to say a Happy Birthday to him for yesterday!

Hit the jump to see another Jay Sean interview were he speaks a little bit on Weezy, and also Big Paybacc from G-Unit proves that the 40 Cock incident with “Lil Wayne in the car” was total bullshit and he made it all up:

DubCnn.se interview Jay Sean:

If you still believe that Lil Wayne was in the car when 40 Glocc supposedly confronts them, then watch the video below for proof that Weezy wasn’t in the car:

SMH at 40 Glocc bullshitting this story everywhere he goes.

Check out this interesting article Rolling Stone Magazine did on Lil Wayne from their latest issue, which also has Weezy on the front cover. After the article, you can also read about the first week sales estimate for Wayne‘s Rebirth album.

“I am not like you,” raps Lil Wayne, “I am a Martian.” The man has a point.

A diamond-toothed multimillionaire — who lost his virginity and survived a gunshot chest wound at age 11, became a father and a rap star at age 15, drove an Internet-wide blitz to genre-spanning superstardom by age 24, and was the first rapper name dropped by our newly elected president at age 26 — probably is not, by most standards, like you.

Is he a Martian? Maybe.

Next Tuesday Lil Wayne will enter New York’s Rikers Island to begin serving a 12-month sentence for weapons possession and we have a few indications for how this story usually goes. If you’re Lil’ Kim, you go in, release a critically acclaimed CD you can’t promote, and wind up on Dancing With the Stars. If you’re Shyne, you go in, convert to Judaism, come out a changed man, and get deported to Belize. If you’re T.I., you enter and leave jail with your career still breathing, and show signs you just might get back on course. Or if you’re Tupac — third behind Biggie and Jay-Z on Lil Wayne’s list of top-three MCs — you become the first inmate to top the Billboard Top 200, get bailed out by Suge Knight in exchange for signing to Death Row Records, and uphold that label’s gangsta ethos for the full 11 months until you’re shot to death.

But to say the least, Lil Wayne does things a bit differently. Case in point: This Sunday, two days before he goes to jail, Lil Wayne plans to spend one of his last nights of freedom watching the New Orleans Saints take on the Indianapolis Colts in the Super Bowl. On a recent song he rapped, “Born in New Orleans, raised in New Orleans, I will forever remain faithful to New Orleans.” But that doesn’t mean he’ll be rooting for the home team.

“Even though he’s from the City, he’s a true sports fan,” explains Young Money president Mack Maine. “He’s like a scientist about that. He has ESPN tattooed on his leg. I love sports, but I’m for my home team. Wayne, he’s different.” Apparently so. In addition to being a baseball fan, soccer fan, golf fan, tennis fan, car-racing fan and horse-racing fan, he is also possibly the only rapper alive who’s a fan of the Boston Bruins.

Could he be an alien after all? Sometime after Dwayne Carter turned 12, the ghetto whiz kid shifted his major from the curriculum taught at McMain Secondary to the hustle being practiced by local rapper Bryan “Birdman” Williams, who decided to mentor Lil Wayne after he’d left a convincing rap on his answering machine, and later signed him to his and his brother’s local label Cash Money. As the youngest member of the label’s gangsta ‘NSync, the Hot Boys, Lil Wayne applied such lyrical impressionism to the crew’s stock rims-and-grills material that he ended up coining a linguistic oddity known as an “ideophone”: a word meant to convey a visual effect through an imaginary sound. In this case, that of light bouncing — or “blinging,” if you will — off precious gems or metals.

By the time “bling-bling” entered the Oxford English Dictionary in 2003, Lil Wayne had begun to channel that kind of imagination into one of the stranger and steeper career trajectories of recent music history. The Carter, as fans know, refers (at least partially) to a mythic drug house dedicated to the production and distribution of a wide range of street pharmaceuticals. Lil Wayne’s genius lay partially in the production: the strange and various rap styles and flows he credits to an epiphany he had sometime in the early decade about the authenticity of his own voice.

“I mean, you’re writing that down and I could read it,” he said to me and pointed at my notebook. “So I feel that when I was writing it down and anyone could read it, it was like, ‘Is it real?’ I mean, anybody could be writing it down and I could just be reading it. It’s only real if it’s coming from me. I felt when I was reading it, it took some of my animation out of it.” This prompted him to stop writing lyrics and turn his recorded output into the long surrealist oral epic he is now spinning and releasing in verse-, song-, or album-length chapters to jut about every recorded-music outlet available.

The other, equally significant part of the Lil Wayne mojo is in the distribution, the star vehicle he created for delivery. Like many who came into their powers in the early ’00s, Lil Wayne immediately grasped how the coming era would reward crazy-bold creative output and savvy branding. Not only did he make himself into the remorseless releasing machine that put out mixtape after mixtape and guest-spot after guest-spot, but he set up a three-part branding operation that involved the tagline “the best rapper alive” and culminated with 2008′s Tha Carter III, whose cover art featured a portrait of the artist as toddler, just like the covers of breakthrough albums by Biggie Smalls and Nas. Lil Waye is a witty, captivating, wildly inventive rapper and lyricist, but by 2008 he was the world’s best rapper by virtue of the same corporate tautology Bill Gates used when he said, “Everyone uses Microsoft because everyone uses Microsoft.” He was the leading brand.

In addition to the countless megabytes of music he has dedicated to his story, Lil Wayne has made no small use of his own flesh, covering himself pretty much head-to-toe with tattoos. The oldest reads “In memory of Rabbit” — done right after his stepfather and lone male role model was murdered — with the subtitle “It’s up to me.” He got it at 14. The newest, at least when I met him, were some stars that he’d had filled in, right under the word “Misunderstood.” He has a woman do his tattoos now and he’s recently moved on tattooing nether regions where no man has gone before.

Lil Wayne figures his most painful tattoo was either the one on his knuckles or the ones on his feet. While the one on his left foot is a rap-generic Bible passage (“Yea, thou I walk through the valley of the shadow of death…”), the right foot’s is a reproduction of the painting Crosses by Andy Warhol, who is a pretty outside-the-box touchstone for a self-described gangsta.

Lil Wayne got into him through Basquiat, through studying how the Haitian New York City transplant found his way into the global art scene and the history books. But there’s no doubt he shares at least some of the chilly, high-concept, media-manipulating vision of the man who coined the term “superstar” — which Lil Wayne prefers to rap star — and once advised his famous friends on how to handle interviews. “Just do what I do. Lie!”

At the end of 2009, the dreadlock-framed, tattoo-lined icon of Lil Wayne had become an online avatar of urban music, if not youth culture itself, while the flesh-and-blood version receded further and further into his own private world, his real-life Carter. Lil Wayne already has, in some strange palpable way, moved into the floating cultural ether where, as his label hopes, his vocal and visual likeness will keep on appearing, on new mixtapes or in new rap videos, often and regularly enough that people just might not notice he’s been away.

A few weeks ago, the media jumped on a newly leaked Lil Wayne track that was based on a sample of a Tupac interview, one in which the recent Death Row signee vowed to keep packing gats, getting drunk and otherwise destroying himself ” ’cause that’s what niggas do.” As the beat kicks in, Tupac’s voice gets sliced, diced, and doubled into a vocal collage Lil Wayne then embroiders with his own declarations of drank-chugging, gat-packing realness. Under the circumstances, people took this new song to be Lil Wayne’s statement of defiance prior to entering the pen — an interpretation that loses credibility when you consider the chilly distance implied in that chopped-up vocal treatment. And the fact Wayne recorded it three years ago for some other single by some artist he can’t remember.

Most of us are like Tupac in that way, we do things because that’s what people do. Lil Wayne seems bent on doing otherwise. He raps that he’s a monster or a goblin. He charges around his videos with bouncing braids and metal fangs like some demon from a Russian folk tale. He claims he’s an alien, he’s inhuman. But while I didn’t come close to probing his deepest secrets in the time I spent with Lil Wayne, I can attest to one thing. He occupies three dimensions. He actually is real. And that this fact is quite important to him.

When we were talking, I mentioned the post-mortem Tupac phenomenon, how many releases came out after his death and how alive he remains to his fans. “You know what that comes from?” Wayne said. “That comes from rapping from there.” He pointing his index and middle finger straight into his wife-beater-covered sternum, not far from where shards of a nine-millimeter bullet still sit. “If you do that, you’re not talking about time, you’re not talking about trends, you’re not talking about what’s hot, what’s new. You’re talking about something,” he said. “And if you’re always talking about something, something always has a voice. It’s because that song — the words or whatever — still has value in this time or day. And that’s what I try to do.”

Lil Wayne may not be an alien, but he does appear to be one of those all too rare human beings who is leading an improvisational life. When someone is about to unveil their career masterpiece and learns that the pressing plant leaked it, it’s all over the Internet, their surprise is blown, and their bottom line will suffer, he might reasonably have one of two responses. They could get furious, sue the plant, slap every online poster with an injunction, and sit full of rage for days. Or they could jump in, add more material, try to make something better, send it off into the world, and move on.

That’st he non-alien secret to Lil Wayne’s success, the one he’ll likely bring with him to a jail sentence at the peak of his career, for a charge he believes is false, for which he’ll spend eight or more of the most crucial months of his life in state custody. A lot of people would go to a pretty dark place about this. A month ago, I asked Wayne if he had.

“I’m prepared for any situation,” he said. “I’ve never been afraid of anything but God. I look at it as an experience. I say I’m looking forward to it.” I actually believed him. When I asked him to share the very last rhyme he’d laid down, he thought about it for a second. “It’s a chorus,” he said, then recited it slowly, from memory. “Steppin’ on flowers, foot on the pedal. Good wasn’t home, so I settled for Better. I’m on my way to Get-it, but Get-it got shot. So I guess I gotta work with the little bit I got.”

So. Biggest rapper alive? At five-six he’s not even in the running. Baddest rapper alive? 50 Cent took more bullets. Richest rapper alive? Jay-Z has a better-positioned portfolio. Best? Better check the instant replay of Eminem on Lil Wayne’s new “Drop the World.”

But greatest? As in most expansive? As in showing the most heart? As in the multitude-containing, life-embracing, rolling-with-the-punches sense of the greatest? The sense we realized Muhammad Ali was using only years after he had defeated his human foes? That, Lil Wayne just might be. In the next year, he’s going to show us.

According to HitsDailyDouble, Lil Wayne‘s Rebirth album is looking to sell between 140k – 150k copies:

Cash Money/Universal Motown’s Lil Wayne long-awaited rock album, Rebirth, hit yesterday, and looks on track for between 140-150k in first-week sales as he prepares to be imprisoned for a year on gun possession charges.

Lil Wayne‘s Rebirth has seen constant delays over the past year, but for once, the album is not being pushed back.

Contrary to reports that it had been moved to June, the rapper’s oft-delayed foray into rock is still scheduled for release on February 2, Universal Motown confirms to Rap-Up.com. Exactly one week later on February 9, Wayne is likely to be sentenced and report to prison for almost a year on gun charges.

Rebirth surfaced online when it was prematurely shipped to around 500 Amazon.com customers last month. The final tracklisting may change due to the leak.

Shouts to Rap-Up

Every different website I have been on has gave a different release date for Lil Wayne‘s Rebirth album! Last we all heard was that the rock album was being released on February 1st just before Weezy goes to jail, but according to AllHipHop and Walmart we will be getting Rebirth in the Summer. The latest release date is 22nd June 2010.

The only reason I can think of the pushback is that Lil Wayne is re-doing all of the album since Amazon messed up and the album leaked. I have heard that there will be a new Prom Queen on the album (new lyrics and beat etc), and hopefully we will get the “On Fire” music video soon for a bit more promotion for Rebirth.

Over the past year, the once ubiquitous white Styrofoam cup that never seemed to leave Lil Wayne’s hand has mostly been replaced (in public anyway) with an electric guitar. And if there was any confusion remaining about whether the MC’s long-delayed new album, Rebirth, would really take him to the rock side, the full-album leak of the disc on Wednesday put those questions to rest.

Just hours after news emerged that around 500 Amazon.com customers who had pre-ordered the album had received it this week — despite the recent push back of the official street date to February 1 — the full 12-track effort began popping up on the Internet. While Wayne’s label would not comment on the Amazon mix-up and did not return requests for confirmation that the dozen leaked songs are in fact the final track listing for the disc, the mastered-sounding tracks appear to be the final product.

Liberally splashed with squealing, multitracked guitars; mostly live-sounding, thunderous rock drums and tempos that range from hard rock to ska to new wave and punk, the album mixes Wayne’s signature studio-tweaked spaceman rhymes and twisty flow with the raw, live attack of the band he took on the road this summer on his Young Money outing.

Fans are already familiar with “Drop the World,” the scowling, explosive collabo with Eminem that leaked earlier this week, as well as one of the first singles from the disc, the pseudo-metal grinder “Prom Queen,” which dropped in January and is one of three songs to feature singer Shanell.

The “Young Money Princess” helps kick off the album on “American Star,” a slow-rolling Chicago blues bubbler on which Wayne describes himself as “a dope boy with a guitar,” and sings in a strained voice, “I was born and raised in the U.S.A., where my president is b-l-a-c-k.”

Two other leaked songs followers will know also made the cut, the trippy funk tune “Da Da Da” and “On Fire,” which rides on top of a “Flashdance”-style 1980s keyboard riff and rat-a-tat machine-gun drums.

But it’s the songs you haven’t heard yet that might surprise even the most loyal Wayne-iacs. “Get a Life” is reminiscent of a mid-1980s new wave song, with a bright, choppy guitar riff and Wayne teasing, “F— you, get a life” to people who won’t leave him alone, while “Ground Zero” switches things up with a dark grunge vibe. “I started on the block and that’s something to build on/ But how can I pray when I got nothin’ to kneel on?” Wayne breathlessly spits in a rapid-fire delivery over echoing, Jane’s Addiction-like tribal drums and the ominous drone of electric guitars,” adding “Let’s jump out a window/ Let’s jump off a building, baby,” in a near-whisper during the bridge.

He hooks up with another protégé, guitarist Kevin Rudolf, on the molasses-thick pop/nu-metal landslide “One Way Trip,” where he finds even more ways to describe how you will never be him over booming drums from Blink-182′s Travis Barker. “Drown in my flow, motherf—er/ Bring your swimming trunks,” he snarls, adding, “Have a ball until I fall, though/ And if I die today I bet the world end tomorrow … So check your watch, I’m strong as scotch/ Papa was a rolling stone, I was born to rock.”

The album also features the dark, live-fast-die-young rock ballad “Paradice,” the blitzing Bad Brains-esque punk ranter “The Price is Wrong,” one of the hardest, fastest songs Wayne has released so far and another Shanell tune, the soaring rap metal ballad “Runnin’,” on which Wayne proves again that nothing can restrain him, especially not the rules of the English language. “This is my testification/ I’ma rain on they heads like precipitation,” he growls, “And in hell do you need justification/ But for me it was just a vacation.”

To be sure, Wayne further cements his reputation as one of our most gifted rappers on the album, floating his signature flow on a rainbow galaxy of unexpected musical looks — none of them more out-there than a hook-up with another Young Money star-in-the-making, Nicki Minaj, who trades verses with him on the hyper, No Doubt-like pop ska raver “Knockout.” On that tune, Wayne mostly abandons rhyming for Auto-Tuned singing, yelping out lines like, “Cuz once you go black/ you never go back … and once you go white/ Everyone else is wack.”

Wayne’s label has not yet announced what it plans to do in response to the accidental shipment of the album. But MTV News’ #5 Man of the Year, who is slated to be sentenced on February 9 on gun charges, is continuing on with business as usual, launching a tour Thursday (December 17) with his Young Money crew for a string of dates that will keep them on the road through January.

Via MTV, and people keep asking me “Do I know Rebirth or We Are Young Money leaked?” and “Why haven’t you posted up the albums on the front page?” etc. The answer is simple – I’m not posting up anymore leaks from the album. If you downloaded Rebirth, that’s cool – just don’t forget to buy it from your stores on February 1st.

We finally have Lil Wayne‘s “Da Da Da” from his upcoming rock album, Rebirth which hits stores in 15 days! I’m not sure if this will be a single, but we do have the cover for it, so who knows? This track was produced by Cool & Dre, and don’t forget to buy “Da Da Da” on iTunes to support Weezy by clicking here. You can listen and download the song below:

Download: Rapidshare | Usershare [Updated with .MP3 version]

Props Gohan7686

What are your thoughts on this record Leave a comment below…

A sellsheet is what a label uses to get stores to order the album. We’ve exclusively obtained the one for Lil Wayne’s upcoming Rebirth album. As you can tell, the deluxe version will contain 3 new tracks that are not on the original version.

Via Down South

Also, check out this tweet from the producer group Chase N Cashe:

Shouts to DatShyt… so could Eminem really be on Lil Wayne‘s Rebirth album

Earlier this week some lame released a fake Rebirth tracklisting sending it out but now we have the real thing. As you can see this will include twelve tracks from the Best Rapper Rocker Alive, two on the tracklist are out already so that means ten new Weezy Rock songs. I know Wayne gets alot of shit for doing an album like this but if any of his songs are like the Kevin Rudolf leak In Your Face then this will be something worth checking out… speaking of checking out take a look at track number eight, hope it’s as dope as it seems. Remember Wayne’s album Rebirth hits stores on December 15th 21st on Cash Money along with the YM album We Are Young Money. Fuck that fake tracklisting people were posting and take a look at the real thing via Amazon.

I agree exactly with what Tha Cartel said above even though I am 99% sure that this is not the final tracklisting. You can see the ‘official’ tracklist below:

1. American Star (Feat Shanell)
2. Prom Queen (Feat Shanell)
3. Ground Zero
4. Da Da Da
5. Paradice
6. Get A Life
7. On Fire
8. Drop The World (Feat Eminem)
9. Runnin’ (Feat Shanell)
10. One Way Trip (Feat Kevin Rudolf)
11. Knockout (Feat Nicki Minaj)
12. The Price Is Wrong

I also don’t understand why “Hot Revolver” and “Fix My Hat” is not on here, why “Ground Zero” doesn’t feature Tyga, and why there are no songs featuring Drake, Travis Barker, Lenny Kravitz and Fall Out Boy… Anyways we will see soon enough whether it’s the real tracklisting or not.

Oh, and if track #8 is real, I really hope it’s the next single Cool & Dre were speaking about

Here is the official artwork for Lil Wayne‘s upcoming album, Rebirth dropping December 15th along with Young Money’s “We Are Young Money”.

What are y’all thoughts on it

I’m wondering why they didn’t use another photo, but on the good side maybe we will be seeing a tracklist soon.

Given earlier leaks from the project, did you make many changes to the final version?
As of now Rebirth is coming out as a double disc with a [disc of songs] by Young Money. I had to add new cuts because a lot of things leaked, making people think they had an idea of what I was doing with Rebirth and what it would sound like. And I hated that because I never want anybody to think they know what I’m doing until I present it. So what I did was make it totally different I flipped it.

Does the album still lean toward rock?
Yes, the album is still rock. I play guitar on 80% of the songs and there’s a lot of rock influences and rock beats. I also have Travis Barker on the album. But I don’t want people to think I’m trying to do something I can’t do. Don’t think you’re going to put on the album and hear me screaming and singing . . . Don’t worry about that [laughs]. When people hear me say rock, they may get a little scared like, Oh, God. What is he going to do? When I said I was doing a rock album, it was about doing a freedom thing. This album isn’t hip-hop. When I do my Carter albums, I know I’ve got to rap, I know I’ve got to spit. I know the words I’ve got to say and the subjects I’ve got to talk about. I also know the things I shouldn’t say, the things I shouldn’t talk about. There’s none of those limits on this album. I say what I want, how I want. That’s what this album is: a freedom album. And rock is the avenue that gives you that freedom. I’m just having fun, that’s all. Trust me: People will like these songs. It’s my job to make them love them, but I know for a fact they’ll like them.

Shouts to Rap Radar via Billboard