“We don't normally sit on beats, but we definitely sat on that one,” he continues. He and partner Danny Klein made the metallic, cacophonous, vaguely dubsteppy beat after a recording session two or three years ago, “just to stay inspired,” says Klein. Wayne’s versatility is one of the defining factors of Funeral-directly after the East Coast slap of “Stop Playin with Me” comes the distinctive bounce music sound of his New Orleans hometown on “Clap For Em,” followed by the woozy trap Bijan Amir cooked up for “Bing James.” But the album’s most striking moment, sonically, comes from “Mama Mia,” a song produced by duo Some Randoms, whose resumé includes tracks by Trey Songz, Kehlani, and… Meghan Trainor? “That beat is jarring and unsettling, and we didn't know who to send that to… We kind of made it just for us,” says the duo’s Matt Campfield.
He has no idea who I am- yet.” That tracks with what we know about Wayne’s blissfully ignorant approach to modern hip hop-a few years back, he claimed he didn’t know who Lil Uzi Vert, Lil Yachty, 21 Savage, or Kodak Black were, and during an interview last week, he acted like he’d never heard the names of two of the most successful modern labels in hip hop, Quality Control and Top Dawg Entertainment. “Lil Wayne mentioned in a recent interview that he doesn't always know whose beat he's rapping on,” says Smurv, who co-produced album track “Darkside” with his friend B Ham. GQ spoke with seven of Funeral’s producers (or in some cases, production duos) about the wildly different paths their beats took to getting placed on Funeral. The production credits are similarly wide-reaching, including the guy who produced the entirety of Wayne’s 1999 debut (Mannie Fresh), as well as a few young beatmakers getting their first major placement. The title track, which kicks off the album, is based around the skeleton of a beat from 2013, while the newest tracks are less than a year old. Despite that, the tracklist shares a certain cobbled-together quality with its predecessor. Wayne’s new album, Funeral, endured no such publicized delays, having been announced just nine days before its January 31st release. Wayne spent the interim continuously cutting material for the album, to the degree that Tha Carter V’s eventual tracklist contained five-year-old songs alongside week-old ones, as Rolling Stone reported.
Originally planned for a 2014 release, the album didn’t arrive until late 2018 due to a dispute between Wayne and his longtime label, Cash Money Records. When Lil Wayne’s last album, Tha Carter V, came out, it was no surprise that its tracks were culled from a wide variety of sessions, producers, and even eras.
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