In 2009 Louisiana’s Lil’ Wayne and Harlem, New York’s Juelz Santana came together to bring the mixtape “My Face Can’t Be Felt”, a released designed to build up hype to the “I Can’t Feel My Face” album that was originally due to be released back in 2007 (before Lil’ Wayne chose to focus exclusively on “Tha Carter III”. It features both music from the pair rapping together, as well as each of their individual solo efforts too.

1. “Rock Hard”

The things gets underway with something hardcore as you see that the two of them compromise well to make for something that supports the styles of both of them well with Juelz’ standard East Coast ways in addition to Weezy’s ‘Rockstar’ approach to getting things done with his raps as he does comes with some raw flows on top of some deep beats, which later brings in synth from the easily nineties West Coast scene.

**Five Stars**

2. “Does What She Does”

You get the pair of them on top of some light material that enables them to be in the perfect mode to get into rhymes which concentrate their attention upon the girls as they let it known what exactly their game is when they approach girls, even when they are already in knowledge of their current partners. It turns the direction early, but it works so well that you don’t really care about this more commercial effort.

**Five Stars**

3. “Bonafide Hustla”

Here they move it all back to expected places as they get down to some straight-forward raps where they are seen to jump on some hardcore, bassy beats which enable them to get into the perfect mode it come in just the right way to make an impact with the typical Dirty South production. You have them rapping on what their grind is like and how well they have come across over the years so that they are only just spending earning from five years ago now.

**Five Stars**

4. “With One Arm”

You get a track that really fits in with the 2007 period when the ‘|Rockstar’ trend was in full effect and so with the Rock-influenced beats coming though it seems to really take it all to a next level and pull you right into their world as they show how well they can take people out to the point that their are so skilled that they will do so when at a disadvantage. Weezy’s kills off Santana’s work, but you can’t really complain about it that much.

**Four Stars**

5. “No More”

Using a sample chipmunked in Kanye’s 2003 period style, this one is a fly joint and one that appears to take things back to the incredibly high standard as you see here you get the last collaborative track with the two of them on the same track for some time on the mixtape. It has them showing how well they have come on over the years and how they know who to trust, based on how they felt on towards them before they became popular.

**Five Stars**

6. “How Can Something”

As the mixtape seems to change, with Santana removed temporarily, you see that here Lil’ Wayne takes care of things by pulling out this one and jumping on beats with the same sort of feel as the last one and you see that here you get the themes altered quite a bit as he raps on the situation he is in with his baby’s mother (his ex-wife_ and how it has led to his daughter not being around him at all times.

**Five Stars**

7. “I Heard”

With a feature from the R&B singer Justin Timberlake, you find that here you get a freaky tune that makes the most out of the quality of Justin’s vocals to carry it through as Weezy gets down on even more of the lightly Rock-influenced production and you see that he adapts his approach to rhyming to suit this and show how he can adapt to fit a variety of situations effectively and show great potential for better things.

**Four Stars**

8. “I’m From The South”

Lil’ Wayne goes in hard as he shows love for his region and let’s everyone know just how things go down in the south whilst he changes his style to support the style that you would tend to expect from the amateur flows of his ‘daddy’ Birdman. It is a rough joint from him and one that forces you right in as he does a tune that is bound to impress many through the passionate display as he describes it well.

**Five Stars**

9. “What The 380 Said”

With this one you get Weezy coming through well as he gets into a freaky tune where he is backed up by some engaging bassy beats and a Snap Music format which gives it potential to it hard when played in the clubs. You see that he plays around wit his flows, as ever, and shows how good he has come along with the word play since debuting at the age of 12 as part of the Hot Boys with Turk and B.G..

**Five Stars*

10. “If U Lookin’ For Me”

With help from a few at his Young Money camp, this one sees him making a massive impact as he comes out with a fly joint where he comes through well with the fly Dirty South material that has him bringing many, including Mack Maine to the set to show how they are able to add to the thing (which occurs as they show how they have all been influenced by him to come out with original Rap material).

**Five Stars**

11. “It’s Been A Week”

Getting back to the solo work, Lil’ Wayne comes through well with this one as he shows that he hasn’t forgotten how the complex lyricism in Hip Hop has come along as he takes things back a little with some storytelling rhymes in Slick Rick fashion and so bring you right in with the engaging tale about his relationship with a girl. It is composed in an effective manner but the use of the hook of frequently does become annoying after a while.

**Four Stars**

12. “Cut Like A Blender”

Once gain he gets a few from his Young Money Record label to assist here as he does his thing and in this case you see that you get him coming out with a track that has rhymes which seem to really relate well to the style of the production (linking to the way he rhymes of his head based on what the beats give him). Here you get a choppy set, and he is seen to get the crew to help him with some light Gangsta Rap.

**Five Stars**

13. “Lover” (Remix)

This is a verse from Juelz Santana on top of a remix to the track given in the title and you see that he adds to the thing (which was originally performed by De La Ghetto) to give the R&B song a bit more to it and show how well he is able to adapt to the themes of the bouncy tune and make enough impact to really be taken any notice of (which does occur – in spite of it coming as a short snippet here).

**Four Stars**

14. “I’m Not Human”

You find that there is another change as Lil’ Wayne returns here and comes with a futuristic tune here where he gives the listeners enough evidence to show exactly why he doesn’t fit in with expectations of a human. You see that after every few bars the beats change from one Rock-influenced joint to another, all of which are of the standard that you won’t be able to tear yourself away from once they have begun.

**Five Stars**

15. “Girlfriend”

Here you get another of the short verses from Santana here and I felt tha there it was great one as you see that he gets on even more of the lively eats that drag you right into the mix and ensure that you will enjoy what goes down here as he goes on even more of the fly club beats well and shows that he is able to rap well (although nowhere near the standard that Lil’ Wayne brings on this mixtape).

**Five Stars**

16. “He Rap, He Sang”

This one gets a massive collaboration as the T-Wayne partnership comes into effect here with T-Pain and Lil’ Wayne doing a raw joint where the two of them switch roles with T-Pain going back to his old role of a rapper and Lil’ Wayne gets on the auto-tuning that T-Pain repopularised and sings in manner that fits right in with the time as they uses lines from each other’s popular work well for a killer track.

**Five Stars**

17. “Maybach Music” (Part 2)

Here you get the second part to a Rick Ross track. It is a killer tune and finds that you get T-Pain singing on the hook as before you get Lil’ Wayne’s verse from the track (and so removing Ross, and Kanye West’s role in the joint. It is a powerful one and one that I felt really did the job as he uses lots of popular references to connect with the listeners after Teddy pain has done a fine job singing on the chorus.

**Five Stars**

18. “I Am The Club”

Here you get a full-length offering and you see that here you get a bit change as you finally get something that really sounds like it fits in with the Harlem scene with the style of the beats that Jeulz Santana gets as he gets his Skull Gang to support him. He seems much more comfortable with these beats and it leas to improved raps from him as he takes over the clubs with his fresh material dropping here.

**Five Stars**

19. “That Thang”

Santana brings another verse here as you find that he does his thing over the top of The-Dream’s “Rockin’ That Thing” beats and he gets some of the most impressive point on the set to lay his rhymes over as you get a R. Kelly sample replayed on synth being added into the mix of some Snap & b material and it seems to do well to support the rapper as he moves back to something that he’s not as closely-associated with, but still does well to hold together.

**Four Stars**

20. “So Good”

This is another Lil’ Wayne tune, and here you get a single verse and he straight kills the thing as he jumps on some pounding beats which pull you right into the thing and ensure that you take notice as he gets in on a little from Day 26 and ensures that it is nothing but the best to show that he will only come out when the best when he is attempting to promote his material and show the potential he has in it.

**Five Stars**

21. “Blame It” (Remix)

This is Santana’s verse on Jamie Foxx’s “Blame It” and finds that her, although he doens’t particularly offer too much more than what the original was saying, having these raps just gives it a little added depth and enables things to be said in a much more straight-forward manner as he lets it know how he isn’t always how he’s seen to be in the clubs and the alcohol can be blamed for his state on the majority of occasions.

**Four Stars**

22. “Turnin’ Me Off” (Remix)

This is the remix to a join from Keri Hilson’s debut and gets Lil’ Wayne joining in by throwing in a few lines on the futuristic beats and shows how this fits in perfectly with the stand of his rhymes and how only this kind of thing is fitting for such a being that he is and you can’t really say that what you get from the track doesn’t do the job (once gain with just this simple, single verse from the New Orleans rapper).

**Five Stars**

23. “Rap Cemetary”

The two of them finally come together again for the final track on the album and I felt that it was a perfect time to drop it on the listeners as you find that after seeing them doing their own thing for a while they effectively come together to show the way that they compliment each other. Weezy kills things with his recoveries after going off-topic and such to show just how versatile he is and the way that he can do things that others wouldn’t get away with.

**Five Stars**

Although it doesn’t have much of a flow to it as it goes from some full tunes to a mix of single verses, you see that here the two of them do extremely well together with their raps and show how well a proper album with the two of them working together would be. There’s a lot to enjoy about this mixtape, especially if you are a fan of either rapper.
In 2009 Louisiana’s Lil’ Wayne and Harlem, New York’s Juelz Santana came together to bring the mixtape “My Face Can’t Be Felt”, a released designed to build up hype to the “I Can’t Feel My Face” album that was originally due to be released back in 2007 (before Lil’ Wayne chose to focus exclusively on “Tha Carter III”. It features both music from the pair rapping together, as well as each of their individual solo efforts too.

1. “Rock Hard”

The things gets underway with something hardcore as you see that the two of them compromise well to make for something that supports the styles of both of them well with Juelz’ standard East coast ways in addition to Weezy’s ‘Rockstar’ approach to getting things done with his raps as he does comes with some raw flows on top of some deep beats, which later brings in synth from the easily nineties West Coast scene.

**Five Stars**

2. “Does What She Does”

You get the pair of them on top of some light material that enables them to be in the perfect mode to get into rhymes which concentrate their attention upon the girls as they let it known what exactly their game is when they approach girls, even when they are already in knowledge of their current partners. It turns the direction early, but it works so well that you don’t really care about this more commercial effort.

**Five Stars**

3. “Bonafide Hustla”

Here they move it all back to expected places as they get down to some straight-forward raps where they are seen to jump on some hardcore, bassy beats which enable them to get into the perfect mode it come in just the right way to make an impact with the typical Dirty South production. You have them rapping on what their grind is like and how well they have come across over the years so that they are only just spending earning from five years ago now.

**Five Stars**

4. “With One Arm”

You get a track that really fits in with the 2007 period when the ‘|Rockstar’ trend was in full effect and so with the Rock-influenced beats coming though it seems to really take it all to a next level and pull you right into their world as they show how well they can take people out to the point that their are so skilled that they will do so when at a disadvantage. Weezy’s kills off Santana’s work, but you can’t really complain about it that much.

**Four Stars**

5. “No More”

Using a sample chipmunked in Kanye’s 2003 period style, this one is a fly joint and one that appears to take things back to the incredibly high standard as you see here you get the last collaborative track with the two of them on the same track for some time on the mixtape. It has them showing how well they have come on over the years and how they know who to trust, based on how they felt on towards them before they became popular.

**Five Stars**

6. “How Can Something”

As the mixtape seems to change, with Santana removed temporarily, you see that here Lil’ Wayne takes care of things by pulling out this one and jumping on beats with the same sort of feel as the last one and you see that here you get the themes altered quite a bit as he raps on the situation he is in with his baby’s mother (his ex-wife_ and how it has led to his daughter not being around him at all times.

**Five Stars**

7. “I Heard”

With a feature from the R&B singer Justin Timberlake, you find that here you get a freaky tune that makes the most out of the quality of Justin’s vocals to carry it through as Weezy gets down on even more of the lightly Rock-influenced production and you see that he adapts his approach to rhyming to suit this and show how he can adapt to fit a variety of situations effectively and show great potential for better things.

**Four Stars**

8. “I’m From The South”

Lil’ Wayne goes in hard as he shows love for his region and let’s everyone know just how things go down in the south whilst he changes his style to support the style that you would tend to expect from the amateur flows of his ‘daddy’ Birdman. It is a rough joint from him and one that forces you right in as he does a tune that is bound to impress many through the passionate display as he describes it well.

**Five Stars**

9. “What The 380 Said”

With this one you get Weezy coming through well as he gets into a freaky tune where he is backed up by some engaging bassy beats and a Snap Music format which gives it potential to it hard when played in the clubs. You see that he plays around wit his flows, as ever, and shows how good he has come along with the word play since debuting at the age of 12 as part of the Hot Boys with Turk and B.G..

**Five Stars*

10. “If U Lookin’ For Me”

With help from a few at his Young Money camp, this one sees him making a massive impact as he comes out with a fly joint where he comes through well with the fly Dirty South material that has him bringing many, including Mack Maine to the set to show how they are able to add to the thing (which occurs as they show how they have all been influenced by him to come out with original Rap material).

**Five Stars**

11. “It’s Been A Week”

Getting back to the solo work, Lil’ Wayne comes through well with this one as he shows that he hasn’t forgotten how the complex lyricism in Hip Hop has come along as he takes things back a little with some storytelling rhymes in Slick Rick fashion and so bring you right in with the engaging tale about his relationship with a girl. It is composed in an effective manner but the use of the hook of frequently does become annoying after a while.

**Four Stars**

12. “Cut Like A Blender”

Once gain he gets a few from his Young Money Record label to assist here as he does his thing and in this case you see that you get him coming out with a track that has rhymes which seem to really relate well to the style of the production (linking to the way he rhymes of his head based on what the beats give him). Here you get a choppy set, and he is seen to get the crew to help him with some light Gangsta Rap.

**Five Stars**

13. “Lover” (Remix)

This is a verse from Juelz Santana on top of a remix to the track given in the title and you see that he adds to the thing (which was originally performed by De La Ghetto) to give the R&B song a bit more to it and show how well he is able to adapt to the themes of the bouncy tune and make enough impact to really be taken any notice of (which does occur – in spite of it coming as a short snippet here).

**Four Stars**

14. “I’m Not Human”

You find that there is another change as Lil’ Wayne returns here and comes with a futuristic tune here where he gives the listeners enough evidence to show exactly why he doesn’t fit in with expectations of a human. You see that after every few bars the beats change from one Rock-influenced joint to another, all of which are of the standard that you won’t be able to tear yourself away from once they have begun.

**Five Stars**

15. “Girlfriend”

Here you get another of the short verses from Santana here and I felt tha there it was great one as you see that he gets on even more of the lively eats that drag you right into the mix and ensure that you will enjoy what goes down here as he goes on even more of the fly club beats well and shows that he is able to rap well (although nowhere near the standard that Lil’ Wayne brings on this mixtape).

**Five Stars**

16. “He Rap, He Sang”

This one gets a massive collaboration as the T-Wayne partnership comes into effect here with T-Pain and Lil’ Wayne doing a raw joint where the two of them switch roles with T-Pain going back to his old role of a rapper and Lil’ Wayne gets on the auto-tuning that T-Pain repopularised and sings in manner that fits right in with the time as they uses lines from each other’s popular work well for a killer track.

**Five Stars**

17. “Maybach Music” (Part 2)

Here you get the second part to a Rick Ross track. It is a killer tune and finds that you get T-Pain singing on the hook as before you get Lil’ Wayne’s verse from the track (and so removing Ross, and Kanye West’s role in the joint. It is a powerful one and one that I felt really did the job as he uses lots of popular references to connect with the listeners after Teddy pain has done a fine job singing on the chorus.

**Five Stars**

18. “I Am The Club”

Here you get a full-length offering and you see that here you get a bit change as you finally get something that really sounds like it fits in with the Harlem scene with the style of the beats that Jeulz Santana gets as he gets his Skull Gang to support him. He seems much more comfortable with these beats and it leas to improved raps from him as he takes over the clubs with his fresh material dropping here.

**Five Stars**

19. “That Thang”

Santana brings another verse here as you find that he does his thing over the top of The-Dream’s “Rockin’ That Thing” beats and he gets some of the most impressive point on the set to lay his rhymes over as you get a R. Kelly sample replayed on synth being added into the mix of some Snap & b material and it seems to do well to support the rapper as he moves back to something that he’s not as closely-associated with, but still does well to hold together.

**Four Stars**

20. “So Good”

This is another Lil’ Wayne tune, and here you get a single verse and he straight kills the thing as he jumps on some pounding beats which pull you right into the thing and ensure that you take notice as he gets in on a little from Day 26 and ensures that it is nothing but the best to show that he will only come out when the best when he is attempting to promote his material and show the potential he has in it.

**Five Stars**

21. “Blame It” (Remix)

This is Santana’s verse on Jamie Foxx’s “Blame It” and finds that her, although he doens’t particularly offer too much more than what the original was saying, having these raps just gives it a little added depth and enables things to be said in a much more straight-forward manner as he lets it know how he isn’t always how he’s seen to be in the clubs and the alcohol can be blamed for his state on the majority of occasions.

**Four Stars**

22. “Turnin’ Me Off” (Remix)

This is the remix to a join from Keri Hilson’s debut and gets Lil’ Wayne joining in by throwing in a few lines on the futuristic beats and shows how this fits in perfectly with the stand of his rhymes and how only this kind of thing is fitting for such a being that he is and you can’t really say that what you get from the track doesn’t do the job (once gain with just this simple, single verse from the New Orleans rapper).

**Five Stars**

23. “Rap Cemetary”

The two of them finally come together again for the final track on the album and I felt that it was a perfect time to drop it on the listeners as you find that after seeing them doing their own thing for a while they effectively come together to show the way that they compliment each other. Weezy kills things with his recoveries after going off-topic and such to show just how versatile he is and the way that he can do things that others wouldn’t get away with.

**Five Stars**

Although it doesn’t have much of a flow to it as it goes from some full tunes to a mix of single verses, you see that here the two of them do extremely well together with their raps and show how well a proper album with the two of them working together would be. There’s a lot to enjoy about this mixtape, especially if you are a fan of either rapper.