Lil Wayne’s long-delayed rock album Rebirth hits shelves covered in thick coats of flop sweat, bad buzz, and schadenfreude. It’s a disc that pop-culture rubberneckers have been dreading and anticipating in equal measures, a bold sonic experiment from a pop icon for whom quality control is as foreign a concept as sobriety and self-restraint. Fans are right to fear the worst: Rebirth suggests Cash Money’s answer to Garth Brooks’ equally misbegotten Chris Gaines side project. Like Brooks’ much-derided attempt to crack the rock market, Rebirth sounds like an alternate-universe greatest-hits album from an act that never deserved to have any hits in the first place, a genre-hopping exploration of bad ideas, hokey song concepts, and cringe-inducing lyrics.