James Joyce the Squatch – “Discomfort Inn” review

Here we have the 4th studio LP from Brooklyn, New York emcee James Joyce the Squatch. A member of the Nitebreed collective alongside Donnie Menace & White Cheddar, he would make his solo debut in 2016 with Pawn Your Heart of Gold & follow it up with the sophomore effort The King James Version: The Pre-Quill as well as Dapper Scumbags: Reality Check Cashing. However, he recently signed to Stray’s newly formed Rogue Hollow imprint & having the label’s in-house producer Charlie Beans soundtrack James trip to Discomfort Inn.

“Butterflies & Bile” produced by Charlie Beans opens up with a sinister boom bap instrumental talking about the inability to trust your gut when it’s filled with those 2 things whereas “Chef’s Kiss” gives off a heavy g-funk/trap vibe boasting his lyrical proficiency. “237” leans further towards a trap sound with chopped & screwed and g-funk undertones talking about not fucking with drama because he doesn’t see any importance in doing so while “Cat n’ Mouse” explains that the depths get darker the further we descent.

Stray makes Discomfort Inn’s only guest appearance on “Little People” dismantling the kind of individuals who don’t have anything to live for just before “Know Your Worth(less)” stylistically reminds me a bit of Heltah Skeltah from the boom bap beat to the unapologetic hardcore lyricism. “Molting Truth (I Was Happy)” experiments with a cloudier sound repeating what  his inner-child said to him while “Pick Your Poison” ends the 1st leg talking about choosing between disappointed or getting ignorant.

“Blunt as Fuck” gets the 2nd half going taking some inspiration from the dirty south forever keeping it to the point leading into the title track profoundly talking about this home he built being more perfect than life itself. “Phoenix Down” combines cloud rap & boom bap confessing this long ride he’s been on simply following the way he’s been feeling while “Shampaign” walks a razor’s edge without even knowing where it’s bound to go.

Nearing the album’s final moments, “Ghost10” hops over some pianos to talk about seeing everyone in Hell toasting with the squad while “Plottin’ & Schemin’” kinda has this shimmery trap quality to it detailing that the man in the mirror’s trying to kill him. “Leave Behind” continues the cloudy boom bap crossovers talking about building himself up to heaven to scrap the golden gates while “Dirty Water Baptism” expressing thankfulness for the people he was starving with.

Having previously heard his verses on both Chainsaws & Boomsticks albums when Donnie Menace was signed to Lyrikal Snuff Productionz, it was interesting to hear Charlie Beans was producing all but 2 tracks on Discomfort Inn & I’d have to argue that it’s the most cohesive entry of James Joyce the Squatch’s entire solo catalog. Charlie’s production is a huge upgrade from James’ previous full-lengths & I commend him for getting a lot off his chest with this one lyrically.

Score: 4/5

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Sexyy Red – “Yo Favorite Trappa Favorite Rappa” review

St. Louis, Missouri rapper Sexyy Red celebrating her birthday with her 4th mixtape. One of the most polarizing, controversial & popular artists in hip hop today who dropped her debut single “1,000 Jugs” in 2018 & eventually her debut mixtape Ghetto Superstar on Christmas Eve 2021 to subpar reception. The follow-up Hood Hottest Princess after signing to gamma.received more mixed responses in the public eye including from myself on the contrary to Anthony Fantano giving it an 8, which was what I gave her previous tape In Sexyy We Trust around the time she started making appearances for Endeavor-owned TKO Group Holdings division WWE’s developmental brand NXT. A little over a week since Tony D’Angelo became the new NXT Champion however, Yo Favorite Trappa Favorite Rappa  is here after a brief delay.

Shawn Ferrari produces the intro “Her Her Her” trying to argue that no other female being able to fuck with her when Doechii or Little Simz automatically come to mind whereas “Richer Then Alla My Opps” hops over a Lil Yachty beat so she can talk about having more money than her haters. “David Ruffin” is where the tape really starts to fall apart & it has more to do with the lackluster instrumental than comparing herself to The Temptations’ late lead singer until “It Bitches” talks about her homegirls being far from lame.

“Top Motch” boisterously expresses her desire for a guy of high quality & bringing Shawn back behind the boards in the process while “Attached” brings a more menacing vibe to the beat thanks to Maaly Raw, conceptually detailing a dude who’s trying to get all up in her pants. “Bitch I’m Awesome” talks about nobody having the capability of fucking with her because she’s so gnarly while “Team Lil Booty” featuring Pluto finds both of them teaming up for an anthem dedicated to women who have flat asses.

Ending the 1st half, “Rackies” attempts to recreate the classic D4L single “Laffy Taffy” & awkwardly misses the landing although ATL Jacob’s instrumental is the best thing going for it while “Hood Bitch 2” much like the predecessor details her upbringings except I prefer the sequel in this scenario. “Cut Like Us” produced by Tay Keith introduces us to the Blood Sustaz in the most underwhelming fashion just before “Tatted Asf” makes up for it by talking about her love of tattoos.

“If You Want It” butchers a sample of “Paradise” by LL Cool J to discuss her having the ability of turning this guy’s life up because of her hoodrat lifestyle & after “Hang Wit a Bad Bitch” featuring Key Glock proved to be the stronger single of the 2 talking about Sexyy upping the score in light of all the baddies continuing to win, “All Da Hoes” hits us with another mediocre track advising not to trust her around any man & not going broke because her hoes got her back.

Less than 10 minutes to go, the song “Stick to the Code” aggressively talks about abiding by the code of the streets & having 0 time for any goofy shit while “NDA” humorously suggests that one would have to sign a non disclosure agreement prior to smashing her since she’s had players from both the NBA & the NFL tryna hit it. “YOP (U Wit a Star)” sends off the tape tolerably acknowledging the real trappers over a Metro Boomin’ & Zaytoven beat.

My thing with Sexyy Red is: You can dislike her music &/or her public image, but I still admire the fact that gamma. allows her & everyone else they’ve signed full ownership of her masters when you had Prince in court 3 decades earlier with “Slave” written on his cheek fighting Warner Records in court for his. However, anyone who was surprised as I was at myself enjoying In Sexyy We Trust a couple years ago will most likely be happier to hear me say that Your Favorite Trappa Favorite Rappa was significantly mediocre & I’d place the blame for that on the subpar guest list as well as the weaker production.

Score: 2.5/5

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Finale – “The Good” review

Detroit, Michigan veteran Finale returns for his 4th studio LP & his first in over a decade. Making his debut in 2007 with Develop, the sophomore effort A Pipe Dream & A Promise would later result in him signing to Mello Music Group for Odds & Evens preceded by the Bits & Pieces mixtape the summer I graduated high school. This winter will mark 7 years since the 62 extended play & looking at some of the names involved with The Good gave me hope of it improving above that previous EP.

The titular intro starts things off on a soulful boom bap note talking about trying to make music people can enjoy & maintain a good name until sequencing into “Whatever’s Left” during the last 90 seconds or so incorporating a beat switch to give us the remaining amount in the tank. “Take the Time” continues from there talking about being remembered than simply existing prior to it’s final minute dubbed “Mirrors” speaks his mind without trying to offend.

“Thanks 2 Hip Hop” produced by Trox is a highlight for me personally from the instrumental to the lyrics about what the culture has done for him while “District 12” was my favorite single from the vocal sample Nottz brings to the table to Finale rapping his ass off without a hook. “Gunna’s Lament” sends a message to all the rappers tryna eat out here warning them to be careful just before “Self Checks & Balances” preceding “Roses” talks about looking within yourself to find the good.

Meanwhile on “Job’s Not Finished”, we’re getting hit a cinematic boom bap atmosphere throughout a great bulk of it clarifying that his mission’s far from complete until “Bread & Butter” humorously talks about taking labels to the bank instead of having them perceive him as a joke. “Honor the Code” featuring the Twin Towers pleads for artists to quit scheming & looking hard while “Patience” has a jazzier vibe thanks to yU talking about the very thing some lack.

“Wishing” brings the sampling back in effect courtesy of none other than Apollo Brown, soulfully explaining that he simply can’t sit back & chill while “Luther Stickell” makes a comparison to the Mission: Impossible character of the same name. “Enough” talks about being on & off for years when there’s no lies told there over a Jamil Honesty beat until linking up with Guilty Simpson, IAMGAWD & Phat Kat to fire off “4 Rounds” whilst maintaining the ruggedness.

The final 2-parter “D.W.M.B. (Drink Water, Mind Your Business) / Know It All” talks about having bigger fish to fry with a different plate to try & learning a lot albeit not enough to say he knows everything. DJ Jewels turns up the soulfulness on “A Good Time to Go” confessing he feels like he’s been in a head-on collision with reality while “Just Rap” featuring Homeboy Sandman & yU finishes up the album refusing to believe everyone walked away from the trap.

If you were to ask me who I consider to be amongst the most underrated hip hop artists to come out of the Motor City, I’d always throw out Finale’s name in there so for him to come back & drop The Good had me anticipating it all year & I’d have to put it behind A Pipe Dream & A Promise as his 2nd best full-length. I personally tend to prefer the production here more than 62’s, the guests all come correct with their performances & the man himself’s making his late grandfather proud.

Score: 4/5

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Novatore – “Pale Horse of the Apocalypse” review

Yes, this is the 15th studio LP from Chicago, Illinois emcee Novatore. Breaking out as a member of the Infamous Crew, he’s also built up an impressive solo career over nearly a decade by dropping 4 EPs & an acclaimed collaborative effort with A.M. Early Morning produced by Stu Bangas called Kingdom of Criminality & it’s sequel produced by Johnny Slash. Other highlights include Louie, Louie II, Embrace the Darkness, Portrait of a Madman, Embrace the Darkness II: Explorers of Experience, Master of Morbid Creations, Living in the End Times, Alchemy & Black Magic, his Goon MuSick debut The 87 Arsonist & the Brenx-produced Agoraphobia. The last album Embrace the Darkness III became his greatest material since signing to the label & the Pale Horse of the Apocalypse now rises.

After the “I Am Death” intro, the opener “Devil in the Flesh” finds Johnny Slash combining woodwinds with kicks & snares talking about a highly unfortunate situation with G-Mo Skee last spring whereas “Year of the Rabbit” featuring Lord Goat keeps the hardcore boom bap vibes from rollin’ thanks to C-Lance talking about time traveling 4 decades earlier. “Looking Back II” is a solid continuation of an Embrace the Darkness II highlight produced by Brenx just before “Mad Max on Acid” featuring Moecyrus dismisses the nerds criticizing him when he knows his wordplay’s crazy.

“Hunt Fascists Not Antifa” gets the 2nd half going making a statement regarding the rise of fascism in the US since January of last year while “Whiplash” goes into full battle rap mode over a Young Bangas beat. “Apocalypse” featuring Blaq Poet & Nightwalker aggressively boasts their statuses within the underground while “Still Here” featuring Bullet Brak assures they ain’t leaving. After the penultimate track “Fuck You Pay Me” featuring Recognize Ali makes all the pussies hide, Lucid Death” wraps things up seeing his whole life flashing when the last horseman strikes over a Snowgoons instrumental.

This month will already be 2 whole years since Novatore joined the Goon MuSick roster & despite Embrace the Darkness III remaining the best thing he’s done on the label so far, Pale Horse of the Apocalypse still has it’s enjoyable moments much like The ‘87 Arsonist & Agoraphobia. A common theme across some of his recent output is that you’ll get top notch boom bap production & a cohesive concept, but some of the guests nail it with their contributions & others simply don’t do much for me whatsoever. If he were to do a solo project with either Johnny Slash or Young Bangas alongside his father Stu & have only a couple features on it, it could make for some of his best output.

Score: 3.5/5

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Canibus & Chino XL – “Necksnapper” review

New collaborative extended play between the late East Orange, New Jersey emcee Chino XL & The Bronx, New York by way of Kingston, Jamaica lyricist Canibus. Both of whom have crossed paths several times prior including tracks like “Cypher of 5 Mics” & “Pendulum Swing” by Rakim, the latter of which was the very last song that came out prior to Chino’s untimely tragic passing a couple summers ago. However, they’re coming together to deliver a complete Necksnapper.

The title track breaks the gate down with this boom bap intro Johnny Slash cooked up looking to make human mean out of all competitors whereas “Abu La-Haab” continues with a 5-minute Canibus solo joint explaining that a work of art is actually a world of labor. Chino takes the mic from beyond the grave on “Always There” talking about the mental health struggles that took his life just before “God’z Wrath” featuring Rock finds all 3 of them coming correctly.

“Basquiat 2” starts the 2nd half with 1 more Chino XL solo track that surpasses it’s predecessor included on Prelude to The Mantis while “Celebration” by Canibus experiments with rapping over an EDM beat talking about still being here a quarter of a century later. “Bulletproof Metals” featuring Eto & Planet Asia returns to the boom bap calling for everyone to bow down to them while “Sick Mind” featuring Block McCloud, Joker & Poison Pen ends with them making bodies disappear in a flash.

Putting all of the previously released material like both the “Pendulum Swing” & “Champion” remixes and “Cypher of 5 Mics” aside, I think Necksnapper’s the best of the 2 posthumous offerings we’ve gotten from Chino XL in 2026 & it’s not too far from S.L.I.C.C. (Self Licking Ice Cream Cone) in becoming some of the most enjoyable material Canibus has put out in some time. When they’re not putting their chemistry to the test half the time, they’re spending the other portion of the EP holding it down themselves.

Score: 4/5

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Snoop Dogg – “10 ‘Til Midnight” review

This is the 22nd studio LP from Long Beach, California emcee, songwriter, media personality, actor, entrepreneur, record executive & WWE Hall of Famer Snoop Dogg. His 1993 debut Doggystyle produced his mentor Dr. Dre is widely regarded as a west coast essential, but his output since has been hit or miss whether it be Tha Last Meal & Tha Blue Carpet Treatment almost reaching the same caliber of his debut or Da Game is to be Sold, Not to be Told & Bible of Love falling flat on their faces. He purchased Death Row Records from MNRK Music Group days ahead of the Super Bowl LVI halftime performance hence why he’s been B.o.D.R. (Bacc on Death Row) since & partnered with gamma. for their ongoing distribution deal. Missionary drew mixed reception because of some delusional fans expecting it to be another Doggystyle, coming off Iz It a Crime? to drop 10 ‘Til Midnight.

“Step” produced by Swizz Beatz kicks things off on a funky note looking to shut down every party he pulls up to whereas “Lied 2 U” goes for a melodic vibe thanks to Pharrell throwing it back to the BUSH era prior to my high school graduation singing about an unfaithful man. “Slid Off” gets back on his gangsta shit for a self-produced lead single & after the “Daddy Rich” interlude, “Stop Counting My Poccets” works in a summery west coast instrumental from Nottz to talk about having $100M in his bank account.

As for “O.G. to B.G.”, we have Uncle Snoop giving the world some game over a g-funk beat leading into “Dogg Wattup Doe?” solely letting Peezy handle the verses to represent the 313 instrumentally fusing elements of cloud rap & jazz rap. “Leave That Dogg Alone” gets the 2nd half going carrying over the cloudiness talking about peasants trying to knock down King Kong while “Pop My Shit” featuring Trinidad Jame$ teams up for a decent gangsta rap joint with a trunk-knocking Young Fyre beat.

“17 Rules” brings back the feel good atmosphere talking about a homie who done lost his mind while “Bread Under the Bed” jumps over a Rick Rock instrumental to tell us where he keeps his money. “No Ticcet Needed” smoothens things out courtesy of both Soopafly & Erick Sermon looking to have a good time but once “Long Beachin’” shouts out the city that made Snoop who he is, “Q.T.S.A.M.Y.A.H.” featuring October London soulfully ends with both of them clarifying that you gotta earn respect & the crown if anyone wants either of them.

There are a couple singles teased for 10 ‘Til Midnight that didn’t make the final version of it & I wanted to still go over them because I thought they were worth mentioning. “High Life” featuring Tha Twinz & Young Sagg was my favorite of the 2 although I would’ve liked it a lot more minus Young Sagg’s verse, continuing to put it down for the LBC decades later. “Heart in Need of a Hug”on the contrary has potential to become amongst the worst songs dude has ever made, which is more embarrassing of an R&B attempt than “Lied 2 U”.

B.o.D.R. (Bacc on Death Row) & Iz it a Crime? both reminded us that Snoop Dogg doesn’t need new tricks on songs breathing new life into vintage g-funk grooves so if you enjoyed those albums like I did, you’re kinda already know what you’re getting yourself into with 10 ‘Til Midnight. It’s admirably shorter than its predecessor last spring & there’s more consistency within the production than his last one, although hearing him over different sounds from beatsmiths he hasn’t worked with yet would be refreshing.

Score: 3.5/5

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T.F. – “Don’t Call Me Lucky” review

Los Angeles, California emcee T.F. joining forces with local veteran DJ Muggs to produce his 7th LP. Initially hearing him on “Tookie Knows, Pt. II” off ScHoolboy Q’s magnum opus Blank Face LP, he subsequently dropped his debut EP No Hooks only 7 months later, which was followed up by his full-length debut ErThangSkanless & then a 2nd EP called OktoberFest. After appearing on Flee Lord’s 8th EP Hand Me My Flowers produced entirely by Buckwild & put out 2 more EPs on his own, T.F. eventually signed to Lord Mobb Music & put out Blame Kansas produced by both Mephux & Roc Marciano. Last we heard from him was when Khrysis produced The Green Bottle, returning 10 months later cautioning Don’t Call Me Lucky.

The title track opens up shop with an ominous boom bap beat wanting to know if his court-ordered therapy sessions was luck or faith whereas “Water Whip” featuring Rome Streetz aggressively talks about everything being scandalous with them. “Clap” featuring Ghostface Killah kinda has a vintage 70s vibe to it referencing the late アイアンマンヘビーメタル級チャンピオン, TNA World Tag Team Champion, WCW World Television Champion, 2-time WWE United States Champion, 7-time WCW World Tag Team Champion, 4-time WWE Intercontinental Champion & 2-time WWE Hall of Famer Scott Hall leading into “The Scorpion Sting” returns to the boom bap talking about the squad fitting into picture frames.

“Reese’s Pieces” featuring Meyhem Lauren & O.T. the Real brings the trio together so they can ruggedly make it clear that ain’t shit sweet with either of them while “Ya Heard” featuring Roc Marciano soulfully talks about people sticking you up for your diamonds & gold. “Cha Cha Chicken” gives off a spookier vibe instrumentally speaking of cooking up crack rocks just before the horn-infused “Pool Sports” reaches the halfway point talking about being top floor with the bars.

After an interlude, “Money in the Wall” featuring Heartbreak JC drumlessly make way for both of them discussing people dying every day over chains & social media posts while “Luchador” angrily talks about possibly crashing surface due to living so fast. “$100 Bill” rawly speaks of breaking bread interpolating the iconic Prodigy single “Keep It Thoro” during the hook while “Star Studded” talks about daydreaming over a sped-up soul sample.

“El Sancho” wraps up Don’t Call Me Lucky’s final moments likening himself to WWE Hall of Famer Snoop Dogg’s portrayal of Rodney in Baby Boy directed by the late John Singleton while the final song “Ride Out” featuring Boldy James preceding the outro makes great use of the album’s final minutes by having the 2 lyricists teaming up over a bluesy boom bap beat to talk about their respective experiences of living like gangstas from the west coast to the midwest.

I wasn’t sure if it was possible for T.F. to top Blame Kansas preceding The Green Bottle coming out last summer, but I was expecting Don’t Call Me Lucky to do the exact same thing based off the singles & it testifies him only getting better with time. There aren’t as many guest appearances than last time, which I’d say works in his favor considering how well Muggs’ signature production style fits his sharp streetwise lyricism like a glove.

Score: 4.5/5

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Serial Killers – “This Thing of Ours” review

The Serial Killers are a west coast supergroup consisting of B-Real, Demrick & Xzibit. Joining forces on Halloween 2013 by dropping an eponymous debut mixtape under Open Bar Entertainment, they would go on to follow it up a couple years later with The Murder Show & followed it up with the Day of the Dead extended play. Their debut album Summer of Sam would come out in the fall of 2020 despite its title getting more political than the trio’s earlier output, reuniting to have Scoop DeVille produce the sophomore effort.

“SK Anthem” sets the tone with this grisly boom bap intro spitting the kind of raps that’ll make you wanna punch someone in the face whereas the title track aggressively talks about the trio building a circle of trust together. “Call the Cops” gives off an old school hardcore vibe dropping bars that’ll make people snitch to the Feds leading into the horn-infused “Fired Up” advising against people trying their luck because each of them being vexed.

Moving on from there, “Levels” talks about improving oneself if anybody’s striving to reach the top just before “Hand Grenade” goes full rap rock so they can end the 1st leg boasting that they can walk through Hellfire & communicate with the dead. “High Energy” continues the 2nd leg of the album talking about life being this much of a trip & time being money while “Anarchy” encourages those listening to start promoting the strength we have instead of that other bullshit.

“Slippin’” nears This Thing of Ours’ conclusion incorporating some strings talking about keeping an eye out for the other side & not letting them catch you fuckin’ up while “By Any Means” speaks of constantly staying more solid than the concrete & representing the west coast. “We’re the Killers” finishes up the album with this ghostly boom bap outro talking about fearing no man & the lyricism of each member proving to be more deadly than fentanyl.

Summer of Sam to me was a lot enjoyable than The Murder Show or Day of the Dead were, but the Serial Killers return a little over halfway through the 2020s with Scoop DeVille behind the boards to make This Thing of Ours the greatest LP of their entire existence. Scoop’s production hits harder top to bottom as opposed to the predecessor having a couple lackluster moments instrumentally & I like that they refrained from having any guest appearances to focus more on their synergies.

Score: 4/5

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Napoleon da Legend – “G.A.M.O. (Gods Against Man’s Oppression)” review

Right in front of us is the 34th studio LP from French-American underground veteran Napoleon da Legend. Heads in the underground should already be familiar with him due to the lengthy discography that he’s built up for himself for nearly the past decade including Coup D’État, it’s sequel, Street Universe, Dragon Ball G, the Sicknature-produced Colossus of GOATS, Buckets, the DJ D-Styles-produced Invincibl Rap Mislz, the DJ Rhettmatic-produced Legmatic, the JR Swiftz-produced Great Minds & F.L.A.W. (Following Lies Always Wounds). However, I was surprised to hear most of G.A.M.O. (Gods Against Man’s Oppression) was gonna be produced by the man himself.

After the “End” intro, “Polonium” begins with this triumphant boom bap instrumental talking about having the cannon handed to him since it’s the champion’s turn whereas the self-produced “It’s All Over” works in some sampling chops looking to send all competitors home bruised up & breaking bones. “Addis Abba” featuring Vinnie Paz finds the 2 lividly talking about this music shit not being for everyone & after the “Imminent Danger” interlude, “Black Caesar” featuring Steele teams up so they continue the hardcore lyricism.

“Spilled Sphinx” featuring Nejma Nefertiti reunites the pair so they can go back-&-forth with each other like they’ve already done so countless times in the past prior to “Bombardians” featuring CF & Dontique decently talking about raising the bar & still not reaching their pinnacles yet. “Think Dominant” featuring Innocent? & SKAM2? brings in some horns to get it out the dirt while “Masked Assassin” after the “Water Seeds” interlude attacks biters who can’t be original to save their lives.

Skyzoo appears on the lavish “Tough Skin” looking back at when they had shit mapped out when the rest were playing cat & mouse games while “Kill Bots” featuring Passport Rav but after the “Break the Chains” interlude trades bars with one another over a beat from the latter talking about the cold world not getting any warmer. “Star Wars” grittily lets it be known that those who want to reach his level will die quickly while the crooning “Sinners & Saints” talks about enjoying the present moment.

“Mind War” featuring Lord Goat poses the question of what one would die for & the rise of AI taking people’s jobs from them while the title track talks about cancelling the sellouts as well as causing the cancers to cease spreading. “Ultimate Power” after the “System Error” skit reassures confidence of his future despite not reaching his prime yet but once the jazzy “Alan Wattage” featuring Ghost Machine talks about the world being The Boondocks & South Park combined, “Save Me” preceding the “Beginning” outro ends by advising against going at the Pharaoh.

Keeping in mind that there are literally dozens of albums in the Napoleon da Legend catalog, I did come away from G.A.M.O. (Gods Against Man’s Oppression) liking it less than Soul vs. Math & more than Promise. Nonetheless, I’d put Great Minds & F.L.A.W. (Following Lies Always Wounds) above all of them combined. His own production’s a huge compliment I can hand this one blending noir wave & modern boom bap, except I feel like it’s a little too long.

Score: 3/5

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BabyBartier – “Nightmare on Rodeo” review

Here is the full-length studio debut from Los Angeles, California rapper BabyBartier. Emerging off his debut EP Baby Blanco a year ago followed by Diablo a little over a month later, his popularity would continue to grow over the course of the summer after Awe$ome & Terror respectively became most most acclaimed extended plays. Now that he’s signed a joint deal Internet Money Records alongside Mercury Records & Republic Records, it only makes sense for the Nightmare on Rodeo to officially commence now that he’s under a major label.

“Lean Crazy” get things going with the 2nd & final single looking to party like it’s Project X daily over a plugg instrumental while “Forgiveness” talks about winning the world inside his hands & the chopper loading up. “Scene” looks back at going from being in the battlefield sending shot to having the scars to prove it until “Red Dead” produced by Rio Leyva cautions that people better duck the second his squad rolls past your hood.

NASH gets behind the boards for “Flexin’”, continuing the plugg vibes so he can talk about his girl bringing a TEC to the club just before “I Know It’s Coming” speaks of not falling in love because he can’t trust no hoe. “Cash Out” pushes further towards the halfway point talking about poppin’ tags & taking the swag up on his bitch just before “Poppin’” works in a chill beat from Vendr to boast that he’s high enough to hang with the Gods.

“Basic” kicks off the 2nd half incorporating some wavy synthesizers pullin’ up to the function under the influence of ecstasy while the lead single “Each of My Pockets” talks about putting on the swag for his people & carrying a bunch of blue Benjamin Franklins on him. “Tomato” keeps it rollin’ by rubbing his success in the faces of those who didn’t think he’d make it this far over a Cade instrumental while “Cali Dreamin’” talks about making a crowd of thots lose their shit over him performing.

Rounding out 3rd, we have him clarifying that Bartier’s had swag since he was in “High School” prior to “Latest” talking about the way he’s been living since last summer. “Dirty Sprite” comes through with a brief dedication to sippin’ lean & after “Hancock” likens himself to the main character of the 2008 superhero film of the same name written by the creator of Breaking Bad/Better Call Saul, the outro “B4 I Die” ends the LP talking about running up more bags.

I kinda had a feeling that BabyBartier was gonna sign to Internet Money Records given their heavy involvement on the instrumental side of Terror last fall, but Nightmare on Rodeo instead became an average major label debut containing more highs than lows that I firmly believe he can outdo whenever the time for his sophomore effort comes. Even if the production doesn’t interest me like his last EP did & most of the songs are under 2 minutes, that same hunger still translates itself exceptionally.

Score: 3/5

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