OsamaSon – “Flex Musix” review

Charleston, South Carolina up-&-comer OsamaSon is back with a sophomore full-length album. Starting a couple years ago, he would then start to pump out 3 EPs shortly after I’m da Man as well as Vengeance & Carnival respectively. He returned at the beginning of 2023 by dropping osamavrt, following it up this past spring in the form of slime & Bad Habits. Osama’s debut Osama Season earlier this summer was some of the best dark plugg I’ve heard in a while, so it made sense for him to follow-up on that previous LP couple weeks after being delayed of it’s original Black Friday release.

“Blonde” is a rage-inducing opener booling on the East side with his fucking twin whereas “Baghdad” comparing his foreign bitch & his sticks to the capital of Iraq guaranteeing that your crew can’t fuck with whilst Ok mixes elements of electronic music with trap. “All Star” shifts back into the hypertrap sound to ball like an MVP with a bunch of checks all in his head just before “For da Flex” produced by gyro talks about giving no fucks as he & his slime go for the win over more rage beats.

Things take a turn into bombastic territory on “Worst Part” promising that you don’t want smoke with him at all leading into the bassy “Trenches” kicking shit with his manager Stef like it’s the NFL asking when Young Thug’s gonna be free & shopping at Lenox in Atlanta. “Nothing” returns to giving off a bit of a hypertrap edge instrumentally talking about running out of love & still having mud, but then “3x” saying all he needs is 3 percs over an explosive rage beat.

“Boss Up” talks about looking the best & making this far in the rap game already over these dense, buzzing synths with repetitive chord progressions on top of melodic synthesizer leads & hi-hats while “Kills” talks about falling in love & buying more drugs with more hypertrap production accompanying him. “Kome Thru” declares himself as the one turning the bass up high as Hell once more while the synth-heavy “Me When” talks about taking the trap to Los Angeles & that his bag got hella checks.

Meanwhile, I feel like “Uno” almost has this industrial trap vibe to it admitting all he does his flex while “Str8 Flexin’” continues to drop braggadocio over this chaotic ass instrumental. The song “Congrats” keeps things atmospheric talking about being congratulated on winning his shit while the penultimate track “Pop” admits that he’ll post up just to flex & to tell slime that he got bags on top of hi-hats woven into this “yeah” vocal sample. “Talking 2 a Ghost” ends the album by confessing over guitars from thr6x that he doesn’t know where he’s going, but that he’s gonna make it today.

“Cartel” is the first of 6 bonus tracks by flexing his mob ties over rage beats while “Rehhab” switches into a a slower flow & a more melodical approach although it’s still grounded into that hypertrap sound instrumentally. “Need It” has these icy synths & skittering hi-hats talking about being in the streets fuckin’ that shit up while “Alot” continues clashing dense, buzzing synthesizers with repetitive chord progressions melodic synth leads likening his whip to a GoKart. “Flxr” has a heavier sound using a different vocal delivery than Osama normally does looking to stack his chips & the rubbery “Freestyle” ends the deluxe by giving 1 last flex.

OsamaSeason quickly cemented OsamaSon as a fresh new face in the dark plugg scene for me, but he completely departs from that style & even plugg music in general on a sophomore effort that results in being a cut above the debut that we got from him earlier this summer. The rage undertones of the predecessor are being showcased more than they were last time, his confidence is off the charts & he sounds like he’s having fun with it.

Score: 4/5

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IAMISEE – “Phantom X” review

This is the 6th proper full-length LP from Philadelphia, Pennsylvania emcee IAMISEE. Coming up as 1/2 of Grace & Divine, the duo would land a short-lived deal with Ruffhouse Records until eventually disbanding. He then embarked on a solo career of his own in 1999 off a self-titled debut & returned a couple years later with 83 (A.D. Three). This was followed up with Adamantium as well as IAMISEE vs DJ Demon and Fear & Loathing in the Music Business. But over a decade later, he’s teaming up with DJ Iron to make a comeback on Phantom X.

“A.D.A.G. (Angels, Demons, Aliens, Ghosts)” is a drumless breaking down spiritual beings having a physical experience whereas “Electric” dives into boom bap territory talking about how exactly bright he’s shining. “Champion” works in more kicks & snares explaining that he just has that type of sound just before “Rinse & Repeat” remains in boom bap territory so he can talk about life being confusing at times, which rightfully so.

Moving on from there, “Beyond Worlds” keeps things rugged telling y’all to blast this shit as the wheels of your truck spin leading into “The Meaning” ending the first half of the album over an atmospheric loop with kicks & snares addressing those who think they know what he’s thinking. After the “Outerlude,” we have “Signs of the Times” starting the 2nd leg with a sample-based boom bap beat explaining what this shit be prior to the somewhat psychedelic “Atomic Comet” talking about the way he plans to hit the earth over

After the 2 & a half minutes “Mind” instrumental cut, the title track subset “(33 RPM)” returns to the boom bap likening himself to a breath of fresh air while the song “Timeslip” hooks up some kicks & snares with these grungy guitar licked acknowledging that it’s been a long wait since the fans have last heard from him yet he’s finally here. “Return to Sender” however happens to be a groovy closer dedicated to all the souls stuck in limbo.

Come to find out that Phantom X has been a decade in the making starting in 2013 & completed during the 2020 COVID-19 pandemic, which is interesting because you can definitely hear they put their all into it. DJ Iron’s production fuses classic hip hop with elements of 60’s psychedelica & bits of acid rock while also further experimenting with vintage organs, phasers, analog filters & tape echoes on top of the dense lyricism taking the listeners to an other-worldly realm.

Score: 3.5/5

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Nicki Minaj – “Pink Friday 2” review

Trinidadian-American rapper & singer/songwriter Nicki Minaj is celebrating her 41st birthday by putting out her long-awaited 5th full-length LP after a couple delays. Starting in ‘04 as 1/4 of the Hoodstars, she would go solo shortly after & put out a trilogy mixtapes in the mid/late 2000s, most notably her final one Beam Me Up Scotty that later resulted in New Orleans icon Lil Wayne signing Nicki to a joint deal with Young Money Entertainment & Cash Money Records. Her debut album Pink Friday in my opinion is her best full-length, as Pink Friday: Roman Reloaded was trash & The Pinkprint was average as was her last LP Queen over 5 years ago already. She has since departed Cash Money, but is sticking with Young Money & it’s distributor Republic Records alongside her newly launched Heavy On It Records for a sequel to her debut that I went into morbidly curious about.

“Are You Gone Alreaady?” featuring Billie Eilish on the hook has an angelic trap sound to it thanks to FINNEAS talking about only hurting you if you let them whereas “Barbie Dangerous” shows off a speedier flow reminding that these bitches is her sons all this time later over a piano-driven trap instrumental. “F.T.C.U. (Fuck This Club Up)” pays homage to a joint on Waka Flocka Flame’s groundbreaking debut album Flockaveli over a rubbery bassline & hi-hats from ATL Jacob, but then “Beep Beep” featuring 50 Cent goes into spacious trap turf courtesy of Murda Beatz wondering if it’s beef if she don’t even know you exist

Moving on from there, “Fallin’ 4 U” professes her feelings for her childhood friend/now husband & sex offender Kenneth Petty over an genuinely luscious beat with hi-hats just before “Let Me Calm Down” featuring J. Cole goes into a cloudier direction instrumentally so both of them can talk about being taken somewhere mystical. “R.N.B. (Real N***a Bitch)” featuring Lil Wayne continues to delve further into atmospheric territory dedicated to the titular type of women while “Pink Birthday” talks about making one feel like it’s their special day over Boi-1da flipping “Pornography” by Travis Scott.

“Needle” featuring Drake is an awkward reggaeton ballad comparing life to a haystack & their romantic partners as the needles in it hence the title while “Cowgirl” talks about getting drunk over acoustics & hi-hats. “Everybody” featuring Lil Uzi Vert has this danceable groove throughout the instrumental with both of them look to spin & kill guaranteeing that TikTok will have a field day with it while “Big Difference” explains that she ain’t nothing like these other women out here over a chaotic trap instrumental from BoogzDaBeast & FNZ.

We get a bit of dancehall mixed with trap & hardcore pop rap on “Red Ruby Da Sleeze” dropping braggadocio throughout while “Forward from Trini” featuring Skeng & Skillibeng embraces those dancehall elements of the previous cut a bit more heavier describing the kind of woman who has a thing for bad guys. “Pink Friday Girls” heavily samples “Girls Just Wanna Have Fun” by Cyndi Lauter putting her own spin on that concept & “Super Freaky Girl” isn’t any better pretty much building itself around “Super Freak” by Rick James.

“Bahm Bahm” gives off a tropical trap flare explaining you can’t talk on the phone with her because she doesn’t like to put the cops in business prior to Don Cannon & Sean Momberger cooking up one of the stronger instrumentals on the album with “My Life” making it known to everyone tuning in that she doesn’t need any more drama in her life. The spacious R&B duet “Nicki Hendrix” featuring Future advises that feeling destructive leads to destruction while “Blessings” featuring Tasha Cobbs Leonard finds BNYX of Working on Dying stripping the drums to talk about their own respective blessings.

The penultimate track “Last Time I Saw You” blends alt-pop & contemporary R&B with pop rap alongside alternative R&B & even jersey club singing about her father Robert Maraj who passed away over 2 & a half years ago already. However to close out Nicki’s 5th album & the sequel to her debut, “Just the Memories” details that memories don’t live like people do but they’ll always remember you rather. The first of 3 bonus cuts “Love Me Enough” is easily the best from the summery sound Murda Beatz delivers to the lyrics admitting to previously believing love had to hurt while “Press Play” featuring Future teams Pluto with Roman with the fans on K. The last bonus song “Big Foot” is not only up in discussion for being the worst diss track ever made aimed at Megan Thee Stallion, but MAYBE the worst single of the decade.

There was no way in my mind that Pink Friday 2 would be any worse than Queen or especially Pink Friday: Roman Reloaded, but I still came away from the final product kinda on the fence with it. Of course you’re gonna have some filler during the 90 minute or so listening period, but I can definitely hear her incorporating all the things that people love about her with a way bigger sound although the production has it’s lackluster moments such as the way some of the samples were used or even a few features.

Score: 2/5

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Night Lovell – “I Hope You’re Happy” review

Ottawa, Ontario, Canada rapper, songwriter & producer Night Lovell is back with his 3rd full-length LP albeit his 2nd for the $uicideboy$‘ very own G*59 Record$. Emerging in 2014 when he dropped his debut EP I’ll Be Back & then following it up 4 months later with his debut mixtape Concept Vague, heads continued to turn in 2016 off the sophomore tape Red Teenage Melody & the 2019 full-length debut Goodnight Lovell. His sophomore effort & G*59 debut Just Say You Don’t Care was a step above the album before that, but is returning by simply saying I Hope You’re Happy.

“Morrison” is a morbid trap opener produced by outby16 who did the entire project explaining that they tried to take him down with no success whereas “Who’s This Weirdo?” takes the boom bap route instrumentally talking about being back & asking exactly what the plan is. “My Day’s Ruined!” was an underwhelming choice of a single hooking up a suspenseful loop with some hi-hats dissing those who be fucking up his mood, but then “Golden Ticket” grimly talks about running ’round the fuckin’ world tryna conquer.

Meanwhile, “Sunday” goes for a dreary trap vibe melodically asking why they make him feel like it’s nowhere to go leading into “Life Sucks So We Fuck” featuring ZillaKami of prior City Morgue fame who has the best feature on the LP goes full-blown trap metal talking about how there really isn’t any better remedy when you think about it. “Peek-a-Boo” likens himself to that of a monster over some heinous piano chords & hi-hats just before “Sucks to Be You :/“ draws inspiration from the Memphis scene a bit telling y’all to pick your battles.

“Freak” featuring Freddie Dredd who’s guest appearance is a little weaker in comparison to Kami’s, but nonetheless was a ghostly trap single addressing those lookin’ like freaks tryna take their shines from them while “Eye Spy” gets in his young stunner bag keeping that occult atmosphere in the fold. “Alive Even When I Die” draws near the end of Night Lovell’s official G*59 sophomore effort by telling guys a story ’bout his life over a psychedelic guitar riff & hi-hats. Finally, the closer “Cold Shoulder” ties up the LP by professing that he doesn’t wanna live this life over a woozy beat.

Just Say You Don’t Care was a considerable step-up from Goodnight Lovell, but he really takes his elevation to a whole new level by going above & beyond on I Hope You’re Happy. outby16’s production expands KLNV’s cloudy trap sound in favor of experimenting with trap metal & even boom bap. As far as Lovell’s performances go, he outdoes himself 2 & a half years ago when he was first introduced to $B’s audience & bringing in a couple features unlike last time also.

Score: 3.5/5

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Ty Fontaine – “264” review

Maryland recording artist Ty Fontaine following up his previous EP YUHEAME from this summer with a 7th one. Breaking out in 2019 off the strength of his debut EP Waiting on Ascension, he would go on to follow this up with the full-length debut We Ain’t the Same alongside a couple of mixtapes & 3 more EPs, the previous being The Revive preluding a sequel to his Internet Money Records-backed debut mixtape Ascension & more recently Black Truck Life in the spring. But with winter coming up in a few weeks, Ty’s capping off his 2023 by putting out 264.

“Catch My Breath” is an irresistibly catchy opener with a synth-based instrumental that almost gives me a bit of a Kanye influence telling his significant other to simply give him a minute whereas “D.O.S. (Drugs Over Sex)” featuring Joony, Summrs & TTM Dawg displays a back-&-forth chemistry from the 4 over a trippy instrumental choosing substances over intercourse. “Croak” works in more hi-hats & a psychedelic loop talking about being on a roll as of late that is until “Wetty” brings the synthesizers back together breaking down that this bitch knows what’s up.

On the other hand, “Fashion” featuring Lil Dre gives off euphoric atmosphere to the beat calling their swag crazy as fuck just before “Motel 69” is it acoustic trap hybrid talking about how it’s the game & not the same. “Giving Everything” featuring Hardrock has my second favorite guest performance on the entire EP with a moody trap instrumental asking where you at when they need you, but then “Charge it to the Game” strips the drums singing his ass off for a couple minutes.

The penultimate song “Sandbox” has my favorite Summrs feature throughout 264 continuing to keep the drums out of the picture so both of them can talk about coming out of the sand & last but not least, the title track ties up the 20-minute listening experience by keeping things stripped back sonically explaining how long it took him to making the project totaling up to 11 days.

So we got a trilogy of EPs from Ty this year & the last one here has not only already made it’s case as the best of the 3, but is also further indication to me that things are only gonna get bigger for him 2024-onward because 264 could very well be my 2nd favorite body of work from him behind Ascenscion. Sure only 2 of the 4 featured stick the landing, that’s not to say that the production or Ty’s own abilities as a performer aren’t continuing to improve.

Score: 3.5/5

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Chetta – “Sick Bitch” review

New Orleans, Louisiana emcee/producer Chetta is returning with his 20th EP & his 3rd body of work this year. Coming up in the spring of 2014 off his debut mixtape Nino White. This was followed up with 18 EPs as well as 11 more tapes & a full-length debut, but gained significant attention off his G*59 Record$ debut Been Here Forever last summer as well as his last EP Falling Off & his latest album Playboy.

“My Misery, Your Entertainment” pretty much comes straight out the gate with it with a rage beat asking if anyone out there happens to not be entertained at all leading into “Finally Killing Myself!” talking about jumping out the window over a cloudy trap instrumental. “Y2K” works in some hi-hats & twinkling keys declaring that no one can do it like him while “Look_What_God_Did” gives off a drearier vibe talking about how we already know he slidin’. “W/orw/oyou” pushes near the end of Sick Bitch with a bombastic trap beat going through the back since he doesn’t need his ID. “Be My Permanent High” closes the EP by ghoulishly admitting that he feels alone.

Chetta to me has been continuously putting out the best material of his career throughout these last few years ever since signing to G*59 during the pandemic. The production is grounded in the southern trap sound that the New Orleans label has become predominantly known for & he gets back on his emo shit a little just like we did on Falling Off, which we didn’t hear a whole lot of on Playboy.

Score: 3.5/5

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eLZhi – “Heavy Vibrato” review

One of the greatest Detroit emcees of all-time eLZhi teaming up with Oxnard producer Oh No for his 5th LP. Rising to prominence as a member of Slum Village shortly after the departure of the late J Dilla about 2 decades ago, he eventually saw success of his own with his classic solo debut The Preface in the summer of ‘08 & was followed up 8 years later with Lead Poison. 7 Times Down, 8 Times Up is my 2nd favorite of his behind The Preface due to JR Swiftz’ stellar production as well as it’s resilience heavy concept & the last album Zhigeist produced by Georgie Anne Muldrow was a boom bap/neo-soul love letter to people of color. But with Oh No fresh off producing Berserko for Tha God Fahimthis spring, eL’s keeping it rolling on the Nature Sounds roster for Heavy Vibrato

After the “What Is Heavy Vibrato?!?” intro, the first song “Trick Dice” starts the album by mixing these vibraphones with kicks & snares detailing the type he is & that he stays on point whereas “In Your Feelings” featuring Dankery Harv gives off a suspenseful boom bap approach instrumentally blasting those who be squealing on them. After the “Doc No Check Up” interlude, “R.I.P. (Radio International Programming)” featuring Guilty Simpson continues to move forward hoping on top of pianos declaring this shit ain’t real now just before “Possessed” shifts gears into darker turf talking about not being sent to another dimension in this lifetime.

“Bishop” works in more kicks, snares & pianos admitting that he’s been feeling like it’s him against the world as of late leading into “Fireballs” keeps in to the basement musically talking about what’s exactly going to happen when you speak ill on his name. “Smoke” featuring Blu as well as Oh No himself & Phez Roc strips the drums in favor of a jazzy loop admitting that they’re from another space & time occasionally, but then “Twilight Zone” talks about opening up the doors with the keys to imagination over a fragilely calm beat. The penultimate track “Say It Don’t Spray It” draws near the end of the album by bringing it hardcore responding to shots being fired & to wrap up Heavy Vibrato, the closer “Last Nerve” admits that there are only a few things in this life that be getting on his nerves over another boom bap instrumental.

You can’t really go wrong with eLZhi’s discography since he’s been constantly putting out quality material in the last 25 years, but I happen to like Heavy Vibrato slightly more than Zhigeist. Oh No‘s production here is more jazzier in comparison to Georgia’s swapping those elements out for neo soul last time & the storytelling from the Detroit lyrical wizard is cinematic top to bottom.

Score: 4.5/5

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Atmosphere – “Talk Talk” review

Minneapolis, Minnesota duo Atmosphere consisting of Slug on the mic & Ant on the boards following up their 13th LP So Many Other Realities Exist Simultaneously. Initially a trio from the beginning of their formation up to release of their critically acclaimed debut Overcast!, they would later go on to build an independent empire with their Rhymesayers Entertainment whether that be signing acts from Brother Ali to the late Eyedea or putting out their best bodies of work like God Loves Ugly of Sad Clown Bad Dub 9.. But it turns out Atmosphere has some outtakes from the sessions of their latest album & are compiling them into Talk Talk.

“Wetter” starts the EP for all the party people down the electro-trap instrumental whereas “Attachings” works in some synthesizers advising to never change & that everything’s happening whatever that even means. “Rotary Telephone” goes for a funkier approach to the beat so he can think out loud on wax prior to the dance-inspired “Don’t Mind Me” talking about deserving some levity & that everybody gets left behind in the end.

Meanwhile, the futuristic jam “Where I’m / You’re At” asks if anyone’s in the back of the front or the front of the back while the title track is taken straight from the new full-length that Atmosphere put out this spring. “Hear Hear” experiments with trap again saying you need someone here when you got something to hear while the wavy “Hello Pete” featuring Buck 65 & Kool Keith pulls out the receipts on the titular character.

“Make Party Politics” continues to draw near the end of the 2nd body of work from Slug & Ant this year fusing trap with electro music once more detailing that you don’t even know what the Hell you’re looking at & to not hold your breath prior to “Traveling Forever” ending the EP with a calming boom bap instrumental portraying himself is an endless traveler.

So Many Other Realities Exist Simultaneouslyevoked the multiversal storytelling that’s recently vaulted into the mainstream consciousness & with this EP that came out of those very sessions, they dart across threads of space-time to grab hold of the one becoming titans of the sounds that was foundational to their youth. Ant’s production is more inspired by the likes of Kraftwerk & The Egyptian Lover so Slug can makes visions of the future from 4 decades ago seem new once again.

Score: 3.5/5

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CZARFACE – “Czartificial Intelligence” review

CZARFACE is an east coast underground trio consisting of New York emcee/producer Inspectah Deck from the almighty Wu-Tang Clan as well Boston emcee/producer duo 7L & Esoteric of the Army of the Pharaohs. They first formed like Voltron in 1999 on the single ““Speaking Real Words”, but finally decided to form the supergroup after making “12th Chamber” off the final 7L & Eso album to date 1212 over 13 years ago. Their 2013 self-titled debut along with their 2015 sophomore effort Every Hero Needs a Villain would both become modern underground classics in my opinion. A Fistful of Peril the following year was originally supposed to be the quartet’s final album & I thought that was a great way for them to go out, but they did pleasantly surprise me when they dropped their collab albums CZARFACE Meets Metal Face with the late MF DOOM in 2018 & then CZARFACE Meets Ghostface Killah with his DOOMSTARKS partner in rhyme Ghostface Killah the year after that. The Odd Czar Against Us would come out 9 months later & that felt more like a split EP between CZARFACE and solely 7L & Esoteric given that both groups have 6 songs each. Czarmageddon! though ended up being the trio’s most consistent full-length since Every Hero Needs a Villain so when it announced they had signed to Virgin Music for their 6th album, I was intrigued to hear if CZARFACE would continue to improve themselves like they did a year & a half ago.

“Czarchimedes’ Death Ray” of course starts the album with a boom bap instrumental & feeling like no one can stop them whereas “Blast Off” works in more kicks & snares with a fuzzy guitar from The Czar-Keys continuing to boast on the lyrical side of things. “All That For a Drop of Blood” is a synth/boom bap hybrid explaining that it be a grand entrance whenever Czar’s in the building, but then “You Know My Style” featuring NEMS serves as an eerie reminder to all 4 of their underground roots on all fronts.

7L & Esoteric get their own solo cut with “Mama’s Basement” telling the story of a mother going away on a lifelong trip & never seeing her much, yet he found a world he can escape to in the end leading into the dusty “Frenzy in a Far Off World” featuring Frankie Pulitzer a.k.a. Tom Hardy keeping the battle bars rolling. “Czarsenic” despite is brevity has to be one of the most cutthroat moments on the album comparing their flows to arsenic over an unsettling beat just before the piano/boom bap “Gatecrasher” featuring Logic asking why people bringing beef up in their joint.

“Sirens” brings the synthesizers back into the picture explaining that they be sleeping with the titular prolonged warning sounds going off while “Helicopter” featuring Godfather Don & Kool Keith finds the quintet bringing it live from the czarbeque over kicks & snares. After the “1-11 Chelsea” instrumental from both 7L & JL Hodges, “Marvel at That (Road Trip)” is another 7L & Eso cut filled with Marvel wordplay while “Live from Czarnegie Hall” featuring Kool Keith ruggedly talks about this being survival of the fittest. “Together” ends with album with an uncanny instrumental describing themselves as A-list.

For a major label debut, CZARFACE continues to build upon what made their last LP from a year & a half ago by putting out another consistently focused body of work that pays homage to golden age of hip hop culture with samples from classic records. They mix their characteristic old school sound with soulful & jazzy beats on top of blending the unfiltered essence of OG braggadocio, introspective storytelling that the high-flying superheroes have become known for by now.

Score: 4/5

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AZ – “Truth Be Told” review

Brooklyn veteran AZ is starting the final month of 2023 by putting out his 10th full-length LP. Most notable for his longtime association with Nas being the only feature on the latter’s iconic debut album illmatic with the song “Life’s a Bitch”, he would later go to signing with EMI Records & drop a full-length of his own Doe or Die a little over a year later becoming one of the greatest mafioso hip hop albums of all time. Other standouts in his discography include Pieces of a Man, Aziatic, A.W.O.L. & The Format & more recently Doe or Die II which was a return to form for him personally. But for his 2nd album of the 2020s, he’s enlisting Buckwild from D.I.T.C. to fully produce Truth Be Told.

After the intro, the first song “Reintroduction” sets the tone of what’s to come hooking up a soul sample with kicks & snares admitting that he’s been going for this going for the game-winning shot with only a few seconds left in the 4th quarter whereas “Don’t Go Astray” goes for a bluesy/boom bap vibe talking about real ones never head off target or into any sort of wrongdoing. “One of the Greatest” works in more kicks & snares accompanied by a mellow loop rightfully calling himself that leading into “Amazing” looking back on moments in his life over a prettier instrumental.

“Still Got It” proves Sosa’s point that he hasn’t lost a step with the pen since returning to making music on top of a soulful beat just before “G.O.A.T.” goes for a sample-heavy sound talking about his greatness. The lead single “This is Why” has some rock undertones to the instrumental a bit as he looks to remain fly, but then “Go Time” featuring Pharoahe Monch brings this orchestral flip in the picture so both of them can get on their battle shit.

The penultimate track & final single that just came out last weekend “How We Get It” featuring Fat Joe takes a lavish approach musically as both of them break down the way each of them get it individually & lastly, “Respect Mine” ends Truth Be Told by bringing it raw 1-last time breaking down his legacy for the last minute & 45 seconds left of this half-hour long LP.

Some were calling me crazy because I loved Doe or Die II more than others & I still believe it’s AZ’s best since The Format due to Undeniable & Legendary not being that well received. That said: Truth Be Told matches the caliber of that previous album we got a little over 2 years ago & is his 2nd consecutive classic in this decade. Sosa manages to refine & update his style with the help of his longtime collaborator from The Bronx.

Score: 4.5/5

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