Detroit emcee Mickey Diamond is back with his 10th full-length LP. Emerging at the beginning of 2020 off the strength of his debut EP Bangkok Dangerous, the dude has since gone on to turn quite a few heads in the underground by building up the impressive discography for himself with his previous 9 albums alongside 7 EPs & a mixtape. But for the past year, Mickey has been consistent putting out some of the best material of his career thus far. This includes the Gucci Ghost album & it’s sequel produced by Big Ghost Ltd., the Ral Duke-produced Oroku Saki EP, the Sadhugold-produced Death Threat$ album & the Camoflauge Monk-produced Capital Gains album. However to come off Gone in 60 Seconds & Bangkok Dangerous 4, he’s surprise-dropping a 3rd installment of Gucci Ghost.
The first song “Live Fast” after the “Maurizio’s Dead, Somebody Shot Em” intro sets off the LP with a piano-driven boom bap instrumental living in the fast lane & looking to die free whereas “Nauti by Nature” works in more pianos, kicks & snares talking about shooting ya. “Gucci Underwear” weaves another piano-boom bap hybrid into the fold firing shots at everyone who’s been lamed out up to this point prior to “Icebergs” shifting into more lavish turf reminding that there’s dark matter scattered over everything.
“Patrizia’s” starts the 2nd leg of the LP by returning to the boom bap assuring that he could do this shit forever if he wanted to just before “Reggiani’s Revenge” ruggedly calls these computer thugs Microsoft & seeing all the dead people a.k.a. dead presidents that he’s stacked up for himself by now. After the “Murder for Hire” interlude, “Designer Caskets” dustily compares his flow to hot lava & “Aldo’s Ghost” ties up the Gucci Ghost trilogy by eerily disappearing into the vapors RKOing everybody as if he’s 14-time WWE world champion, 4-time WWE tag team champion, WWE Intercontinental Champion & WWE United States Champion Randy Orton.
Oroku Saki is the best EP that we’ve gotten from Mickey in 2023, but I firmly believe that Gucci Ghost 3 has now taken over Death Threat$’ spot for the best full-length he’s dropped this year & most certainly a late AOTY contender with only a couple weeks left until 2024 begins. Unlike the predecessor being more feature-heavy & the original Gucci Ghost only having a couple, it’s just Diamond & Big Ghost here continuing to elevate one another like they’ve been doing for the past year.
This is the 2nd solo EP from New Orleans emcee/producer Ruby da Cherry. Blowing up as 1/2 of the $uicideboy$ alongside his cousin $crim, they’ve built up an impressively extensive discography over the last decade & even have their own Virgin Music imprint G*59 Record$ with an ever-growing roster of artists. Budd dropped his full-length solo debut A Man Rose from the Dead in the midst of the COVID-19 to mixed reviews & as Ruby comes off Tragic Love Songs to Study to earlier this summer, he’s back at it with more Existential Hymns for the Average Sigma.
After the “¯\_(ツ)_/¯” intro, the first song “Excalibur” is a punk rock opener with Ruby singing that he knows he’s gonna find a way down the line whereas “I Was a Teenage Nihilist” following the “where y’at, duckboy?” interlude features faster instrumentation talking about the nihilism he faced as an adolescence. “Pearls Are Just Oyster Puke” after the “where y’at, duckboy??” interlude continues to take things heavier assuring that he’s still breathing & after the final “where y’at, duckboy???” interlude, the final song “Heroin As a Recreational Activity” is a punk rock closer talking about his past drug addiction.
tragic love songs to study to was a solid way for Ruby to properly introduce everyone to his pop punk alter-ego because he continues to delve further into the world of punk rock music recalling back to his Vapo-Rats days. His vocals & songwriting are still on point, but I noticed a couple heavier instrumentals in comparison to the previous EP last summer & it has me wondering if he’s gonna dabble with metal music in regards to his next solo EP.
Bas is a 36 year old Sudanese-American rapper & songwriter born in Paris, France & raised in Queens, New York who emerged in 2011 by putting out his debut mixtape Quarter Water Raised Me. The 2013 sequel Quarter Water Raised Me 2 would catch the attention of J. Cole, who shortly after helped Bas become the 2nd act after Omen other than Cole himself to sign to his Interscope Recordsimprint Dreamville Records. He would introduce himself more to the Dreamville fans the next spring on the moderately received full-length debut Last Winter & the sophomore effort Too High to Riot couple years later won them over, as it’s still the most critically acclaimed body of work in Bas’ discography to date. His previous LP Milky Way in 2018 was also treated to mild reception as were the couple of EPs that he’s given us since then Spilled Milk & [BUMP] Pick Me Up, but the highlights on those last few projects had me holding out hope that Bas would reach the heights that Too High to Riot did once again.
“Light of My Soul” starts the LP with a drumless loop from Boi-1da sampling “We’ve Got a Way Out Love” by The Originals confessing that he has a problem makin’ other people’s problems his own whereas “Black Jedi” likens himself to Mace Windu shifting gears with it’s trap instrumental. “Choppas” talks about going round like the helicopter working in a cloudy backdrop & hi-hats just before “Home Alone” featuring J. Cole produced by T-Minus & Cubeatz serves as a vibrant dedication to the people that switched up on them, the women they miss, the ones they I love, the ones that stayed & the seeds that we growin’ although Bas feels like he’s been featured on his own track.
Meanwhile, “Risk” takes a smoother approach sonically detailing a relationship with a woman in which he took a risk with because she was almost too perfect at first until distancing herself from him leading into “Decent” featuring Amaarae talking about being 100% the same as they were when they started over a spacious trap beat. “Ho Chi Minh” gives a look at Bas’ emotional & mental state as well as his experience with substance abuse over a solemn instrumental, but then “179 Deli” featuring AJ Tracey dabbles with the UK drill sound a bit telling y’all to stay with them for the ride.
Cole returns on “Passport Bros.” for a mediocre pop rap/dancehall fusion with some afrobeats undertones & I say it’s mediocre because my biggest problem with it personally is that both of Bas’ verses feel underwritten although I’ll still take it over “Testify” featuring Sha Sha since it continues to expand on that dancehall vibe singing that they’re gonna “fuck each other right”. The atmospheric “U-Turn” featuring A$AP Ferg & Blxckie breaks down a woman who had them running back with Ferg having the better of the 2 guest performances prior to the final J. Cole appearance on the album “Papers Cuts” groovily asking if you dumb.
“Diamonds” looks to take a leap as artist have to continually explore & give more of themselves to feed the insatiable appetite of the audience on top of some summery acoustic passages while “Yao Ming” boasts that he got racks as tall as the iconic Houston Rockets player of the same name over soulful background vocals. The song “Dr. O’blivion” is more stripped-back thanks to Cole himself explaining that “she don’t want none of the madness you come with” while the penultimate track “Khartoum” is a powerful ballad about the ongoing war in Sudan featuring Adekunle Gold on the hook. “Wait on Me” ends the LP on a melodic note singing that he loves the moments you spending with him.
I remember upsetting a couple Dreamville fans after the Milky Way review because I still believe it’s the most commercial body of work I’ve heard from Bas, but We Only Talk About Real Shit When We’re Fucked Up happens to be the most I’ve enjoyed a project from the guy in about 7 & a half year. Those pop rap/trap elements from that previous album make their way over here once more except this time, he’s mixing them with some new sounds that he’s trying out like dancehall or afrobeats.
(həd) p.e. is a g-punk outfit from Huntington Beach, California masterminded by Jahred Gomes. From their first 2 albums under Jive to their first stint on Suburban Noize in the mid-2000s, these guys have truly been making a name for themselves for over 25 years whether that be their eclectic sound or the more political lyrics on some of their recent output. They returned to Subnoize in 2019 for their 11th album Stampede even though it wasn’t generally received that well by both critics & fans alike, but the Broke sequel Class of 2020 returned to their roots & the subsequent EP Sandmine wound up being angrier. However to come off the Califas Worldwide compilation & their covers album 70s Hits from the Pit, M.C.U.D. & company are ending Suburban Noize’s 25 year anniversary by detoxing their 13th full-length LP of all original material.
“No Way Out” is a skull-smashing trap metal opener to the album declaring that they’re back in black whereas the title track returns to their g-punk roots singing that he knows just what you want. “Waiting” gives off a bit of a rap rock vibe addressing someone who’s no good for him, but then “Too Late” goes into a straight-up nu metal direction talking about how you need to count your blessings. Moving on from there, “This Dream” takes it back to the g-punk sound that they created reminding that the dream they have isn’t for everyone just before “Compromise” fuse elements of reggae, punk rock & hip hop refusing to give & take. “Rat Race” embraces works in another trap metal beat so M.C.U.D. can paint the image of a nightmare leading into the rap rock “Going Nowhere” promising they ain’t leaving anytime soon. “Pour My Wine” draws near the end of the album with a rap metal groove encouraging to light the blunt up & fill up his cup or glass with wine prior to “PCH” closes the album for a funky rap rock dedication to those doing time as we all know that life’s too short & time is continuing to fly by.
Class of 2020 to me wasn’t that bad of a sequel to Broke, but the way Detox pays homage to their g-punk origins by capturing the frenetic energy & signature elements of their distinctive sound is more than enough to satisfy anyone who obviously loves these guys. Ulrich Wild’s masterful mix & master seamlessly melds raw aggression, hip-hop influences & hardcore vibes to deliver a sonically cohesive experience. If this is how the 25 year anniversary of Suburban Noize Records ends, it’s a pretty ass-kicking high note.
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.
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.
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.
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.
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.
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.
