Benny the Butcher & Fuego Base – “Ashes in the $afe” review

New collaborative EP from Buffalo, New York emcee Benny the Butcher alongside Hartford, Connecticut emcee Fuego Base. One of whom co-founded Black Soprano Family Records with City Boy & the other blew up a few years ago after signing to the label. So I had no problem with them taking their chemistry to the next level with Ashes in the $afe almost a week since former WWE Women’s Champion Stephanie McMahon, former IWA World Champion, 2-time IWGPヘビー級チャンピオン, 3-time NWA World’s Heavyweight Champion, 4-time NWA World Tag Team Champion, PWG World Champion, RPW British Heavyweight Champion, the inaugural ROH Pure Champion, ROH World Tag Team Champion, 2-time TNA World Champion, the inaugural 6-time TNA X Division Champion, 2-time TNA World Tag Team Champion, 2-time WWE Champion, WWE Intercontinental Champion, 3-time WWE United States Champion & 2-time WWE tag team champion AJ Styles, former 3-time WWE Tag Team Champions Demolition, former 5-time NBA Champion Dennis Rodman, former CWA Heavyweight Champion, 4-time WWE world champion & WWE United States Champion Sid Eudy and Bad News Brown were all inducted into the WWE Hall of Fame.

After the titular intro, “Sundial” kicks things off with a sumptuous boom bap opener talking about both of them being made for the stardom whereas “Pyrex & Prayers” lets Fuego Base hold it down by himself so he can put his life savings on the stove hoping everything goes right. Benny returns on “Like It Is” so they can move the weight & tell things the way they see it while “Rev X” featuring Sule finds the trio bringing it hardcore without a hook.

“The Fighting Irish” gets the 2nd half of the EP going by talking about both of them feeling rather lucky prior to O.T. the Real & Rick Hyde appearing for “Warehouse 4”, which is a continuation of the series that began on Biggest Since Camby a few years ago. “Big Shirley” mixes some triumphant strings with kicks & snares for the last Fuego Base solo track talking about how well he goes with the game & “Castellammarese War” featuring O.T. the Real ends with them still predicting show like groundhogs who don’t see their shadows.

Tell My Momma I’m Still a Rapper was a good way for Fuego Base to start off 2026 & most people wound up preferring Benny the Butcher’s most recent tape Summertime Butch 2 over it’s predecessor including myself, but I’d put Ashes in the $afe over the eponymous Harlem Heat extended play Fuego did with Elcamino last summer. The chemistry’s stronger & the Butcher proves now’s the time for the Biggest Since Camby lets the world know his true artistic potential.

Score: 3.5/5

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Wallie the Sensei – “M.A.D. D.O.G.G. (Managing Angry Demons Deprived of God’s Grace)” review

Wallie the Sensei is a 29 year old rapper from Compton, California emerging in the summer of 2020 during the COVID-19 pandemic off his debut extended play No Love. He went on to follow this up with the full-length debut Golden Child & the sophomore effort Here 2 Stay under Capitol Records, which resulted in him doing the hook for “Dodger Blue” off Kendrick Lamar’s 6th album GNX. The latter would impress Travis Scott enough in signing Wallie to Cactus Jack Records last spring & his debut for the label has finally arrived in the form of his 2nd EP.

“No Shirt” made for an atmospherically decent intro talking about waking the streets up whereas “Dirty Bastard” carries over the cloudiness until the beat switch during the final minute or so to discuss the coldest hearts playing with the most heat. “City of Angels” goes for a moodier vibe confessing that he’s been going numb to the pain until the title track produced by Taurus talks about there being too many killers & not enough bodies as well as deserving of wealth.

The song “4 Lines / Self Destruct” splits itself into 2 halves again trying to get his mother out the hood & feeling like he’ll fail if he doesn’t prior to some drumless acoustics being incorporated midway through talking about carrying heavy weight. “Beam” featuring Roddy Ricch finds the 2 embracing a nervous vibe advising that real Gs don’t do the shit they do for entertainment purposes & “Product of My Environment” talks about making it this far because he hasn’t changed.

His brief appearances on Jackboys II last summer & more recently DJ Chase B’s debut album Be Very Afraid a couple months earlier raised some concerns regarding my anticipation for M.A.D. D.O.G.G. (Managing Angry Demons Deprived of God’s Grace) but considering that the chances of a sequel or 2 are looking increasingly likely, I hope they’re better than this. A lot of these instrumentals are dull & it’s disappointing since I don’t mind the perspective he gives regarding the people in his hometown.

Score: 3/5

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Jon Connor – “The Artist Yahn Freeman IV” review

New surprise EP from Flint, Michigan emcee/producer Jon Connor. Someone who’s steadily been holding it down for the last 2 decades including The Calling, Vinnie Chase & S.O.S. trilogies along with the Best in the World series paying homage to some of Jon’s influences, Salvation, While You Were Sleeping & Unconscious State. He was even signed to Aftermath Entertainment for 6 years before departing after Vehicle City wound up being shelved, coming off Food for the Soul & 24 produced by KLC of the No Limit Records in-house production team Beats by the Pound to drop the 4th installment of The Artist Yahn Freeman series produced by Smitti Boi.

“Lord You Know I’m Trying” hops over a trap beat sampling gospel music to begin this month’s installment talking about making music for the people who appreciate his style these days whereas “1st Day Back” goes for a boom bap vibe instrumentally admitting he wakes up every day thinking of making something out of his life before his time’s up. “Solid Ground” keeps it rugged to spit streams of consciousness while “Evolve” featuring MRK_SX finds the 2 talking about now being the time to do better.

Starting the 2nd half, “The Party 2” comes through with a spiritual successor to a highlight off The Artist Yahn Freeman II promising to never give up his self-respect for money over a nocturnal trap beat while “Endless Road” vents the need to talk to someone except no one’s tapping in. “Praying for the Sunshine” returns to the boom bap calling for us to realize our children’s future is in our hands & “They Can’t Stop My Dreams” spends the last couple minutes promising everything will be ok.

Only a week after his birthday, this latest entry of Jon Connor’s ongoing saga has been only getting more interesting by the month & The Artist Yahn Freeman IV taking over The Artist Yahn Freeman III’s position as the All Varsity Music Group founder’s finest-sounding extended play this whole year. Maestro Williams of Silent Riot’s gives us the greatest mixing/mastering I’ve heard throughout this entire tetrarch through his engineering, carrying over the thoughtfully conscious lyricism backed by Smitti Boi’s production healthily balancing boom bap & trap.

Score: 4/5

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Daz Dillinger – “Mo’ Weed 4 Sale” review

Wouldn’t be 4/20 without the 25th studio LP from Long Beach, California rapper, producer & songwriter Daz Dillinger. Some of his cousins include Brandy & her brother Ray J, WWE Hall of Famer Snoop Dogg & the longest reigning AEW tbs Champion, former CMLL Mundial Femenil Campeon, IWGP女子チャンピオン, 新日本プロレス強い女子チャンピオン, RPW British Women’s Champion, the shortest reigning ROH Women’s World Television Champion, NXT Women’s Champion, 6-time WWE women’s world champion and 3-time WWE Women’s Tag Team Champion Mercedes Moné. He eventually signed to Death Row Records & became an original in-house producer under the guidance of its co-founder Dr. Dre, forming Tha Dogg Pound with Kurupt not too long afterwards. Daz finally made his solo debut on ‘98 by putting out Retaliation, Revenge & Get Back on Death Row until departing rather quickly to put out 20 more albums of his own with almost 3 decades of experience in the game. Retaliation, Revenge & Get Back 2 took it back to the essence of his debut last summer and Retaliation, Revenge & Get Back 3 a couple months later found some clarity regarding his complicated history with Tha Row. I appreciated Rowtation more than others because of the introspective tone, but I can’t say the same for Valentine’s Day. That said: I went into Mo’ Weed 4 Sale hoping for it to become his greatest 4:20-themed opus.

The self-produced title track was actually a cheerful intro to get the ball rollin’ talking about selling bags of gas whereas “Don’t Fucc Up My High” has a more chilled out vibe to it sending a warning to anyone who might blow his buzz. “Why U Wanna Smoke with Me For?” takes the soulful trap route instrumentally trying to figure out the reason some of these people who don’t smoke want to smoke with him while “I Promise” talks about being a stoker until his very last breath.

“She Don’t Smoke” smoothly ends the 1st leg of Mo’ Weed 4 Sale describing a woman who can’t stand the smell of bud leading into “How Bad U Wanna Smoke?” fusing cloud rap & pop rap taking a more romantic approach to the lyrics which I understand since it’s a continuation of the previous track, but it might be my least favorite here. “Mota” on the contrary picks things back up with a slick beat flexing the kind of shit that he personally likes to smoke.

Rounding out 3rd, the song “American Weed” talks about having no stems or seeds in the kind of flower he desires whether it’s indica or sativa (or hybrids) while “Don’t Smoke Up My Weed” takes some inspiration from the southern hip hop scene instrumentally by embracing the overall trap sound advising not to go through his supply. The closer “‘Til I Pass Out” finishes the 2nd & best full-length from Daz in 2026 so far bringing some g-funk undertones in the picture talking about how long he smokes.

Daz said in a recent interview that we won’t see him on stage or on a song with Snoop Dogg ever again & attributing that to him being kicked off Death Row as a result of him refusing to sign his publishing over to Snoop as part of the latter’s plan to sell the label’s music catalog for $1B. Nonetheless, I’d say Mo’ Weed 4 Sale clears both Weed Money when I was a junior in high school & Smoke Me Out a few years afterwards. His production justifies why he’s always been underappreciated behind the boards & I look forward to hearing him fully producing The LOX & Smif-n-Wessun’s upcoming 5th & 9th albums respectively, but I can see some people getting sick of the marijuana themes after a bit even if I prefer it a lot more than Valentine’s Day.

Score: 3/5

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Blu & Exile – “Time Heals Everything” review

Blu & Exile celebrating 4/20 with their 5th studio LP. One of the most beloved duos in all of the west coast, their 2007 debut Below the Heavens: In Hell Happy with Your New Imaginary Friend is rightfully considered by many to be one of the best hip hop albums to come out within the past 2 decades. They went on to release a follow-up in 2011 with Give Me My Flowers While I Can Smell Them as well as the 2017 rarities compilation In the Beginning: Before the Heavens & Miles: From an Interlude Called Life, the latter being their last for Fat Beats Records. Exile’s indie label Dirty Science Records has since signed a distribution deal with Soulspazm Records a couple years ago, following up Love (the) Ominous World to explain how Time Heals Everything.

“Soul Unusual” begins with this soulful boom bap intro reframing the themes of “Soul Provider” & “Soul Amazing” using a newfound perspective whereas “Shoe Laces” goes out to every single avenue he’s ever known growing up in the west coast. “Crumbs” featuring ICECOLDBISHOP & Rome Streetz details the system trying to poison the youth by giving them guns leading into “The Bag” hooking up a funky small to talk about the money.

Fashawn appears on “Hard Times” to help end the 1st leg of Time Heals Everything hopping over a piano-driven boom bap instrumental so they can confidently state that no one can take this away from either of them & after “I Don’t Rhyme” continued with a 2-parter starting off a dusty beginning prior to a beat switch during the 2nd half treading jazzier waters, “Lazy Afternoon” turns up the jazz rap influences to describe an off day.

“In My Window” nears the conclusion swapping out the jazzy elements in favor of soul influences talking about seeing the whole world with his eyes closed while “T.S.O.D. (Triple Stages of Darkness)” featuring Black-Hommy saved the best single for last, rapping circles around everyone over an organ flip. The title track featuring SABA lastly wraps things up with this gospel-infused outro pretty much summing up the biggest takeaway of the album.

Taking a different approach with the direction while still staying true to the culture Blu & Exile’s music has built with theirs fanbase, Time Heals Everything comes off the most unique entry of their entire discography once again proves that soul & risk-taking can coexist without compromise by honoring their foundation & continuing to push forward. They’re continuously evolving their chemistry whether it be Exile’s soulfully jazzy production or Blu’s incisive writing style & I like that they toned it down with the guest appearances compared to last time.

Score: 4.5/5

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A.G. – “$ € £ ₣ ¥” review

The Bronx, New York veteran A.G. enlisting Boston, Massachusetts producer Stu Bangas to produce his 7th solo LP. Known for being 1/2 of Showbiz & A.G. as well as a member of the D.I.T.C. collective, he would make his solo debut in 1998 with The Dirty Version & came back 8 years later for the sophomore Get Dirty Radio. He has since followed these up with Everything’s Berri, The Taste of AMBrosia, Always Protect the King, NYLUV & Giant in the Mental which I personally prefer some more than others. However, I already knew $ € £ ₣ ¥ had great chances of being some hit best material individually when Stu’s involvement was announced.

“Borderline” featuring D-Flow & Diamond D angrily opens up shop talking about nobody being above them lyrically & Diamond D having my favorite guest appearance of the 2 whereas “Get It Going” continues from there providing words of wisdom. “Creatures” goes for a boom bap vibe instrumentally so he can spew unapologetically hardcore lyricism prior to Cory Gunz appearing on the hypnotic “Replicant” talking about being the naked truth with clothes.

To end the 1st half, “Skywalker” experiments with an unsetting trap atmosphere using the clouds as his stepping stone while “She Like to Dress Up So I Modeled Her” calling back to when his original moniker was reminiscent of the late WWE Hall of Famer, the shortest reigning WWE Champion & former WWE Tag Team Champion André the Giant. “Suspense” featuring Prince Julius was a more laidback cut making people disappear by merely uttering 1 sentence.

“All These Things All These People” heinously talks about coming from an era when you couldn’t rap if you didn’t write it & going to all sorts of different places while “Really Rapping” encourages people to ask his crew if he’s capping or being serious in his rhymes. “Real Hip Hop” lastly sends off the album with a boom bap outro where the hook ironically samples “Ova Here” by KRS-One on what would’ve been Afrika Bambaataa’s 68th birthday but I digress.

A great bulk of A.G.’s solo material for the past 16 years has been average at best, so $ € £ ₣ ¥ on paper seemed like it would reach the same level of quality The Dirty Version & Get Dirty Radio had reached decades earlier. Thankfully, my expectations were met because a great deal of this was enjoyable to me anyway. His pen & Stu Bangas’ production combined make for the strongest he’s sounded since all of those earlier full-lengths putting aside a couple guests sticking out personally.

Score: 4/5

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The R.O.C. – “No Direction” review

Detroit horrorcore veteran The R.O.C. finally back with his 4th LP. Getting his start as a member of the House of Krazees with Jamie Madrox & Monoxide, he later hooked up with Skrapz to put out 1 last album under the HOK name before starting a duo of their own called HaLFBrEEd when the Insane Clown Posse signed Twiztid to Psychopathic Records. Although they would only release 1 official full-length under the HaLFBrEEd name titled Kontamination, it would go on to become a horrorcore classic. Welcome to the Darkside came out under Psychopathic’s now defunct Hatchet House sub-label & dropped Digital Voodoo under Majik Ninja Entertainment almost a decade later. Last we heard from him was Monsters Ain’t Real in late 2019 & returns with No Direction.

After the “Space” intro, the self-produced “It Ain’t My Business” explosively marks his return advising that your lips will follow suit if one swallows their tongue whereas “My Fantasy” asks if he’s the only one this woman prefers & her reoccurring when he runs. “Best Decision” featuring Jamie Madrox finds the 2 linking up so they can voice what they consider to be the greatest choices they’ve never made over a groovy beat leading into “Around We Go” talking about getting up outta here right now.

Monoxide appears on “Superpower” so they can energetically discuss how being themselves is their extraordinary ability just before “I’m In Love With You” tries to put the right together to express his affection towards this person knowing exactly the way he feels. “Broadcast System” goes for a futuristic boom bap vibe talking about this being nowhere close to the end of his story prior to “2084” by Zodiac MPrint consciously issues the reminder that Big Brother’s watching us all.

“Finish Strong” nears the conclusion of No Direction hopping over a grim instrumental so he can talk about ending things on as great of a note as possible while “Bridges” leads towards a gospel influenced sound & taking a spiritual approach to his songwriting. The closing track “New You” finishes things up charismatically bringing nothing but good vibes to the table celebrating improved versions of themselves on top of a funky boom bap beat.

This guy is amongst the most underappreciated artists in all of Detroit & one of the greatest human beings I’ve ever met, so I had to pull up to the listening party last Friday afternoon at the Astronomicon 9 pre-party prior to meeting the current MLW World Heavyweight Champion Killer Kross & would put No Direction right behind Digital Voodoo as The R.O.C.’s 2nd best album since Welcome to the Darkside & Monsters Ain’t Real were both extended plays. All 3 of his Samhein Witch Killaz brethren body their verses & it’s amazing to hear how far he’s come since Rollin’ with Strength.

Score: 4/5

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Cult of the Damned – “Simony” review

England, United Kingdom collective the Cult of the Damned comprised of Blah Records founder Lee Scott, BeTheGun, Sly Moon, Salar, Bill Shakes, King Grubb, Tony Broke, Black Josh, Stinkin’ Slumrok, Bisk, Sleazy F Baby, Col. Mustard, Dr. Zygote, Sam Zircon & Reklews reuniting for their 4th studio LP. Introducing themselves as a unit over a decade ago off an eponymous debut EP, a sequel would come in the form of their full-length debut Brick Pelican Posse Crew Gang Syndicate & the sophomore effort The Church Of mostly produced by Nobodies Home was more rawer sonically. Almost 4 years since Cultgangrapsh!t however, they’re reforming to release Simony.

“Ext. Car Park – Night” was the perfect lead single to mark the Cult’s comeback having everyone spitting hardcore verses over a boom bap instrumental for 5 minutes whereas “Deet” by the B-Movie Millionaires alongside King Grubb & Stinkin’ Slumrok angrily talking about having chaos in their arteries. Tony Broke gets his own solo track with “Medicine Man” hopefully teasing a follow-up to Broke as F$£k leading into “Capital £” by Sly Moon, Sniff & the Super Sag Bros talking about needing more money.

To end the 1st half, “Creekin’” ominously reunites the B-Movie Millionaires alongside Sly Moon so they can admit that something doesn’t feel right to either of them while “Covenant” goes for a more somber boom bap vibe suggesting that people might actually learn a thing or 2 from them if they lean to shut the fuck up. “Sapnin” continues the 2nd leg of the album on some luxuriously dusty shit talking about liking their money, women & beats dirty.

“& Then Some” takes the jazzier route instrumentally reminding everyone of the reputation they’ve had for the past 11 years & cautioning any competitor who wants to step up to them in a battle to fall back but “The Next Move” grittily talks about looking outside of the window plotting the succeeding phase of their plan, “Slum Lawds” takes up the last few moments expressing views that come straight outta the back book than the bible.

I’m not totally sure if we’re still getting Cultgangrapsh!t 2 at some point down the road but either way, the Cult of the Damned are finally back 4 years after Milkavelli got ousted for scamming fans with an album that I’d say rivals Cult of the Damned 2: Brick Pelican Posse Crew Gang Syndicate & The Church Of respectively. The production Spectacular Diagnostics cooks up is heavier on the boom bap side of things stylistically compared to their last one with some jazzy undertones & they sound overjoyed for this new era of their career.

Score: 4/5

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Tony Yayo – “The 4:20 Tape” review

Tony Yayo is a 48 year old rapper from Queens, New York who would go on to form a group called G-Unit with his childhood friends 50 Cent & Lloyd Banks up until his incarceration when they started to blow up. He eventually dropped his solo debut Thoughts of a Predicate Felon in the summer of 2005 under G-Unit Records & Interscope Records to mixed reception, which was followed up with 21 mixtapes. However, he’s looking to celebrate 4/20 a few days early by dropping his 22nd tape.

“Boxes” annoyingly start off with this messy beat boasting of him moving pounds of kush on Instagram whereas “So High” featuring Berner & Wiz Khalifa combines an acoustic guitar & some hi-hats so they can talk about getting stoned together. “Smoking Gas” continues to ramble on regarding the weed he smokes being the most potent over an cloudily underwhelming instrumental while “Block Work” featuring Uncle Murda unites G-Unit Records’ only remaining artists for a melodic gangsta rap track.

J.Sos’ verse on “Where’s the Blunt?” was the only feature of the 4 that I didn’t care for at all even if things sonically make a turn for atmospheric boom bap territory leading into “She Wanna Get High” swapping out the kicks & snares in favor of hi-hats again talking about going on a cannabis tour with his bitch for the rest of their lives. “Smalls & Depths” continues to emphasize the cloudier elements talking about getting on planes high & being worldwide than local.

“Kill ‘Em with Success” might have the absolute worst hook throughout The 4:20 Tape, weakly singing about the inability of getting people to stop hating on him & using his prosperity as a way of revenge until “I Woke Up Today” returns to the boom bap talking about getting blazed wherever he goes no matter of it’s overseas or on the west coast. “30¢ a Bag” however takes up the last couple of minutes talking about being zooted in the red light district.

There are only a small handful of songs I like off Thoughts of a Predicate Felon & would consider Tony Yayo to be G-Unit’s weakest link much like how Silkk the Shocker was when TRU was during No Limit Records’ heyday 3 decades earlier, but I certainly would’ve enjoyed The 4:20 Tape a lot more than I did in actuality if this was 2012 & I was still in my freshman year of high school. The production’s subpar & all the features outrap Yayo like I would’ve expected them to do.

Score: 2/5

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Mike Shabb – “Hood Olympics 2” review

Montréal, Québec, Canada emcee, producer & engineer Mike Shabb still applying pressure with his 10th EP & the 4th within the last month. Emerging in the spring of 2018 off his full-length debut Northwave, he would continue to make his presence known by putting out his last 9 EPs & a few mixtapes before gaining notoriety for engineering Boldy James’ 5th album Fair Exchange No Robbery along with producing “Switches on Everything” off Hitler Wears Hermes X & enlisting his mentor Nicholas Craven to fully produce his 5th EP Shadow Moses from top to bottom. He would follow these up with Hood Olympics, Sewaside III, Shabb Van Gogh, Fight the Power!, Vrai Rap Keb!, the Drega33-produced Lost Tapes & Maple Flavored. The latter of which was alright compared to the others I named, but Hood Olympics 2 has finally arrived nevertheless.

The self-produced “Don’t Know” asks himself why would he fuck with all of these raggedy hoes when he already has a fine bitch by his side whereas “Dilla” euphorically talks about his desire being like one of my top 5 producers of all-time: The late, great J Dilla himself. “Scrubb”aggressively issues a warning of pulling up on blocks for the purpose of wiping ‘em up while “Smack!” talks about doing real damage if he has to send messages.

“Smile” gives off a more sensual vibe altogether telling his girl that nobody can ever make him hate her since she’s family to him at this point leading into Spook making Hood Olympics 2’s sole guest appearance on “Unc Rob”, finishing up the 1st half by letting his partner hold the blick. “I Like It” kicks off the 2nd half experimenting with sample drill flipping “That’s the Way” by KC & The Sunshineband just before “Muffinz” talks about being fresh as fuck every time he pops out, baking anyone who messes with his girl.

The song “Moune Bizz” has this experimental trap flare to it addressing the kind of people who think people wouldn’t want to get flicks with him or the women while “Grandma” talks about his inability of trusting his Day 1 homie because he doesn’t know any better. “Jackie Chan” winds down the last few minutes of Hood Olympics 2 looking to crack anybody who fucks around too much & “Juxtapose” ends by promising that he’ll keep moving the way he’s supposed to.

Of the 4 extended plays Mike Shabb has given us only a quarter away through the year, Maple Flavored was the only one that I didn’t really care for that much but for him to drop Hood Olympics 2 in preparation for Sewaside IV somewhere between the next 8 months makes up for the averageness of the EP that came out last weekend. I love hearing the finest in Montréal today testing out new sounds beyond the drumless/boom bap styles he’s become known for even if he has the stronger half of the production & his pen’s a lot sharper than Hood Olympics 2’s predecessor.

Score: 3.5/5

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