Big Sean – “Better Me Than You” review

Detroit, Michigan rapper & singer/songwriter Big Sean returning after 3 years to release his 7th LP. Coming up as a protege of Chicago icon Kanye West & signing to his Def Jam Recordings imprint G.O.O.D. Music, he generated some buzz in the late 2000s by dropping the Finally Famous mixtape trilogy, but it wouldn’t be until 2011 when his profile significantly increased when Sean dropped a 4th installment as his full-length debut. This was followed up the next year with the highly acclaimed Detroit mixtape & then a sophomore album the year after that entitled Hall of Fame. However, his next 2 full-lengths Dark Sky Paradise & I Decided. were both mediocre in comparison to all those past efforts. Now the last time Big Sean dropped a project was in late 2017 with Double or Nothing which had INCREDIBLE production from Metro Boomin’ top to bottom, but Sean himself was SEVERELY lacking. His G.O.O.D. Music contract was fulfilled with the surprisingly mature Detroit II & the Hit-Boy produced What You Expect? was better, but is coming back addressing some leaks over a month ago brushing off that it’s Better You Than Me.

After the “Pressure” intro, the first song “Iconic” that by BNYX of Working on Dying alongside Hit-Boy, Rogét Chahayed & Tom Levesque of Vanguard Music Group cooked up together starts us off on some trap rock shit flexing his icon status whereas “Typecast” takes the cloudy trap route instrumentally showing off the pimpin’ in his blood feelin’ like Jerry Buss in the arena. “Break the Cycle” featuring Uncle Charlie Wilson of the Gap Band on the hook has a funky boom bap flare that Leon Thomas III provides callin’ out those who believe more than what actually happened, but then “Who You Are (Superstar)” brings a triumphant trap vibe to the table calling his #1.

“Yes” was an mediocre 2-part trap single that FNZ helped put together with an annoying ass hook telling us the way he responds when muhfuckas say no just before “It Is What It Is” featuring Gunna picks things back up from the synth-trap beat from Turbo to the lyrics about how this is only as big as it gets. “Apologize” is a self-produced drumless open letter to Sean’s mentor Ye which isn’t surprising since Kanye talked mad shit about him in that 2021 Drink Champs interview & after the “Clarity” skit, “On Up” has an old school west coast sound that FF for Def Entertainment in-house producer KeY Wane brings to the table dedicated to his son Noah.

Meanwhile on “Something”, we have Syd of The Internet & originally Odd Future joining the Sean Don for a subdued trap/pop rap joint reminding the listeners that we all have our different bullshit that we’re each going through in our lives until Thundercat provides a psychedelic tone for “Black Void” being done with the disrespect. “This n That” featuring Bryson Tiller & Kodak Black ruins a heavenly Hit-Boy instrumental talking about taking psychedelic mushrooms & 1,000,000 Pieces” featuring Larry June likens their lives to a puzzle broken down to so many pieces over a mellowly dusty instrumental.

“Get You Back” featuring Cash Cobain gets into the sexy drill style that the latter sample drill pioneer has become known for in regards to his solo work with the help of WondaGurl talking about ex while “Certified” featuring the late D12 leader Proof’s son Nasaan vibrantly boasts their certifications in the rap game. After the “Focus” skit, “Boundaries” points out that time ain’t running out when it’s really life running its course while “Precision” was a decent trap/chipmunk soul hybrid.

As we approach the final moments of Sean’s first full-length outing since leaving G.O.O.D. Music, the official closer “My Life” finds KAYTRANADA backing Sean with synths & an outro skit “Happiness” that really should’ve been separated into a track of it’s own telling us he had to boss up & the bonus cut “Together Forever” makes me want The Alchemist to do an entire project for Sean in the future whether it be the gospel flip or the Detroit star saving some of the best lyrics for last.

Better Me Than You surges beyond the sentimental to embody something altogether more meaningful regarding the man behind the mic & I respect that he’s at a point in his life where he lets things happen when they’re supposed to happen, yet I didn’t enjoy it as much as Hall of Fame or Detroit or even the sequel & What You Expect?. All 4 of which are my favorites in his discography. Even if some of the production & guests falter, I can’t dismiss the newfound perspective.

Score: 3/5

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Strick – “All Time High” review

Atlanta, Georgia rapper & songwriter Strick releasing his sophomore full-length studio LP after a few delays. Following his debut mixtape Risk=Reward & it’s sequel, this resulted in Young Thug signing him to YSL Records putting out 3 more tapes as well as the debut album Strick Land & more recently the 2Late 2Apologize. 21 months later, he’s at an All Time High regardless of YSL’s ongoing R.I.C.O. case & is ready to share it with the world as fall’s getting ready to start in 3 weeks or so.

The synth-driven “Chess Not Checkers” starts by singing about living like a star ever since signing to YSL whereas “Kisses Make Sure” featuring James Blake & Young Thug gives off an acoustic trap/pop rap vibe so the trio can tackle the themes of love. “Neat Freak” keeps the mellow trap production rolling flexing his current status while the cloudy “Cr@sh” featuring Travis Scott recalls the previous night where shit got too crazy.

“Lacrosse” moves on from there with 110 second trap cut talking about always keeping a stick on him just before “Nightcrawler” hooks up a stripped-back loop & hi-hats getting boastful lyrically. “Recipe for Love” featuring Future has a syrupy flare to the beat calling out their partners for doing them bad, but then “Party @ 4am” moodily talks about turning up in the early hours of the morning.

Meanwhile on “Fighter Jet”, we have Strick over another acoustic trap hybrid beating the odds letting y’all see for yourselves the way he’s living now leading into “Complete You” starting the 2nd leg of the album on the melodic pop rap tip. “On Your Line” intoxicatingly keeps the subject of romance in mind while “Come Alive” featuring 6LACK fuses trap, pop rap & R&B talking about their partners being enlivened during sex.

“Higher Living” serves as this lavish ode to living better while “Vase” produced by ATL Jacob atmospherically tells everyone listening to not let the fast life change you whatsoever. “Voice & Laugh” samples soul music throwing hi-hats into the equation learning a lot about loyalty & missing his ex while “ILY.” hops over a crooning beat talking women & people stealing his style.

Nearing the conclusion of the LP, the penultimate track “Slurricane” goes off-the-top for little over a minute telling his new bitch that he can get her in the mood & he isn’t anything like her previous man in any way shape or form while “Point Proven” ends the album talking about being a rockstar over a horn-laced trap beat.

YSL’s output in last year or so has been extremely hit or miss & I actually happened to enjoy All Time High more than Gunna’s last 2 post-incarceration efforts A Gift & A Curse and One of Wun combined. Mainly because it’s produced better, the guest-list is stronger than Strick Land almost 3 years ago & Strick himself lets everyone know where he’s at in his life currently.

Score: 3.5/5

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Josiah the Gift – “Lavish Language” review

Brooklyn, New York emcee Josiah the Gift returning 6 & a half months after The Glorious Si’s eponymous debut to release his 6th solo LP. Starting out in the late 2010s by releasing his first 2 EPs Jack Johnson & Raw, he later broke out within the underground back in the summer of 2020 off his acclaimed debut album Iron Mic. His profile continued to elevate with the debut mixtape Remain Raw, the sophomore effort Mightier Than the Sword as well as the sequel, the True Cipher-produced TOGO & his previous album God’s Gracious. A year & a half after the lagger, the Gift of The Umbrella is returning to speak that Lavish Language.

“Rep” starts us off with an orchestral beat talking about the reputation proceeding, elevating & focusing on his goals demonstrating whereas “Hommy” works in some background vocals suggesting that you should lay low if you catch a body because the case will be closed if they find it. “Wolvez” embraces the boom bap sound instrumentally letting everyone know who y’all be fuckin’ with prior to “Mulsanne” maintaining those kicks & snares refusing to introduce himself since they should know by now.

The guitar/boom bap hybrid “Take II” finds him evening out the butters wondering where all his homies stumbled at musically & his mom being out in the streets during the 80s, but then the exuberantly dusty “Karhu Sneakers” talks about never disrespecting him since he the reason people even on the guest list showing off his kicks from the titular brand. “Florence Cathedral” featuring HooksArthur samples soul music wanting their flowers givin’ ‘em love just before “True Story” takes it back to the basement instrumentally talking about being the one you can call for peace.

“Lavish” featuring Bless Picasso takes a funkier approach to the beat comparing the chef in the kitchen that’s cookin’ up the drug supply to Guy Fieri additionally suggesting that root of evil is necessary & love being secondary while “Patra” returns to the boom bap telling the story of a homie of hos who ends up getting shot to death. “The Glory” rawly talks being satisfied with life even though he’s not a millionaire while “You’re Gonna Die” strips the drums details another homie that’s moving with no fear of death.

Pushing towards the final moments of Lavish Language, the instrumental on “The Filth” sorta gives me a capacious vibe pointing out the fact that everyone comes from nothing on top of being tired of seeing others strugglin’ or his mind still being wired to hustlin’ that is until “The Chosen” ties up the LP soulfully feelin’ his spirit leaving him fantasizing of owning Benz’ & jet skis seeing one’s future in different directions.

5 years in the making damn-near & what Josiah the Gift presents to us here stands out differently than what he’s done previously, joining Iron Mic & The Glorious Si album as one of the 3 essential standouts in his discography. Bishop cooks some of the most thorough beats of his career, the 2 guests strongly contribute to their verses hold their own weight & Josiah’s performances maintain the laser-focused hunger of both full-lengths I mentioned earlier.

Score: 4/5

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Cappo – “Vignettes” review

Another extended play & the 10th overall from Nottingham, East Midlands, England, United Kingdom emcee/producer Cappo. Known for being 1/2 of Oblique Strategies & 1/3 of VVV, he also has 9 8 of his previous EPs as well as 8 full-length studio LPs & the YNR Productions-backed Fortune Cookie mixtape under his belt over the course of his career spanning a quarter of a century. Kong the Artisan had fully produced Canon & S.T.A.R.V.E. (Striving To Achieve Real Values Everywhere) was significant better, unearthing some Vignettes from this ongoing era.

The spoken word intro “Return” recalls a reoccurring dream he had as a kid when began to develop proper memories whereas the self-produced “Journey” hooks up some bar piano chords talking about getting no sleep because he was up all night planning moves. “Scaffold” incorporates more drumless loops feeling like his chest’s on fire & a burning sensation in his throat leading into “Vinyl” talking about every shot he makes having a motive behind it.

“Summer” encounters a man leaning against his flat block whose right leg was bent in the shape of a triangle just before the longest song here “Branches” clocking at almost a couple minutes reaches the halfway point bringing back the pianos to talk about feeling like a fugitive. “Streets” gets the 2nd leg of the EP going on some nocturnally drumless vibes talking about an elderly man standing in the middle of road while “CCTV” details couples walking out of a casino oblivious to him.

Kicking off Vignettes’ 3rd & final act, the 38 second “Asking” talks about encountering a woman he knows simply by the way she walks while “Boiling” looks back at a story revolving around him & his brother riding a Merry-Go-Round when they were children. “Vitamins” details him living in the night for 6 days & coming across a plastic rose while “Exits” spends the last moments of the EP talking about 2 policemen briefly stepping out of their cars only to get back in.

Preluding the next couple installments of the CAPStone trilogy, Vignettes broadly extends the story of S.T.A.R.V.E. (Striving To Achieve Real Values Everywhere) by collecting a series of fractured narratives that provide more insight to Cappo’s previous EP only a couple weeks earlier. His production here’s almost entirely drumless in comparison & applies the cubist method that the late Pablo Picasso used painting from multiple perspective to his music.

Score: 3.5/5

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Da Flyy Hooligan – “Culture.” review

Harlesden, London, England, United Kingdom emcee Da Flyy Hooligan having Birmingham, West Midlands veteran Sonnyjim produce his 8th EP. Dropping the sophomore effort Ray Winstone following the 2010 debut Devil May Cry as well as his 2nd extended play F.Y.L.P.M. (Fucc Ya Life Praise Mine) succeeding Verbal Swardz & lastly S.C.U.M. (Supreme Cut Untouched Magnificence) in 2017 respectively, he would go on to follow it up with 7 more EPs including a sequel to F.Y.L.P.M. (Fucc Ya Life Praise Mine) along with Flyyghost’s eponymous debut, the Micall Parknsun-produced Ben Kingsley & the Beat Junkies-produced There’s Hooli & There’s Everyone Else. His 7th album Blacc Kenzou arrived a few months ago, but Culture. was destined to happen eventually.

“Feedback” combines some kicks & snares with synthesizers to get the ball rollin’ encouraging the world to peep the artifacts whereas “Warned” flips “Suite in C” by McDonald & Giles so he can quote prophecies describing various apocalyptic stages. “Receptive” blends soul & jazz to talk about being open-minded towards humanity just before “Ozwald Boateng” seeks to persevere without help over a delicate yet opulent instrumental even if his health gets sacrificed.

After the “Hooli Smoovie” interlude, “Kief” begins the 2nd half of Culture with a seductive ode to lust while “Fast” goes for a drumless direction talking about him fiendin’ for this romantic interest whom Iron Braydz can’t seem to get off his mind. “Opposites” featuring Sonnyjim himself finds the pair over a summery beat to spit some luxurious rhymes together & the outro “Retribution” spends the EP’s final minutes triumphantly talks about the miracle of him still standing tall.

Blacc Kenzou was similarly to F.O.M.A. (Flat of Modern Arts) in that both of them have songs that I like, but wouldn’t consider them amongst my favorites amongst Da Flyy Hooligan’s discography. That said: Culture. joins There’s Hooli & There’s Everyone Else to become my 2nd favorite project Lamarrie Esquire’s dropped in 2024 revealing a different side to him by exploring profound themes with refined lyrical precision over Sonnyjim’s smoothly innovative production.

Score: 4/5

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Glokk40Spaz – “Da Real Oso” review

Atlanta, Georgia recording artist Glokk40Spaz coming off his acclaimed collab EP with OsamaSon earlier this summer 3vil Reflection to release his 4th album. Emerging off the Don’t Get Took Off mixtape trilogy & the debut EP Spaz&B, he would also go on to drop his very first LP 2 Glokks followed by the sophomore effort Baby Whoa with both of them receiving quite a bit of acclaim. Took the Biggest Risk distributed by Columbia Records was a great major label debut for EBG Records founder & is commemorating the 1-year anniversary of the latter by dropping Da Real Oso.

“My Last Breath” is this rage-inducing opener to Glokk40 laced with Four3va shooting the Glock like the Dallas Mavericks brushing off any interest in recruits whereas “Pothead & Stoner” produced by F1LTHY of Working on Dying & OPM BABI who did a lot of the album maintains the hypertrap sound talking about being high as fuck. “505” bombastically warns that shit’ll be getting scary once you enter the trap & “How Vampz Feel” goes plugg thanks to Internet Money Records in-house producer Synthetic to talk about rolling the dice since the streets be a gamble.

Given by the title, “Let’s Get Active” has an aggressive tone altogether fucking all y’all shit up by himself while “Mystikal Draco’s (Psychotic)” hops over another rage beat talking about his psycho tendencies although the Aaron Rodgers bar felt awkward since his 1st season as a New York Jet lasted as long as former WWE Tag Team Champion & WWE Hardcore Champion Shane McMahon’s return at WrestleMania XXXIX this spring. Very much happy to hear Shane’s son Declan being a RB for the Indiana Hoosiers with NFL potential though.

“Copperhead” keeps the dense, buzzing synth work with repetitive chord progressions & melodic synth leads sliding on the block with the demons later referencing 16-time WWE world champion, 4-time WWE tag team champion & 5-time WWE United States Champion John Cena just before “You Not Da Only 1” hunts the opps like animals over synthesizers from Trgc.

The rage gets turned back up once again on “No Español” so he can catch a flip leading into “BLV Anthem” rocks out over more detailed hypertrap production hoppin’ in the whip & cranking that bitch up without a key. Who Don’t Love Money?” dabbles with plugg 1 more time detailing the gangsta lifestyle, but then “I’m Oso Shiesty” wraps things up raging again reaffirming that he really is in fact Da Real Oso.

Almost a year to the day where he Took the Biggest Risk & only 3 months since 3vil Reflection, the 2nd album that Glokk40 has released since joining a major label elevates himself further artistically where I feel like this is his best album to date. His performances are equally cutthroat than they were last September & most importantly, the production mostly handled by F1LTHY consistently sticks the latter’s signature rage sound diverting from Glokk40’s dark plugg roots.

Score: 4/5

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John Legend – “My Favorite Dream” review

John Legend is a 45 year old singer/songwriter, pianist, producer & actor from Springfield, Ohio who became the very 1st artist one of my top 10 producers of all-time Ye formerly known as Kanye West signed to G.O.O.D. Music in 2004 & released his debut Get Lifted in tandem with Columbia Records on his 26th birthday. His sophomore effort Once Again as well as Evolver & Love in the Future each have some of his best material too, signing to Republic Records right after Darkness & Light came out. A Legendary Christmas alongside Bigger Love & Legend were all mediocre in their own rights, so hearing Sufjan Stevens was producing John’s 9th studio LP had me interested.

“We’re a Family” kicks things off with this chamber pop intro singing about his wife & the mother of his 4 children Chrissy Teigen whereas “When I Feel Sad” whimsically lets us know what he does whenever he’s down on his luck. After covering “3 Little Birds” by the late Bob Marley, the only single “L-O-V-E” maintains a chamber pop vibe for a celebration of humanity while “Deep in the Ocean Blue” sings about life underwater.

As for “For You”, we have John coming through with a chamber pop anthem dedicated to fatherhood just before “When We Fly” after a rendition of “You Are My Sunshine” by The Pine Ridge Boys kicks off the 2nd half of My Favorite Dream singing about the only limit being the sky. “Safe” recaptures the elements of chamber pop promising to protect his kids from all danger while “Go to Sleep” provides a soothing a lullaby for anyone needing help getting some shuteye.

“Always Come Back” properly ends the album embracing an orchestral vibe instrumentally assuring his children there’ll always be a point where he returns home from the road while “Great, Great Day” starts the deluxe run treading the singer/songwriter waters singing about making the best out of every 24 hours he has. “Friendship” expresses the gratitude he feels towards his present circle of companions & the final bonus track “Maybe” sings about one swinging or swimming back to him.

Come to find out the very same man who made both Illinois and Carrie & Lowell would be producing John Legend’s foray into children’s music & it’s disappointing for me to say the same mediocrity that plagued both of My Favorite Dream’s predecessors creeps it’s way back up here too. I can appreciate John challenging himself writing 9 original compositions other than the production, but I wouldn’t be opposed to parents playing it for their kids as much as they do Raffi or They Might Be Giants.

Score: 2.5/5

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K.A.A.N. – “In Due Time” review

Columbia, Maryland emcee/producer K.A.A.N. back with his 26th LP. Over the past decade or so Knowledge Above All Nonsense has been delivering numerous standouts in his ever-growing discography like Black Blood, the Ski Beatz-produced Requiem for a Dream Deferred, the Big Ghost Ltd.-produced All Praise is Due, Mission Hillz, The Death of a Rapper & The Nightly News both produced by former Strange Music in-house producer MIKE SUMMERS a.k.a. 7 or even Peace of Minds from just a few months ago. Los Angeles producer/deejay DJ Hoppa was brought in to produce Delusions of Grandeur a few months ago & is sticking around for In Due Time.

The title track starts by sampling soul music & throwing hi-hats into the equation boasting that he’s in a whole different category than everyone else whereas “C.T.T.S. (Can’t Touch This Shit)” goes full-blown boom bap talking about nobody being able to touch him lyrically. “Cautionary Tale” works in a soulfully dusty beat telling us what happens when you’re consumed by greed while “Weight” demonstrates a speedier flow trying to get rid of this baggage.

“Bon Appetit” returns the boom bap feeling like he’s about to be unleashed murdering everything in his path just before “Another Play” hooks up a woodwind talking about how much of a shame it is people are lost in the maze of the same game. “Warm It Up, K.A.A.N.” continues get in his chopper bag continuing to go at the throats of other rappers leading into the symphonic trap-flavored “Succession” advising everyone to get back.

Meanwhile on “Status Symbol”, we have K.A.A.N. over more strings swapping out the hi-hats in favor of kicks & snares likening the rap game to a petty bitch while “Stay Blessed” substitutes the orchestral elements with pianos spreading the titular message. “It Ain’t Easy” has a generally old school sound detailing the struggles while “Expectations” ruggedly tells us what some people look for all around the world.

“Enough of the Filler” pushes towards the end of the Delusions of Grandeur sequel In Due Time expressing his frustration over how much filler is packed into some of these artist’ projects in the digital age while the boom bap-tinged “Rat Race” lastly closes the 3rd consecutively amazing offering of K.A.A.N.’s this year alone talking about the weak being unable to survive.

For almost a little over 12 months now, K.A.A.N. has steadily been putting out some of the best material of his entire career & as much as I loved Delusions of Grandeur, I think In Due Time stands out as a sequel that’s better than the original. DJ Hoppa’s production is still boom bap heavy except you got some more trap undertones compared to last time & the Maryland chopper sounds hungrier.

Score: 4.5/5

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Stove God Cook$ – “Stop Callin’ Me, I’m Cookin’” review

This is the 2nd EP from Syracuse, New York emcee Stove God Cook$. A protégé of Roc Marciano, the latter produced Stovey’s highly acclaimed full-length debut Reasonable Drought in March 2020 right when the COVID-19 lockdowns began. He signed to Griselda Records not too long after & released his debut EP If These Kitchen Walls Could Talk a year & a half later. However he’s surprise-releasing Stop Callin’ Me, I’m Cookin’ ahead of his Griselda debut Stove Jesus & even an album produced by Stoupe the Enemy of Mankind.

“Earl the Pearl” is a soulful boom bap opener produced by Cool & Dre talking about dead rappers getting more life when their eyes are closed whereas “E$co Chipper” continues to chop up the soul samples showing disgust towards his competition. “Marvin Ye” works the kicks & snares back in likening himself as a mix between Marvin Gaye & Ye formerly known as Kanye West while “The Glove” after the “$ocrates” skit goes drumless again to talk about being amongst the illest. “Ba$eline Hov” has this chipmunk soul flare to the beat getting on his hustler shit & “Chapo Phone” sumptuously talks about being a don.

Stove God to me is an extraordinarily generational talent & I’m confident that will be getting a sequel to Stop Callin’ Me, I’m Cookin’ at some point near future, considering the fact that this is only Side A but what we have here nevertheless has to be amongst the best EPs I’ve heard in this year. The soulfully drumless/boom bap production matched with Stovey’s immaculate Coke raps increase anticipation for Stove Jesus & the Stoupe-produced album, as will Side B.

Score: 4.5/5

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Juicy J – “Ravenite Social Club” review

Memphis, Tennessee rapper, songwriter, producer & record executive Juicy J coming off the Mental Trillness duology to release his 8th solo LP. Rising to stardom in the 90s as the co-founder of the seminal Three 6 Mafia alongside his Tear Da Club Up Thugs cohorts DJ Paul & the late Lord Infamous, he’s also had the most successful solo career out of everyone in the Mafia whether it be the Taylor Gang Entertainment/Columbia Records-backed Stay Trippy & Rubba Band Business: The Album or more recently Crypto Business & Mental Trillness. The latter & it’s sequel noticeably taking on a more serious tone than some of Juicy’s latest material, taking a good chunk of it’s time coping with Gangsta Boo’s untimely passing. Further diverting from the norm, he’s going jazz rap in the Ravenite Social Club.

After the “Provider” intro, the first song “The Higher Ups” further sets the tone of what’s to come hopping over a jazz boom bap instrumental from longtime Griselda affiliate JR Swiftz dissing corporate America whereas “Don’t Go Out” works in some pianos as well as kicks & snares advising not to go out the way Paul Castellano of the Gambino crime family did. “That’s Gangsta” keeps it boom bap explaining how hard it is to be splitting 50/50 with his bitch, but then “Everything All Good” has a warmer trap approach telling us he’s been doing ok.

“Fucked Up Era” hooks up some horns describing what he was living in for the past year & a half or so that resulted in both Mental Trillness albums prior to “Thought It Was” strips the drums completely boasting his luxurious ways of living. “Deserve It” has this orchestral boom bap flare to the beat dedicating it to all the independent shawties ahead of “The Past is the Past” colorfully leaving everything behind him for approximately 116 seconds.

The self-produced “Consequence” mixes these pianos with kicks & snares reminding the listeners of the most valuable lesson a person can learn in their lifetime while “Payment” swaps the keys out in favor of synthesizers admitting The Notorious B.I.G. wasn’t lying when he said “Mo Money, Mo Problems” using his own experiences. “1 in 1,000,000” hops on top of more horns advising what a dangerous lie it is that you don’t have to work just before the soulfully drumless “Suicide Doors” featuring Cordae warns to get a bag before you beef since you’ll need money for war.

“The Bottom Line” continues to chop up the soul samples smoking & drinking 1 for old time’s sake while the 4 minute “To You” pays tribute to Lord Infamous, Koopsta Knicca & Gangsta Boo over Robert Glasper playing piano. “Sometimes” further pushes the closure of the Ravenite Social Club for the night soulfully asking if you needed someone to talk to & no one was there while “Things Changed” promising he’ll be there when his baby falls automatically telling her yes if she ever calls him.

Beginning the deluxe run, the drumlessly jazzy “In Plain Sight” disses the haters for wanting to see him torn down legalizing products to sell at the same price while “Fit the Mode” featuring Project Pat puts a mature spin on trap generally talking about the best thing in the world being a woman by your side. “Could’ve Been Worse” goes boom bap reminding that you only get 1 chance to make it while “Enemy Lines” angrily warns what happens once you cross a specific path.

“Just Listen” jazzily advises everyone who’s still tuning in for them to take care of their business while “Dizzy” drumlessly reflects on spending most of his time denying what the heavens planned & refusing to fake the funk anymore by letting the prophets come true. The final bonus track “Point ‘Em Out” featuring Remy Ma goes trap for a dedication to all the real women & not trying to risk being around the bitches who’re fake.

Both installments of the Mental Trillness duology were greeted to mixed reception although I personally appreciate them for being more introspectively serious than some of Juicy’s past solo material & now that we finally got Ravenite Social Club after 8 months in the making, it could very well be my favorite of his since branching out on his own & he’ll even tell you that himself. It’s a change of pace with its production building upon the sounds of jazz rap, boom bap, drumless & chipmunk soul focusing less on trap taking the overall maturity a step further.

Score: 4.5/5

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