La Reezy – “Lareezyana Shakedown” review

New Orleans, Louisiana based emcee/producer La Reezy self-producing his 4th EP. Introducing himself in 2023 off the full-length studio debut Reeborn, he would go on to follow it up with the debut EP We All Need Help as well as both Welcome to La Reezyana & Pardon Me, I’m Different earlier this year. The latter 2 have been drawing a lot of eyes on him within these past several months, which ultimately resulted in Lareezyana Shakedown unlocking a version of himself that even he didn’t know was ready to take the spotlight.

“Nolia Clap” begins with a cross between drumless, chipmunk soul & rap rock talking about the rocket being ready to go off whereas “Hardheaded” takes a jazzier vibe instrumentally talking about how he should’ve listened to his parents & now he has to solve it himself. “Move” featuring Da1TopNoch is the only song I could do without here despite the beat stylistically throwing it back to the late 90s dirty south while “Tiana Anthem” takes a backseat vocally for 67 seconds.

“Bad Man” works in some more sampling of soul music openly confessing to his mother that he’s not a good person while “Catch the Groove” closes the greatest musical statement of La Reezy’s career as of this very moment with a crossover between drumless & chipmunk soul talking about recently turning 21 in the current political climate of our country with some strings during the hook & I relate to it since I personally turned 21 at the end of 2017.

Receiving co-signs from the same weekend after former NXT North American Champion Bronson Reed & even Juvenile of the Hot Boy$ himself, Lareezyaa Shakedown conceived during a 5-beats-in-a-day challenge sharpens his artistic dexterity coming off the same weekend local former AEW World Tag Team Champion, FTW Champion, DEFY World Champion, the inaugural NWA World Television Champion & NXT North American Champion Ricky Saints ending the longest reigning NXT North American Champion Oba Femi’s nearly 9-month reign as NXT Champion at the Endeavor-owned TKO Group Holdings division WWE’s developmental NXT brand’s No Mercy III in addition to the inaugural NXT Women’s North American Champion Kelani Jordan succeeding the current TNA Knockouts World Tag Team Champion Ash by Elegance’s brief reign as TNA Knockouts World Champion and inaugural AEW World Tag Team Champion, 3-time ROH World Tag Team Champion, ROH World 6-Man Tag Team Champion, アイアンマンヘビーメタル級チャンピオン, the inaugural 2-time PWG World Champion, 6-time TNA X Division Champion & 3-time TNA World Tag Team Champion Frankie Kazarian ending former TNA World Champion Steve Maclin’s inaugural reign as TNA International Champion at Victory Road XIX.

Score: 4.5/5

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Jeezy – “Still Snowin’” review

Brand new mixtape & the 15th altogether for Atlanta, Georgia rapper, songwriter, trap pioneer & actor Jeezy. Emerging in the early 2000s off his full-length debut T.U.I. (Thuggin’ Under the Influence) & the sophomore effort Come Shop wit Me, his biggest breakthrough wouldn’t come until 2004 where he began a partnership with Def Jam Recordings that’s going on strong to this very day & dropped the classic Thug Motivation 101: Let’s Get It the following summer. Subsequent discography highlights would include Thug Motivation 102: The Inspiration, The Recession, Thug Motivation 103: Hustler’z Ambition, Seen It All: The Autobiography & even The Recession 2 that came out the day after his Verzuz battle against longtime rival Gucci Mane during the COVID-19 pandemic. He went back to basics with the help of DJ Drama on Snofall fulfilling his Def Jam contract & is looking to do it again with Still Snowin’ a couple years since I Might Forgive…But I Don’t Forget.

The funky instrumental on the title track produced by DJ Toomp & Don Cannon took me by surprise to start the tape although Jeezy nonetheless comes correct flexing that he’s still making it snow whereas “Slide for Sho” turns up the funk to turn the clubs up. “Treason” works in some sampling so he can refuse to waste his time on the people who’ve betrayed him while “Snowman Party” has a bit of a jazzier tone talking about his parties being unique.

“Inside My Soul” continues the incredible choice of samples making his grandmother proud maintaining the plug motivation while “My Friends” brings back the funk talking about not being the kind to cheat on his homies. “Another Sad Song” discusses the truth of it taking a coward to shoot up a school referring to the Evergreen tragedy in Colorado earlier this month while “Bruce Wayne” likens himself to the Warner Bros. subsidiary DC Entertainment franchise’s protagonist.

Kicking off the 2nd half, “The Whole Town” soulfully dedicates itself to all the 80s babies just before the funky “Don’t Play ‘Bout Me” cautions everyone to not fuck around with him. “Head to the Sky (You Can Win)” takes an optimistically uplifting approach conceptually over chopping up more soul samples while “Anything” returns to funkier territory taking aim at people who’ll say whatever about him.

“Hustler’s Paradise” hooks up some slick sampling to give some peace of mind since God has done him some favors over the course of his life while “Keep That Same Energy” talks about feeling like Kanye on the night of the 2009 MTV VMA Awards when he notoriously interrupted Taylor Swift’s Best Female Video acceptance speech & later put out his 2nd best album My Beautiful Dark Twisted Fantasy behind The College Dropout.

The song “Thug Life Again” nears the conclusion of Still Snowin’ soulfully making it known that he’s still living that Corporate Thug lifestyle now that CTE World is no longer distributed by a major label while the funky “Back for More” talks about his entrepreneurship. “If You Don’t Know Me” dabbles with drumless for 107 seconds to ends by reflecting on giving the streets everything but his life & time everything except for tears.

Commemorating 2 whole decades of both Trap or Die & Thug Motivation 101: Let’s Get It respectively, both Don Cannon & DJ Toomp give Jeezy a more jazzier sound than some of output in this current decade & it’s welcomed as much as I loved The Recession 2 alongside Snofall & I Might Forgive…But I Don’t Forget. There’s no doubt in my mind that he’ll have to make a Recession 3 at some point within the next few years & if that’s the case, this is a mature prelude to it.

Score: 4.5/5

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Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 16” review

Atlanta, Georgia emcee/producer Tha God Fahim starting the 2nd season of the Dump Gawd: Hyperbolic Time Chamber Rap saga with his 64th EP. Starting as an affiliate of Griselda Records & being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. He’s been putting out amongst his best material in the past few years like the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull, the Nicholas Craven-produced Dump Gawd: Shot Clock King series, the Oh No-produced Berserko, the Mike Shabb-produced Dump Gawd: Rhyme Pays, Tha Supreme Hoarder of All Pristine Wealth, Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & Machine Gun Vocabulary produced by Cartune Beatz. Almost 3 months since the season finale of the Dump Gawd: Hyperbolic Time Chamber Rap series, the 16th installment has arrived not even 24 hours after being announced.

“Sword N Shield” begins Season 2 with a sumptuous boom bap beat talking about the 2 things he lives by whereas the drumless “Flip” shows off some lyrical acrobatics. “Safe & Dangerous” explains that it’s common knowledge he’s amongst the greats bring the kicks & snares back in the fold while “Flareon” soulfully talks about taking control of what’s his

The song “Spiteful Suffering” continues the 2nd half of the EP chopping up more soul samples & speeding it’s pitch up unloading the Glock at anyone who makes a false move while “Super Effective” talks about being a unique lyricist whenever he rhymes over a piano instrumental. “Good Bad Ugly” ends the S2 premiere observing the abundantly repugnant shadiness of the world as we know it currently.

Spending the past 11 weeks to recharge themselves, Dump Gawd: Hyperbolic Time Chamber Rap 16 gets back to business like they never took a break in the first place. Nicholas Craven’s production on this one is primarily catered to the styles boom bap, drumless & chipmunk soul clocking in at 16 minutes & Tha God Fahim dumpin’ precise bars by himself lost most entries.

Score: 4.5/5

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Santana Fox – “She’s a Rebel!” review

This is the 2nd EP from New York emcee/producer Santana Fox. Notable for being the daughter of the late Prodigy of Mobb Deep fame, she eventually followed in her father’s footsteps making music of her own couple years after his untimely passing putting out a handful of singles up until the full-length debut Girl Next Door. Her previous EP Eye Candy a year & a half ago was a crucial moment in her career not only for her producing it all by herself, but her improved lyricism too. We were supposed to get Femme Fatale last October & although it’s still not here, She’s a Rebel! looks to prelude it.

After the titular intro, the first song “‘Till the Angels Come” sets the tone with an eeriely self-produced boom boom bap opener talking about making muhfuckas disappear without a trace whereas “Raspy Berry” promises that she’ll get revenge on a hoe in the afterlife. “Deja Vu” featuring Big Twins & Chung finds the trio over a spooky boom bap instrumental advising not to get them hyped while “Taboo” featuring Hus Kingpin suggests for their competition to give up.

“Daydreamin’” starts the 2nd half of the EP with Fox by talking about getting on it like she wants it & wanting her cup to get poured up while “Crash Out” featuring Mijita takes a more promiscuous tone lyrically. “Lucky Girl” featuring Pohlosweater cautions that anyone runnin’ their mouths around them will get socked & “Lip Gloss on the Blunt” ends She’s a Rebel! by talking about trusting her intuition’s rather than giving a fuck what anyone else thinks.

In preparation for Mobb Deep’s upcoming 9th & final album Infinite getting ready to come out under Mass Appeal Records in a couple weeks, Santana Fox has delivered yet another EP capitalizing on the artistic growth that began unraveling 18 months ago. Her production skills have flourished tremendously since the last time we heard from her & her pen’s gotten sharper, although I personally could’ve done without a couple guests.

Score: 3.5/5

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Jehry Robinson – “Hella Highwater” review

Long Island, New York rapper, singer/songwriter & producer Jehry Robinson returning got his 4th LP. Coming up almost a decade ago off his eponymous debut EP & the debut mixtape Pts. IV-VI few months later, his biggest breakthrough came around Christmas 2019 after signing to Strange Music & quickly establishing himself with the KC indie powerhouse by dropping his full-length debut 20/Twenty the summer COVID had the world shutdown & a sophomore effort The Name’s Not Important the next fall. It’s already been a couple years since Drink More Water & is ending the month the way Strange started it with Hella Highwater.

Struggle Jennings joins Jehry on the heartfelt intro “Gates” telling the story of a family member who was recently released from a 12-year prison sentence whereas “Pour Up” featuring Doobie finds the 2 talking about smoking or drinking when they probably shouldn’t embracing a county rap sound. “Good by Now” produced with Matt Phoenix mixes country, trap & pop realizing that love alone isn’t enough if the other person isn’t willing to grow while “Marathon” featuring Ty March sings about giving their lovers everything.

“Better” sends an sarcastic letter to that 1 person who’s constantly treats life like a competition over a creaky guitar & a smooth reggae-style inflection in his vocals leading into “Whispers” going for a pop rock vibe singing about not needing anyone to hold him down. “Whiskey Water” channels the energy of a lonely southern dive bar using water as a chaser whenever he consumes liquor while “Slumber” hopes of getting up from the darkness one day.

Wyshmaster produces the 2nd single “Pay Me” leaning towards country pop instrumentally singing that he doesn’t need to be saved because he’s too far gone while “Acoustic” featuring Jaimie Wilson joining forces for a duet about the group of people who only love you when you’re gone. “Backwoods” takes the Americana route a little passionately pleading that he doesn’t wanna slow down because it’s the only thing he knows while the summery “Mark on My Heart” experiences a breakup.

“Feel So Long” comes off assuring about all of us having our own sorts of pain & that contributing greatly to making us strong while the poppy “Why Don’t You” asking for the reason this person won’t say goodbye to him. “4 Seasons” featuring Zane Neale sings about loving their partners every season of the year & the self-produced “Pilot” closing Hella Highwater out by turning this plane around. “William Montgomery” however returns to his hip hop roots serving up a stunningly deft lyrical display.

Bringing musical fusion in a way fans have come to know as his specialty, Hella Highwater pushes Jehry Robinson’s artistry further than ever before whilst tackling a prominent theme revolving around all people having the capability of overcoming adversity & realizing our dreams no matter how badly we’ve fucked up in the past because we still matter to the important people in our lives. His palette is more diversified even if it’s more country themed, he’s more honest & extends a confidential reality check to those in need of it.

Score: 4/5

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HARDY – “COUNTRY! COUNTRY!” review

HARDY is a 34 year old singer/songwriter from Philadelphia, Mississippi notable for his first couple EPs This Ole’ Boy & Where to Find Me along with the Hixtape trilogy until his debut album A Rock marked a decline in quality. The Mockingbird & the Crow and the Mercury/Republic Records debut Quit!! have gone on to become the worst bro-country & alternative rock of this decade, making appearances for the Endeavor-owned TKO Group Holdings division WWE since the beginning of 2023 when he had a segment with former WWE United States Champion & NXT North American Champion Solo Sikoa. They even made the terrible Morgan Wallen cut “red” off The Mockingbird & the Crow the official theme for WWE’s final Tribute to the Troops show, knowing his 4th LP would go back to his stylistic roots.

The title track begins by singing about making the whole country as redneck as him if the ball were in his courts whereas “Favorite Country Song” decently pays homage to some of his artistic influences. “Bro Country” featuring ERNEST observes the new group out in Nashville bringing a whole different sound when the titular subgenre hasn’t been all great while “Luckiest Man Alive” sings about thanking God for his good fortune.

“Car That Drove You Away” topically gets on some corny breakup vibes wishing to forget of the fool he’s feeling like just before “Girl with a Gun” sings about not wanting to cheat on any woman who loves her firearms. “Buck on the Wall” recalls looking at a deer his grandfather killed back in 1979 & wanting to do one since he can’t anymore while “I’d Go Crazy Too” sings about a woman who’s been through Hell yet it’s pure heaven in between her & him.

Nearing the end of COUNTRY! COUNTRY!’s first half, “Take the Country & Run” recalls playing Hank Williams on the guitar with the view of the L.A. lights from a penthouse suite while “Goodbye” singing about wanting to drink beer with someone he’s in love with on a Paris, France rooftop. “Bedrooms in the Sky” featuring Stephen Wilson Jr. finds the 2 starting the other leg with a duet assuring country music will always come back around while “Bottomland” sings about being a country boy wanting to be buried with his grandfather’s rifle in his hand.

“Who Don’t” suggests that anyone who isn’t as country has him should sit in the truck because this ain’t for them when in reality, there are much better country artists to listen to than today’s mainstream names with the exception of Jelly Roll. “Country in Me” on the other hand sings about knowing where he’s going at this certain point in his life wanting George Jones to be played at his funeral while “Gun to My Head” promises that he won’t ever give up this way of life.

Meanwhile on “Keep It Country”, we have HARDY reflecting of him essentially making a livin’ writin’ of making music for his musical audience & that’s fine if his style of the genre isn’t my thing prior to “Y’all Need Jesus” wines about User53109 calling him fat or no album in his genre today being better than The Mockingbird & the Crow when I can name Tony Martinez’ debut Everywhere West from last summer as one of many examples.

“Dog Years” sings that he’s had the best life he could’ve asked for while “We’re All Gonna Die” fittingly starts the final moments of the LP by reminding us all that our deaths are inevitable & that we gotta live the best way we can because of it. “Everybody Does” finishes up COUNTRY! COUNTRY!by singing about everyone having their differences from political parties to their own lifestyles.

Thankfully he’s not related to the current 4-time TNA World Tag Team Champions & inaugural 4th Rope World Tag Team Champions The Hardy Boyz, but COUNTRY! COUNTRY! for a full-length in this genre is nowhere near as exciting as Wednesday’s 6th album Bleeds that recently came out last Friday & more so maintaining an equal level of deficiency as the 2-disc I’m the Problem from HARDY’s labelmate Morgan Wallen earlier this spring & who can forget F-1,000,000,000,000 by Post Malone last summer? If you want some new country that’s good, listen to the new Jehry Robinson album Hella Highwater.

Score: 1.5/5

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Mariah Carey – “Here for It All” review

Mariah Carey is a 56 year old singer/songwriter, entrepreneur, producer, actress & the Queen of Christmas from Huntington, New York notable for her eponymous debut, Daydream, her penultimate Columbia Records album Butterfly, the soundtrack to Glitter under Virgin Music, The Emancipation of Mimi improving over her Island Records debut Charmbraclet, her only Def Jam Recordings opus Me. I Am Mariah… The Elusive Chanteuse & her previous full-length Cautions through Epic Records. Only 3 months away from the holiday season, she’s signing to gamma. for her 16th studio LP.

“Mi” takes on a modern hip hop soul sound singing about self-care & once the self-produced “Play This Song” featuring Anderson .Paak throws it back to the 70s advising to put this very track on for your own sake, “Type Dangerous” featuring Big Sean alongside Busta Rhymes and Method Man & Redman on the remix seeks excitement out of a relationship with Tobe Nwigwe sampling “Eric B.’s President” by Eric B. & Rakim.

Kehlani & Shenseea both join Mariah on the contemporary R&B/pop single “Sugar Sweet” singing that all 3 of them will keep everything nice & neat just before “In Your Feelings” produced by Rogét Chahayed recollects a story of something she’s been through. “Nothing’s Impossible” topically addresses her own resilience over a piano instrumental leading into “Confetti & Champagne” singing about somebody that you’re not with anymore.

“I Won’t Allow It” locks in with Breezy Lovejoy for a refusal to entertain one’s narcissistic behavior while “My Love” serves as a moderate cover to her favorite Wings song off the band’s sophomore effort Red Rose Speedway. “Jesus I Do” featuring The Clark Sisters sticks out to me embracing a gospel heavy sound & the title track finishes by thanking God she’s lived to see physical embodiment of love.

Fully capitalizing on the soul-searching Mariah Carey has done since Caution, her independent debut finds the Songbird Supreme taking the emotional depths of her memoir The Meaning of Mariah Carey to a newer level almost half a decade later. The contemporary R&B & pop production celebrates every era of her’s further pulling from hip hop, disco, gospel, smooth soul & adult contemporary in light of her losing her mother & sister as opposed to the predecessor heavily revolving around a concept of relationships.

Score: 4/5

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SPRINTS – “All That’s Over” review

SPRINTS is a garage punk, noise rock, post-punk & garage rock revival band from Dublin, Ireland consisting of bassist Sam McCann, drummer Jack Callan & frontwoman/guitarist Karla Chubb. Releasing their full-length studio debut Letter to Self at the beginning of last year to lightly moderate reception, I was a lot more interested about their sophomore effort here going into it based off some of the singles we got building up towards it & learning that they had signed to the historic Seattle, Washington indie label Sub Pop Records.

“Abandon” opens up with a goth rock intro singing about all hope being left behind whereas “To the Bone” turns up the gothic influences painting the image of a dark evening. “Descartes” meshes alt-rock with post-punk revival & noise rock telling those growing disillusioned & angry with the world that hope’s around the corner while “Need” questions the love of this person that Karla needs in her life.

We get more goth rock vibes on the b-side single “Beg” poking fun at the idea that often it’s those in positions of power that preach their moral codes & judgments whilst committing the most heinous crimes themselves but once “Rage” embracing a garage rock direction calling out the false prophets & false promises, “Something’s Gonna Happen” observes a wave breaking beneath the brim asking that very question.

“Pieces” makes a final call of distress pleading for help after a woman left Karla’s mind a state of undress while the final teaser “Better” takes inspiration from My Bloody Valentine’s shoegaze landmark of a sophomore effort Loveless. “Coming Alive” speaks of the attempts to break Karla apart & “Desire” sends it all off singing about a fear inside this woman bringing up a fire.

Set against the backdrop of a litany of atrocities, SPRINTS’ inaugural opus under Sub Pop Records finds themselves trying to make sense of it all during the course of All That’s Over doubling down on the visceral spirit of fierce artistic honesty that’s always been at heart. They push their dynamics into richer territory mixing alternative rock, post-punk, garage punk, gothic rock, grunge, noise rock, shoegaze, garage rock revival & post-punk revival whilst observing the world on the verge of apocalypse.

Score: 4.5/5

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Doja Cat – “Vie” review

Los Angeles, California recording artist Doja Cat ending the month with her 4th LP. Blowing up in 2018 off her viral novelty single “MOOO!” under Kemosabe Records & RCA Records, this was followed up the next year with her debut mixtape Hot Pink which was decent as a whole despite the fact that “Say So” solidified that she wasn’t going away anytime soon. Planet Her showed some improvement compared to her previous works by delivering a pop rap/R&B concept album based around a self-originated world, coming off Scarlet to release Vie.

“Cards” kicks it all off with a mixture of synthpop & synth-funk music singing to make best use of your assets whereas “Jealous Type” produced by Jack Antonoff blends dance-pop, synth-funk, freestyle music, the Minneapolis sound & pop rap talking about struggling with insecurity during an impatient relationship. “AAAHH MEN!” samples the Knight Rider theme song to make way for some boastfully charming raps while “Couples Therapy” sings that all she wants his for her lover to be involved.

Moving on from there, we have the aptly titled “Gorgeous” that Sounwave co-produced giving off a summery vibe with a secondary pop rap influence explaining that it’s crime to be very attractive just before “Stranger” goes back to a dance-pop direction with minor jazz undertones sings about her & her partner being weird with each other. “All Mine” pulls from the Minneapolis sound again to get possessive over her new romantic interest while “Take Me Dancing” featuring SZA playfully says it all.

“Lipstain” continues Vie’s other half not wanting to dance around the idea of the love she & this person have for each other being easy to talk about while the R&B throwback “Silly! Fun!” tackles the concept of romantic delusion. “Acts of Service” hypnotically poses the question of what would it mean if she found her person when that’s her love language while “Make It Up” talks about turning a wrong into a right.

The song “1 More Time” borrows from the Minneapolis sound to start the final act of Doja Cat’s most enjoyable body of work yet not needing anyone to save her by any means while “Happy”asks if her lover is genuinely contented. The pop rap closer “Come Back” ends the LP by confirming to an ex that she’s not the person for him & taking her advice that he will eventually find someone when the time’s right & the star’s align.

Returning to a poppier sound as opposed to Scarlet putting Doja Cat’s hip hop side on full display, Vie takes a more playful approach than anything she’s done previous & I come away from it getting her best pop material ever. The production mostly handled by Jack Antonoff masterfully fluctuates between contemporary R&B, dance-pop, po rap, synthpop, synth-funk, freestyle music, trap music, sophisti-pop & the Minneapolis sound and the prominently dishy subject matter.

Score: 4.5/5

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Peezy – “Still Ghetto” review

This is the 3rd studio LP from Detroit, Michigan rapper Peezy. A part of the Team Eastside collective about a little over decade ago, he would later go on to release about a dozen solo projects beginning with Mud Muzik in 2014 & subsequently became one of the most prominent figures that the Motor City’s distinct trap scene has to offer. I covered his 8th mixtape Free Rio in 2022 when he got out of prison back at the beginning of that year for racketeering followed by his full-length debut Only Built 4 Diamond Links as well as the sophomore effort Ghetto & the Small Town Ghetto EP last winter, the latter of which preluded Still Ghetto.

“City’s Mine” was an enticing intro to the LP talking about the agreement amongst many that he’s taken over the 313 whereas “The Warm Up” featuring French Montana flexes that they jump shots before they ball, although French’s appearance was unwarranted. “So Ghetto” featuring Icewear Vezzo finds the 2 making up for it with a Detroit trap highlight repping their city while “All That” featuring Chicken P made for an underwhelming single choice.

Rick Ross joins Peezy on the exuberant “Hide the Rest” talking about money coming with respect around their individual parts leading into “It’s Givin’” featuring YG Teck returns to the Detroit sound albeit for one of the weaker collaborations on the entire album. “Lovin’ on Me” blends Detroit trap & pop rap working in some distinct sampling for a couple minutes while “Bond 9” featuring RMC Mike advises not to tell anyone if they fall for the love of these women.

“My Brother” featuring 42 Dugg talks about everyone thinking they went broke when they were actually saving money & letting it stack to the ceiling while “Main Artery” suggest that he might be one of the realist left since he stands on business. “Texas Shit” featuring G Herbo & THF Law would’ve been a lot more interesting if you took THF Law off it personally while “Playboi Carti” featuring 2 Chainz blends jazz rap & trap to shut the lots down.

Starting the final leg, “If I Can Make It” advises that anyone can survive out the trenches if he can while “Let’s Talk About It” featuring Babyface Ray reflects on being told to get the money instead of becoming famous. “‘96 Impala” featuring Larry June unites for an ode to Chevy Impalas & once “Daydreaming” talks about making others feel like he was there when the story he’s telling occurred, “Give It All” featuring Big Sean finishes with both of them putting everything in this music shit.

Serving as a sequel to Ghetto a few years ago, Still Ghetto maintains the attitude of its predecessor with the most star-studded offering of Peezy’s entire discography. That said: I came away from this album liking it only slightly less than the EP we got him 9 months earlier. Could’ve done without a few guest performers’ contribution, but many of them stick the landing whether it be locally or outside the Michigan area looking both within & beyond the Murder Mitten to propagate what he’s helped pioneer in the city.

Score: 3/5

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