Pi’erre Bourne – “Made in Paris” review

South Carolina producer, rapper, songwriter & engineer Pi’erre Bourne finally making up for the 15-month delay of his 4th studio LP. Becoming one of the most in demand beatsmiths in hip hop today off Playboi Carti’s “Magnolia”, he’s also made a name for himself on the mic by dropping 10 mixtapes as well as a couple EPs & 3 full-length albums. Grails was a short yet highly favorable collection of Pi’erre’s most anticipated solo tracks & with the 2-year anniversary of that passing a couple months back, Interscope Records has at long last allows him to recount a trip to France he made in the form of Made in Paris.

Splitting the intro “Façade” into 2 different sections, the first “Inside” wishes his uncle who did the spoken word intro was still here to see him today & the other “Alone” remembers his late grandmother along with flexing that he has more Soss than Ragu. The warm synthesizers on “Le Vôtre” make for one of my personal favorite instrumentals on the whole entire album talking about 2 hoes never feeling right with him while “Bon Appétit” takes a pop rap turn wanting his partner to eat him alive.

“J.B.H. (Just Being Honest)” featuring Young Nudy pairs the 2 over a syrupy plugg beat feelin’ like people are still doubting them as artists leading into “La Loi, C’est La Loi” trying to tell this woman how much he misses her when she doesn’t wanna hear it over an accordion. “Bleu” hooks up these organs tackling the issue of not knowing he would leave a chick heartbroken after trying to save their love while “Temps de Chasse” talks about not wanting to fuck around with his life anymore & the grass not being as greener on the other side.

The 2nd & final single “Pop” opens up regarding the kind of relationships he’s had in the past blending pop rap & trap with cloud rap while “Retraite” combines the colorfully atmospheric Good Movie outtake “Kit Kat” with an original latter half “Playground” turning up the rage. “En été” digs up these fuzzy synthesizers flexing his gains not that he’s playing his cards right while “Rapunzel” recaptures the themes of lust once again.

“J’adore” addresses his current love life referencing WWE Hall of Famer, 6-time WWE world champion, WWE Intercontinental Champion, WWE United States Champion, WWE Tag Team Champion, WWE Hardcore Champion, IWGPヘビー級チャンピオン, the inaugural 6-time TNA World Champion, TNA X Division Champion & 2-time TNA World Tag Team Champion Kurt Angle & “Toot It Up” might be my favorite song here only because of the plugg instrumental & NOT because of the Timbaland line due to his ongoing AI tomfoolery.

Reaching the final leg, “Violette” meshes these acoustics & quirky synths with one another making reference to Futurama in light of it’s upcoming 10th season on The Walt Disney Company-owned hulu later this summer until “Blocs” proved to be a fun pop rap/trap lead single talking about being on the block when he was younger. “L’amour” offers a bit of a pluggnb vibe speaking to a woman he seems completely dependent on & “Sait” promises to give his girl everything but a wedding ring.

Recharging from all the traveling & barely getting any sleep in part of making sure the visuals were presented in the best possible way he wanted, Made in Paris pushes Pi’erre back in the spotlight with the most vital album of his career & one that captures his growth more than Good Movie did. Inspired by a trip to Paris a year or 2 ago, he takes some ideas that he’s had going far back as 2019 or presently & uses them together resulting in the most consistent LP in his canon since The Life of Pi’erre 4 & The Life of Pi’erre 5.

Score: 4.5/5

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RMC Mike – “Like Mike” review

This is the 3rd studio LP from Flint, Michigan recording artist RMC Mike. Signing a joint deal with Rio da Yung O.G. & Peezy’s own labels M.I.N.E. Entertainment & #Boyz Entertainment alongside EMPIRE Distribution, his first couple EPs Rookie Season & Sophomore Season established himself as in the Detroit trap scene until his full-length studio debut Junior Season elevated it further. His last EP Ghetto Season was good & the sophomore effort Senior Season left me on the fence, coming off a trip to The 6 to brag that nobody can do it Like Mike.

“Devil’s Lake” opens with a Detroit trap intro with strings & bells giving his music career everything in his might whereas “Neat Freak” shows off some secondary Mobb influences to the instrumental detailing his lifestyle. “Duck Hunting” featuring 3200 Tre finds both M.I.N.E. signees teaming up to figure out what those who say they ain’t in for the money are really doing it for leading into YTB Fatt poppin’ out for the underwhelming gangsta rap collab “Drug Bust” despite the Jakesand beat.

Baby Money, Rio da Yung O.G., VonOff1700 & YN Jay all join Mike on the boastful single “Braggin’ Rights” although I can do without Von’s verse right in the middle of it just before “Chicken Box” produced by Danny G talks about not wanting to hear of the things you couldn’t have, wouldn’t have or shouldn’t have done. “Slam Cam” featuring Rio da Yung O.G. references WWE Hall of Famer, former 2-time WWE world champion, ECW World Television Champion, 6-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion, 4-time & the final WWE Hardcore Champion, TNA World Champion & TNA X Division Champion Rob Van Dam while “Keep It Honest” by admitting he feels alone even if he’s not the only one in the ride.

“Brody crazy with the chopper like he autistic” makes for one of the wildest bars ever during the last 30 seconds or so of “Authentic” wanting to talk business with anyone who has a plug prior to “Music Is Never Ending” creating a brand new acronym for the 1 of the 2 labels he’s signed to. “We the Ones” brings the bells back in the equation laughing off the wankstas who ain’t ever dropped a body except “Damn Baby” as a finisher felt like a mediocre look at his preference in women who get lit.

Wouldn’t have thought that we would get Like Mike this quickly after The 6 since it’s been a couple months tops, but I still consider it to be a worthy album & probably my favorite of Mike’s. Regardless if I prefer The World Famous D-Boy’s production on the most recent EP, there are some striking similarities both projects share with the biggest one being that there are only a couple guest performances I could do without. A key difference however is Mike speaking his truth the whole time rather than taking us around The 6.

Score: 3.5/5

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Harlem Heat – Self-Titled review

New collaborative EP from Buffalo, New York emcee & singer Elcamino alongside Stamford, Connecticut emcee Fuego Base. Both of whom have already been establishing themselves with Mino putting out an eponymous EP under Griselda Records in 2017 & of course Base garnering traction off the Say Dat trilogy. Being on Black Soprano Family Records together for a couple years at this point, they’ve decided to team up & take their duo name after WWE Hall of Famers as well as record 10-time WCW World Tag Team Champions & former RoW Tag Team Champions Harlem Heat the day after The Skyscrapers became the new MLW World Tag Team Champions.

“Promise” kicks it all off with a crooning sample boasting of not having to worry about the neighbors since they don’t even have any whereas “Hunger Games” shrugs off each & every one of the fools speculation of being in bad deals aside from a questionable Diddy line. “Free Griselda Ticket” works in a heavy piano sample to talk about being in the moving business before rap while “Luxury Dope” featuring Jay Worthy finds the trio guaranteeing the lean coming if a fiend standing straight. “Protect Me” strips the drums to get God to keep watching over them going forward & “Gave ‘Em Hope” ends by talking about holding hate not being an ideal way for them to live.

Figured we would’ve gotten a sequel to Moving Base O.T. since it came around this exact time a year ago, but Harlem Heat leaves enough of a lasting impression regarding what both parties can do together when paired. Fuego Base’s comparison of himself to current NXT commentator, 2-time WWE Hall of Famer, 6-time WWE world champion, 4-time WWE United States Champion, 14-time WWE tag team champion, 2-time WWE Hardcore Champion, RoW Tag Team Champion & TNA World Tag Team Champion Booker T is validated & the way Elcamino’s delivery compliments Fuego’s feels reminiscent of former RoW Tag Team Champion, WWE Hall of Famer, WCW World Television Champion & 10-time WCW World Tag Team Champion Stevie Ray.

Score: 3.5/5

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King Combs – “Never Stop” review

King Combs is a 27 year old rapper & singer/songwriter from New York notable for the being the son of disgraced Bad Boy Entertainment founder, Sean John founder, Cîroc brand ambassador, Revolt founder & music industry mogul Puff Daddy a.k.a. P. Diddy or Diddy and the late Kim Porter. His debut mixtape 90’s Baby as well as his first couple EPs Cyncerely, C3 & C3 were all released either moderately or negatively, but Ye formerly known as Kanye West has decided to solely produce C3’s newest EP in the midst of Diddy’s ongoing trial coming to a close.

“Lonely Roads Still Go to Sunshine” produced by Ye, The Legendary Traxster & Mario Winans was teased on Twitter way back in March & one that Ye’s ex-wife Kim Kardashian had every right being mad at over their daughter North West appearing on the bridge regardless off The Hobbit’s weird relationship with a Tesla robot now whereas “Kim” remembers his mother over a chipmunk soul instrumental.

Ye actually appears on “People Like Me” chopping up a soul sample & throwing some hi-hats over it so he & King Combs can talk about needing people like them when one of them is a self-professed Nazi, but then “Diddy Free” unsurprisingly survived the In a Perfect World sessions by making it’s way onto this EP & King Combs not doing the beat any better than the man who made it did himself.

The song “Repeat Me” heavily builds itself around a slowed down sample of “Slauson Ave” by Karri subtly saying that this is his way of doing house compared compared to what Drake went with on Honestly, Nevermind ruined by the poor pop rap lyrics while “The List” makes it even worse with the “suck a n***a cock ’til I’m cockless” line. Finally, the closing track “Souls” butchers a chipmunk soul instrumental with repetitively annoying pop rap bars.

For all the hate Nasir for being rushed, at least an off-beat Nas was a far more interesting MC on there how King Combs sounds on Never Stop. I’ll play devil’s advocate & give him credit for actually writes his own lyrics unlike his father’s storied history with ghostwriters, although him getting the same treatment as everyone involved in the 2018 Wyoming sessions feels like a downgrade when you think of Ye’s production being wasted this way.

Score: 1.5/5

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Tech N9ne – “5816 Forest” review

Kansas City, Missouri veteran Tech N9ne kicking summer in full gear with his 26th studio LP. Starting out 3 decades back as a member of the groups Black Mafia as well as the 57th Street Rogue Dog Villians & the Nnutthowze, his profile began to increase in the late 90’s after landing a spot on the Gang Related soundtrack & becoming among the first to join Yukmouth’s then-newly formed collective The Regime. But after having issues with Interscope Records & Universal Music Group following the release of his iconic 3rd album Anghellic, that’s when Tech decided to form his own label with the help of a man at Paradise Originals named Travis O’Guin. Together, they would call it Strange Music & solidified itself as one of if not the biggest indie label in the world. Tech has made it a tradition to drop a project or 2 every year since Everready (The Religion) back in ‘06 except for 2022, returning the next summer with Bliss to mixed reception. C.O.S.M. (Class of Strange Music) became the best Collabos entry since my personal favorite Welcome to Strangeland & 5816 Forest looks outdo himself even more with only 2 guests on it because of people clowning him for overloading his projects with guests in the last 2-3 years or so.

After the “Donnie Call” skit, “The Birth” takes a trip down memory lane over some keyboards from Matt Phoenix speaking candidly on his mother’s health struggles whereas “Fridee to Sundee” (Triality)” demonstrates his storytelling abilities & unique slang taking a darker trap approach to the beat. “Yoda” featuring Lil Wayne finds the 2 likening themselves to the Jedi Grand Master from The Walt Disney Company-owned Star Wars franchise until “Ball” recalls another story from his household growing up.

“RDV” after the “Alyia Call” skit throws it back to the days of old school hip hop instrumentally harking back to his 57th Street Rogue Dog Villians days & “Lola” takes it a step further remembering the woman to convince him to go from beatboxing to MCing. “Black Walt Street (The New Breed)” dabbles with hyphy a bit reminiscing of his middle school days when he took on the original moniker Black Walt, but then “Excited” cheerfully talks about making his days the brightest.

Wrapping up the first leg, “The Nice One” cloudily remembers when the “white ones” used to come up to his locker telling him what people have said regarding him while “The Punishment (Lockdown)” paints a picture of a formative childhood memory backed by some thick bass & organic percussion. The chipmunk soul-based “What I Do” recalls beginning to steal during his freshman year of high school & after the “Reign Call” skit, “No Rub” takes it back to a hyphy vibe suggesting he should’ve smashed raw.

“Fish Captain” remembers when his stepfather gave him a summer gig because of the kids he was rolling with at the time of his adolescence while “Sacrifice” featuring Strange Music signee Jehry Robinson acoustically admits to working on their craft instead of what regular kids did. After the “Bella Call” skit, “Livin’ in the Sky” brings a trap flare back refusing to write sad songs for those in his life who’ve passed on & can’t be with us today.

After the “Call with 2 Year Old Alina” skit, “This I Know” blends bright piano blinks beneath triumphant horns along with a loose bluesy guitar & a soul sample reaching back into his earliest memories to make a big screen-worthy image of his formative years prior to the closer “J6’s” finishing up talking about not knowing his life would change at some point when life deals you bad hands lot of times & avoiding these issues by coming up with a plan.

Maybe the most I’ve enjoyed a Tech album since N9na, it’s such a deeply personal & sonically ambitious LP that marks a significant chapter in a legendary career for the indie titan. 5816 Forest reminisces on legacy, loyalty & the roots of independence in hip hop revisiting the foundational moments that shaped him & Strange Music resulting in a raw, reflective body of work that combines hard-hitting lyricism with moments of vulnerability, grit & growth.

Score: 4.5/5

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Hardrock – “Slimyfella” review

In front of us is the 4th studio LP from Atlanta, Georgia recording artist Hardrock. Getting his start over 2 years ago off his debut EP Y.N.S. (Young N***a Shit), he would continue to build up anticipation by delivering 6 more EPs ahead of the commercial debut LP Next! & the breakout sophomore effort 808 Speaker Knockerz. The latter of which contains some of his best tracks to date like “H.Y.L.M.N.? (How You Like Me Now)”, “Madonna”, “New WRLD” & “Luigi Mansion”. The last album 1of1 matched the caliber of it’s predecessor & Slimyfella has finally arrived following the prelude My Gift to You immediately after signing to Victor Victor Worldwide/Republic Records.

“New Level” hops on top of a rage beat out the gate to talk about bossing up tremendously in the 14 months since we’ve last heard from him whereas “Watch Out” pulls from hypertrap once more talking about pullin’ up with them killas. “Biggest Soldier” produced by Devstacks proved to be the most reasonable choice as the sole single during the rollout to drum up anticipation hooking up these synthesizers & hi-hats to throw opps in the wild leading into “Slide” flexing about the body he just caught on camera.

Meanwhile on “Get Go”, we have Hardrock airing out the people who’ve been plotting on him from the very beginning while “Blood Sweat Tears” turns the bass up extremely high to talk about being timeless & putting his all into this music shit unlike those who ain’t making it out the hood. “They Know” shows a hypertrap influence again promising to live by the code & die by it maintaining the roll he’s been on unbeknownst to others prior to “Gimmie Dat” going for a plugg direction to talk about knowing people who want the whole loaf of bread.

“Disgusting” show off how filthy his pockets have been in the past few years with another plugg instrumental making it’s way to the fold while “Hot” ends the first half of Slimyfella working his thumbs by twisting his fingers counting his bands. “Mr. Spendalot” kicks off the 2nd leg of the LP with some peppy synthesizers talking about being the type to blow a bag until “Bloody Seats” references the late CFFC fighter Kimbo Slice who briefly fought in the UFC during the hook.

Nosaint & Toom of Vanguard Music Group help turn the rage back up in full effect during the standout “De La Cruz” smoking big blunts because he ain’t a rookie, but then “Solid” keeps it rollin’ by waking up & getting right to it. “Familia” kinda has this quirky trap edge to it declaring the squad as his real family in addition to asking for his pedigree to be checked while “Heaven (007)” hazily compares himself to James Bond.

“Koko” bombastically pushes forward boasting about his lifestyle while “No Time” with Y3rip & n9ck cloudily looks get the bags poppin’ the second he gets up. “Slime Stroll” gives regalia a shot doing what he does since he’s a boss acknowledging everyone out in the streets speaking cocky on him & “Cold Stare” caps it off with a synth-driven trap closer talking about not going anywhere without his finger on the trigger.

Catching on to him right when he started blowing up a few summers ago, it pains me to say that I found myself liking Slimyfella less than his last couple projects & it could be the most divisive offering in his discography. Although I love that he got Vanguard to oversee it & the engineering has improved greatly compared to his earlier material, it feels like it runs a little longer than it should’ve been.

Score: 3/5

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ScarLip – “Scarred B4 Fame” review

ScarLip is a 24 year old rapper & producer from Brooklyn, New York signing to Epic Records following the single “This is New York”. I on the other hand wasn’t introduced to her until she appeared on “Take ‘Em Out” off the Hip Hop 50, Vol. 2 EP that Swizz Beatz produced a couple years ago & began seeing the appeal in her music once “Blick” came out weeks after a couple of her fans were messaging me on social media last summer. To get THIS summer started, the Broken Child Entertainment founder’s preluding her debut album with a debut EP.

I didn’t mind “Pop That” featuring Lil Wayne as an intro bringing both of them together over a Rockwilder & Swizz Beatz instrumental to remind where you can find them if you need some weight whereas “Melanin” angrily talks about beefing with ghostwriters instead of other rappers. “Eastside” fuses trap & soul advising not to call her since she don’t need anyone leading into the mediocre New York drill collab “Fruity Pebbles” featuring TaTa.

“Could’ve Been Me” featuring Skilla Baby begins the final moments of Scarred B4 Fame with both of them keeping guns by their side asking what the plan is but after “Runaway Love” freestyles over the instrumental of the Ludacris track of the same name from Release Therapy, “Lord Please” sends off the EP fusing trap & gospel asking God to be easy on her.

Haven’t really consider myself the biggest fan of the New York drill scene other than the late Pop Smoke & right when I thought that subgenre was starting to fade out because nobody has really carried the torch since, hearing ScarLip for the past couple years had me hoping that she would capitalize on her potential with this EP & the results are mixed. I can certainly say the hunger’s there in her verses, although most of the guests’ performances & some of the instrumentals are 2 of the biggest criticisms I have with it.

Score: 2.5/5

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Nick Grant – “I Took It Personal” review

Nick Grant is a 36 year old MC from Atlanta, Georgia emerging in 2016 off his debut mixtape ‘88 along with the Epic Records-backed debut album Return of the Cool. His next tape Dreamin’ Out Loud would prelude the acclaimed God Bless the Child produced by Tae Beast of the Top Dawg Entertainment in-house production team Digi+Phonics, which later led to Carolina Diaries & Welcome to Loveland. A year & half since Sunday Dinner however, I Took It Personal has finally arrived a week after its initial release date.

“Unforgettable” sets the tone with a piano/boom bap hybrid sprinkling remnants of the past in his music testifying to the legacy he’s already established for himself whereas “Let It Reign / Read Your Contract” gets split into a soulful first half boasting that everything he writes murders & the other lamenting his time being on a major label including giving advice to anyone who wants to get signed basing it from his own experiences with Grand Hustle Records & later Epic.

The soul sample on “Do You Love Me?” fits the whole theme of love telling his girl that she’s the very reason he bosses up & he’s the realest out of all the fish in the sea leading into “Big Tymers” talking about there not being any other better story than the underdog. “Pass It Out / House Calls” serves as another 2-parter cloudily looking to chalk out his competition during the first half & the other talking about there being a problem if the dogs get called.

Chipmunk soul & boom bap get fused during “The Ritual” boasting that he’s the very reason why the matrix is glitching at the moment just before “No Apologies” belittles everyone who relies on ghostwriters over a jazzy yet soulful instrumental. “Love for the Mob” finds himself keeping it p & moving in silence like psalms showing off some killer wordplay while “The Pride” talks about joking a lot with his girl & still getting deep with her.

“Back Home” experiments with sample drill a bit reflecting on going major now & getting it out the mud when he started while “Product, User, Dealer” talks about making your favorite MC relapsing snorting lines again on top of observation the treachery of them street corners. Moving on from there, “Something to Sei” tackles a kind of love Nick feels should be illegal considering he was selling merch to give her heaven on earth.

The song “Nothing’s Free” brings a darker trap atmosphere to the table blending these hi-hats & ominous piano chords together until a symphonic switch up halfway through saying that America’s eating it’s babies when that couldn’t be any more true while “It Ain’t Personal” caps off the LP with 1 last soul sample chop making y’all think somebody filming him the way he’s shooting muhfuckas.

God Bless the Child was what renewed my interest in Nick during a rough time period in the lives of many & now that we’re pretty much halfway through the decade, I Took It Personal surpasses Return of the Cool as his strongest full-length & I feel like lot of people can learn a few things from it if you want to get involved with the music business. He’s laying out every experience he’s had in the industry whether it be good or bad & the production could be his most eclectic showing influences of boom bap, trap, jazz rap, chipmunk soul, cloud rap & sample drill.

Score: 4/5

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Memphis Bleek – “APT 3D” review

Memphis Bleek is a 46 year old rapper & songwriter from Brooklyn, New York starting as the original hype man for JAY-Z. Hov eventually signed him to Roc-A-Fella Records once their distribution deal with Def Jam Recordings was settled, dropping both his full-length debut Coming of Age & the sophomore effort The Understanding to mixed reception. M.A.D.E. (Money, Attitude, Direction & Education) would become my personal favorite album of his in the winter of 2003 & with the 20-year anniversary of 534 passing last month, the Warehouse Music Group founder is looking to make a comeback with his 5th studio LP.

“Durag Bleek” produced by Just Blaze was a perfect lead single to kick off the rollout talking about the Roc life being bigger than that mob shit whereas “Still R.O.C.” works in a gospel sample to talk about representing the same squad he’s been with for almost 3 decades, which he’s not wrong since Roc Nation Records is distributing Warehouse now. “You Should Know” laughs off those copping out more than they drop out over a soulful Cool & Dre instrumental leading into the mild pop rap cut “On My Way”.

We get a spoken word intro that takes up the first half of “Holla at Cheech” ahead of a 52 second verse off the top flexing that y’all should be following him outside of social media over a Sndtrak beat while “I’m the Type” brings a chipmunk soul vibe to the table talking about being the kind of person to ride with you until the very end. “King’s Design” suggests that he should be charging people the way he be speaking like a boss just before “3 Kings” featuring Benny the Butcher & Smoke DZA finds the trio talking about being royalty around their respective parts.

“Believe It” begins the 3rd & final leg of APT 3D with boom bap instrumental showing off the large lifestyle he’s been involved with ever since his music career took off really while “Choosing You” brings back the pop rap vibes except he & Mario Winans are doing it much better than they did on “On My Way” from the atmospheric sound to the lyrics of always remaining loyal to his partner. “Word to Hov” finishes Bleek’s first body of work in 2 decades with him taking the last 2 & a half minutes to shout out his mentor as well as explain that he had to take time away from music to pick himself back up from personal shit.

Taking it back to the apartment complex in the Marcy Projects that made him, APT 3D rivals M.A.D.E. (Money, Attitude, Direction & Education) by passionately returning to the booth casually shrugging off whatever Memphis Bleek had going on in his life outside of music. The production nostalgically throws it back to when Roc-A-Fella was at their prime as a label in the early 2000s & most of the features doing hooks other than both MCs who were on the 2nd single was a great move on his part since that time away gave him a lot to get off his chest.

Score: 3.5/5

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Dave East & Young Chris – “Fine Dining” review

Brand new collaborative EP between Harlem, New York emcee Dave East as well as Philadelphia, Pennsylvania emcee Young Chris. The latter of whom gained notoriety as part of the State Property subgroup Young Gunz & the other broke out by landing a spot in the iconic 2016 XXL Freshman Class almost a decade ago. Both of these guys have collaborated with each other a couple times in the past & only 4 months after the From the Dirt Records founder linked with Ransom on The Final Call, he & Chris are going out for some Fine Dining.

“Pablo & Gunner” was a great single in my opinion from the back-&-forth delivery both parties employ to the boom bap instrumental whereas “Gemstars & Baggies” fuses jazz & trap together so they can talk about wanting to catch Ws as a way of rebounding from all the Ls they’ve previously took. “Kiss the Sky” takes it back to the basement representing a city where the skinny ones ride leading into “Ain’t Adding Up” airs out everyone who ain’t doing the math.

Elcamino provides the hook on the smooth pop rap cut “She’s Choosing” talking about getting high with women & having them lay on their chests while “We Won’t Stop” gets on the soulful boom bap tip once again refusing to pump the brakes & keep putting it on for their home state. “10 Toes Down” finds the pair needing a gallon of water each since the rap game so dry & “Get That $” dustily finishes with both of them chasing the paper.

Dave’s really been stepping it up with the collaborative projects this year because if you come to find yourself enjoying Fine Dining more than The Final Call, I wouldn’t even complain since Young Chris’ pen has always been as sharp as Peedi Crakk’s probably would’ve gotten a solo album on Roc-A-Fella Records after Prince of the Roc had the label not imploded on itself due to Dame Dash’s ego. You get more versatile production pulling from boom bap, jazz rap, trap & pop rap as opposed to the drumless chipmunk soul direction of The Final Call & both of them hone in on their chemistry together.

Score: 3.5/5

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