Here is the 13th extended play from Belleville, New Jersey emcee/producer Action Figure 973. For a while at this point, his first couple mixtapes followed by his last dozen EPs & the full-length debut DOOM Was Right over a year ago giving flowers to one of my all-time personal favorite albums Madvillainy have each established himself as a promisingly skilled luchador who so happens to rap. The Most Interesting Man in the World got with Machacha for his sophomore effort last October, coming off What Would Harley Race Do? & 24 Hours in Switzerland to have DiMaggio fully produce Polo Grounds.
After the intro, “Butch Husky” begins with a mafioso vibe instrumentally talking about constantly being in the field whereas “Ken Griffey Jr. Was Never a Yankee” embraces a drumlessly dark sound to discuss doing a lot for people & them never thanking him even once. “Showdown at Shea” has an eerier tone to it talking about offing your favorite rapper while “Lou Gehrig’s Disease” references the terminal neurodegenerative illness AEW performer Rebel has been dealing with since this spring.
“Nomar Garciaparra” gives a shoutout to the retired shortstop & current SportsNet LA analyst of the same name while “Pete Rose” featuring 067 Red finds the pair referencing the 3-time World Series champion & WWE Hall of Famer who passed away a couple years ago. “War Memorial” featuring Brother Tom Sos reunites the 2 over a jazzy boom bap beat talking about living the dream of life itself while “Relief Pitcher” includes a bar referring to the current 2-time AAA Mundial Mixtas Parejas Campeon Mr. Iguana of the WWE subsidiary Lucha Libre AAA Worldwide.
Act-Lo even said during the closer that he has countless lyrics that wrestling fans sing at his shows & it’s gotten to a point where he felt like he had to switch it up a bit & it would surprise me if the general consensus would be that Polo Grounds serves as a breath of fresh air for his discography. The hardcore lyricism’s more baseball themed in time for the Major League Baseball (MLB) All-Star game tonight, coasting DiMaggio’s batch of jazzy boom bap & drumless instrumentals with only a couple guests accompanying him instead of What Would Harley Race Do? only having 1.
This is the 2nd extended play from West London, England, United Kingdom rapper L-Z Roselli. Dropping his debut single “My Sharp Bride” in 2018, the guest appearances on Surf or Die as well as Invisible War & Tears of the Dragon when Onoe Caponoe initially dropped those full-lengths under High Focus Records world be my introduction to him although reception towards Unforgivable Sins was generally mixed New Years Day 2025. Giving him the benefit of the doubt, I had hoped that Angels Cry & Demons Lurk would be superior.
“War Cry” begins with a UK drill intro screaming during his verses about being ready for combat whereas the trap-influenced “Jealous Ghosts” featuring Janset reaches the halfway point referencing Wembley Stadium, where record 2-time AEW International Champion Will Ospreay is set to end Kenny Omega’s ongoing 2nd reign as AEW World Champion next month at All In V that’ll mark the 3rd bout between the 2 following Wrestle Kingdom 19 & Forbidden Door IV.
To get the 2nd half of Angels Cry & Demon Lurk going, we have L-Z taking it back to the UK drill sounds from earlier with “Launch & Attack” once again with some blobby bass breaking down his militant mindset 1 last time while the closing track “Angels Cry” ties up all loose ends by spending the last 4 minutes of the EP combining piano with some 808s & bells talking about taking muhfuckas through crimes that’re legitimately violent in every sense of the word.
Angels Cry & Demons Lurk eschews the secondary influences of drift phonk, Memphis rap & Chicago drill to put a bigger emphasis on the horrorcore side of its predecessor. The end result was L-Z Roselli something far removed from mainstream hip hop by blending cinematically dark production with raw lyricism & a horror inspired atmosphere, proving why he deserves to be in the conversations Central C’s being put in regarding modern UK drill.
Maryland recording artist & producer Nosaint dropping his debut solo mixtape. A member of the Vanguard Music Group in-house production team, he also has 4 extended plays under his belt with 3 of them showing off his abilities as a rapper & the Saint Tape taking a backseat vocally to let some of his most notable collaborators rock his beats from Hardrock to Sk8star. For the past year however, he’s been preparing to reveal The Truth to the world & time has finally come.
“Weary Souljah” opens with a majestic 3 minute intro produced by his manager Zodiac reminiscent to some of Ye & Travis Scott’s material whereas “Absolutely Fucking Brazy” instrumentally gives off a delicate trap vibe so he can talk about his glow up. “Ruger” discusses treating life like it’s a scrimmage since it’s often compared to a game within itself leading into “2Bool” let’s it known to the haters that they better start worrying about themselves.
406ahmad gets behind the boards for the 2-parter “No Dubs / Dealing with Loneliness” laying out anyone who tries him over some hi-hats & synths that later get swapped out in favor of a vocal sample to describe feeling alone just before “See What I See” ends the 1st leg of The Truth talking about putting in worn to better his life. The self-produced “Q.2.H.” (Quarter 2 a Half)” boasts of him flipping the product & making it whole until the pluggy “Pharmacy” courtesy of his Vanguard brethren R8 dismisses those riding his wave.
“Chocolate Rain” spends 90 seconds talking about a person who never had it figured Lucy over a piano-inflicted trap beat while “Toosie” after the compositional “Palmy” interlude admits to hiding his heart behind his jewelry. “Youngest O.G.” nears closer towards the conclusion of the tape talking about sticking to the code since everyone else ain’t shit compared to him & following the “Masaka Choirs” intermission, “Psalm 13” wraps things up shrugging off muhfuckas who’re all bark with no bite.
Becoming a fan of his production work after hearing “slatty” off the Mogul EP near the end of 2022, I truthfully haven’t heard much of Nosaint as a rapper up until this point & was surprised at how much I enjoyed a good chunk of The Truth. I understand why he only self-produced a couple tracks, but I’d be interested if he continues to spit over his own instrumentals going forward even if the tracks R8 as well as 406ahmad & the mixtape’s engineer Zodiac all cooked up stood out to me the most.
The Rolling Stones are a blues rock trio from London, England, United Kingdom comprised of rhythm guitarist Ronnie Wood, lead guitarist Keith Richards & frontman Mick Jagger. A band who dropped some of the greatest rock music recorded throughout the late 60s-early 70s like Beggars Banquet, Let It Bleed, Sticky Fingers, Exile on Main St. & Some Girls. Their previous full-length Hackney Diamonds under Geffen Records made for a tolerable comeback after 2 decades & the Stones joining Capitol Records for their 24th studio LP had me intrigued since the material dates back to 2019.
“Rough & Twisted” begins with a blues rock single incorporating further elements of electric blues & boogie rock singing about flashing jewelry being a false pretense to them whereas “In the Stars” takes the pop rock route stylistically with some bluesy undertones admitting to feeling a heavy hand meddling with their plans. “Jealous Lover” goes completely smooth soul singing about a relationship going sour while “Mr. Charm” starkly reminding the world of life being as short as it is.
Meanwhile on “Divine Intervention”, we have the Stones singing about our existence being a gamble within it side just before “Ringing Hollow” brings a bit of a country twang into the fold observing all the political turmoil in the United States for a year & a half. “Never Wanna Lose You” reaches the halfway point of the full-length taking back to the pop rock style not wanting to lose the love of their lives whiles “Hit Me in the Head” has a more traditional rock flare acknowledging they won’t be here eternally.
“You Know I’m No Good” takes back to their blues rock origins reminding this woman who’s interested in them cautioning that they were trouble from the very beginning & after “Some of Us” brings a summery atmosphere to the table singing about all of us needing some love in troubling times like these, “Covered in You” continues to make it clear that they’re fed up with the rise of fascist autocracy. More specifically Tesla CEO, SpaceX founder, Neuralink founder, Twitter owner & Nazi Elon Musk.
The song “Side Effects” hits us with a powerful rock ballad singing about there being a price to pay for literally everything pondering whether if it’s the drugs fucking with their mood or not while the 6 minute “Back in Your Life” treads the Americana waters a bit singing about doing whatever it takes to for this individual to let them in their good graces once more. The closer “Beautiful Delilah” sends off the album with a passable cover of the late Chuck Berry’s track of the same name.
If I have to be serious with myself, Hackney Diamonds still remains a decent comeback for The Rolling Stones after nearly 2 decades exclude the Blue & Lonesome covers but I came away from Foreign Tongues confident that it could be the most gratifying entry in their extensive catalog since Tattoo You. The bluesy pop rock production refines what they tried to do 3 years earlier mixing elements of electric blues, boogie rock, smooth soul & hard rock for a politically charged hour.
FATHERS is a jazz quartet from Los Angeles, California comprised of keyboardist Kiefer Shackelford, bassist Ben Carr, drummer Nate Smith & producer Kenny Beats. Almost everyone has an established background in the instrumental hip hop field except from Nate, whose output generally ranges from jazz fusion to jazz-funk & neo-soul. The greatest jazz label of all-time Blue Note Records have decided to bring the band on board for their eponymous full-length debut & only a couple weeks away from Kenny fully producing Rico Nasty’s upcoming 3rd album RX finally seeing the light of day later this month.
“Eye Level” sets things off with a 3 minute intro working in some synthesizers, pianos, drums & bass giving off heavy instrumental hip hop vibes whereas “Patchwork” brings alto saxophonist Nicole McCabe on board for an infectiously bright jazz track that I can imagine hearing at opulent hotel from a complimentary standpoint. The only single “Pearl” experiments with Brazilian pop-jazz & I admire the way they gave it a modern luster just before “Stub” kinda has hypnotically quirkier approach compositionally.
We have FATHERS incorporating some organs for “The Leak” to kick off the 2nd half of their self-titled debut while “Tomorrow, Again” concludes the 3rd quarter bringing a more tropical flare to the table instrumentally enlisting violinist Yasmeen Al-Mazeedi to handle the strings. “Front Yard” comes through with some colorfully rich keys & drums that have a boom bap quality to them while the closer “Figure 8” brings Yasmeen back 1 last time provide a heavenly outro fusing jazz & instrumental hip hop.
I can’t deny Kenny Beats taking the risk of expanding his clientele outside of hip hop by producing Geese’s 4th album Getting Killed last fall & Weezer’s next full-length The Gold Album later this August, so it was interesting to hear him forming FATHERS with 3 other jazz-rooted instrumentalists who’ve already established themselves & I hope this is only the beginning for the band since they improvised a tastefully jazzy instrumental hip hop debut with some occasional funk influences.
Manhattan, New York rapper SosMula enlisting Shadow Wizard Money Gang to host his 2nd mixtape. Coming up as 1/3 of the now defunct City Morgue alongside fellow emcee ZillaKami & producer Thraxx, they’ve released 2 full-lengths & an EP together up before branching out on their own for a little bit. Sos was the first to step up to the plate by dropping 13 Songs 2 Die 2, which was a bit of a disappointment in my opinion due to the features & production. ZillaKami followed it up a month later with HIS solo debut Dogboy & the duo reunited to drop Bottom of the Barrel the month after that, both of those I found much more tolerable. 2 High 2 Die was better than its predecessor & the Sleez Machine EP that fall was the worst solo effort of his yet. Signing to Limosa Nostra Records & Atlantic Records succeeding the divisive reception of his final Republic Records offering Sleez Religion, he made it out of Kamp Krystl Lake last Halloween & has dropped Yung Plane Krash hot off some mediocre teasers.
“‘Till the Last Star Dies” pledges his heart to the dark lord declares that he stands with the shadows over a trap beat with some 808s whereas the lead single “Running Man” talks a him dashing through the trap & the racks even if the instrumental still doesn’t blow me away. “Sportmode” embraces a ghostlier vibe about throwin’ bullets at car doors until “Flash Gordon” hits us with some of tight rhyme schemes despite more below average beats.
Moving on from there, “St. Peter” spends a couple minutes aggressively flipping birds at both Republicans & Democrats just before “Goodyear” featuring Ricky Hil finds the pair linking up so they can talk about maintaining legendary status when both artists eventually pass away. “Cocaine” hits us with a 3 minute freestyle recalling his days of selling crack prior to making music while “Bloodsport” featuring Lil Speedy reaches the halfway point talking about killing their opps.
“Bangout” cautions not to press him since he’ll pull out the stick & unloading clips over the course of the final single while the 2nd single “Krakk Star” featuring Rocket Rese references former UFC Light Heavyweight Champion Rampage Jackson in the midst of their coke-fueled bars. “Hiccups” featuring Lil Speedy reunites both of them chaotically dropping cringey lines like “Making bitches bleed like maxipads” while “My Face Off” talks about being a renegade.
Ricky Hil returns for the trap metal-infused “Hate Me” produced by Thraxx surpassing “Goodyear” to become their best collaboration throughout Yung Plane Krash while “Purified” keeps the heavy guitars & hi-hats coming talking about sacrificial scriptures of slaughter. “Chrome Spikes” featuring Dialryckx links up for a bilingual industrial trap song boasting of everything they own being chrome & the trap metal outro “Blood Bath McGrath” talks about wanting to see bloodshed.
I still maintain that Kamp Krystl Lake was a highly enjoyable Limosa Nostra debut for SosMula, but unfortunately I can’t say the same for Yung Plane Krash since I’d consider it to be his worst offering on the label thus far. The backend of it contains some of the hardest hitting tracks on the whole thing thanks to Thraxx’s production, which makes me hope that he’ll produce an entire album for Sleezy at some point whenever the timing’s right.
Memphis, Tennessee rapper, producer, songwriter, DJ & music executive Juicy J alongside his older brother & fellow rapper Project Pat linking up for a new collaborative album. Notable for being founding members of the Hypnotize Camp Posse collective, they already have a few mixtapes under their belt together from the Play Me Some Pimpin’ Mane & Cutthroat sagas to Convicted Felons along with the numbers of previously released songs they have spanning decades. For the first time in over 15 years however, Dem Goats have decided to run it back days after CM Punk ended Sami Zayn’s brief reign as WWE Champion to become a 9-world WWE world champion.
After the “On the Porch 2026” intro, “Still the Same” begins with this Memphis trap opener talking about how shit ain’t changed with either one of them whereas “Eye for an Eye” finds the siblings observing all these young artists out here killing each other. “Out of Order” talks about even the opps being solid taking it back to the Memphis vibes just before “Southern Hospitality” produced by Juicy J himself combines pianos & hi-hats saluting everyone who has bread.
“Don’t Do It” offers some advice for the youth that’ll change their lives for the better if they think of doing some bullshit while “Bank Of” featuring That Mexican O.T. brings the trio together so they can talk about their wealth. “Wasting Time” featuring Anderson .Paak soulfully encourages everyone who’s sitting on their asses to get up & make some money leading into “Blessing in Disguise” talking about some of the people he doesn’t roll with anymore.
We have the Houston brothers pretty much saying “Fuck All That” at the halfway point of Dem Goats while “Free My Dog” spends 3 minutes calling for the freedom of their homies who’re incarcerated over a dark Memphis trap sound backing them. “Never Coming Back” confesses they wish it would start to rain because they miss Juicy’s fallen Three 6 Mafia brethren Lord Infamous & Gangsta Boo while “These Streets” issuing a warning regarding moving cautiously.
“Life Be Lifing” featuring Hanumankind & produced by Metro Boomin’ talks about the whole country struggling for survival over the course of the past year & a half while “Choose Wisely” featuring Killer Mike explains the ultimatum of either kill of be killed on top of a Memphis trap beat. “Hold On” has a cloudier flare to it talk about standing by whatever they say while “Tap” featuring KARRAHBOOO lights up anyone who wants beef with them when the latter recently squashed her’s with the current WWE United States Champion Trick Williams’ manager Lil Yachty.
The song “Red Carpet Treatment” winds down the last few moments of Dem Goats talking about burying haters in the middle of the desert while “To Be Real Witcha” featuring WWE Hall of Famer Snoop Dogg links up to come clean regarding not wanting certain individuals around them & taking a night off from going to the club. The closer “Yes Lord” featuring Lecrae if anyone couldn’t tell finishes the LP combining religious imagery with trap instrumentation.
Juicy J’s archival footage from jackass #2 was recently included in jackass: Best & Last despite jackass fore❤️er holding the rights for being the best movie in the franchise, but I’m not surprised that Dem Goats absolutely clears every single tape he & Project Pat did between 2009 & 2010 as their strongest collaborative effort. Juicy J handles a bulk of the production by himself & he brings a tight list of guests to join him & Pat for a better look at their chemistry.
Toronto, Ontario, Canada emcee/producer Raz Fresco self-producing his 18th studio LP. I’ve been familiar with the guy since my high school years at this point whether it be some of his features or his own extensive discography including the Magneto Was Right mixtape series, the Futurewave-produced Gorgeous Polo Sportsmen album, the Nicholas Craven produced Boulangerie album, the Cake beat tapes, the Gia…À La Carte collab EP with Estee Nack or more recently the Cookin’ Soul produced Bakin’ Soul, the Daniel Son collab effort Northside & the DJ Muggs-produced The Eternal Now. Coming off Stadium Lo Champions however, he’s back 15 months later for Y = Self.
“It Don’t Stop” begins with a mellow yet rugged intro promising to do his thing as long as the sun’s shining whereas “Borders” goes for more of a drumless vibe to talk about generational madness. “The Living Light” instrumentally embraces a warm boom bap direction boasting his capability of turning muhfuckas’ worlds off balance leading into “Can’t Let Go” soulfully talking about people making themselves prisoners of the street life.
Continuing from there, “The Blind” returns to the boom bap telling the detractors that they can pretend he isn’t successful as much they as want just before “What’s Really Real?” begins to question the idea of authenticity in hip hop itself from his perspective. “The Deaf” ends the 1st half on a rugged note talking about trying to break the cycle of generational pain while “Mayday” kicks off the 2nd half cautioning that one can’t refund the game.
We have The 6th Letter making Y = Self’s only guest appearance during “Memoires” talking about having recollection of your life when it’s all said & done while “Specialize” soulfully details him becoming an expert at getting what’s his. “The Dumb” concludes the trilogy of songs in which “The Blind” began & “The Deaf” bridged while “L.I.F.E. (Learning by Intelligent Forms of Energy)” symphonically talks about him trying not to preach on the microphone since that’s what churches are for.
“Censorship” gets the album’s final act going with a darker atmosphere talking about there being levels of certified gangsta shit occurring at all times while “PlzTllMe” demonstrates Raz’ ear for samples once more, flipping a soul track & making knowledge born on the microphone at the exact same time. The closer “Euphoria’s Formula” sends of the Toronto veteran’s first full-length in over a year with a soulful outro speaking directly from the heart.
The last time Raz Fresco produced an entire body of work for himself was Pocket Operations III: Breakfast in Berlin back in 2023 so considering the solo run he’s been on these past couple years, I was excited for Y = Self considering how much I loved Bakin’ Soul or The Eternal Now & I can say he gave an introspective opus that further cements his place as one of the underground’s most respected voices over 15 years since I initially heard his verse on Ace Hashimoto’s “Super Smash Bros.” as a teenager.
Here is the 3rd solo LP from Brooklyn, New York emcee/producer Buckshot. Emerging as the frontman of the trio Black Moon & the Boot Camp Clik’s de facto leader along with founding one of the most beloved record labels in all of hip hop Duck Down Music with the assistance of his business partner Dru Ha, his debut The B.D.I. Thug as well as Backpack Travels become the only 2 albums he’s put out & he’s coming off the I’m the Boss EP a few years earlier to drop off The Package.
The self-produced “We Have Arrived” begins with a jazzy 3 & a half minute intro to get things going whereas “Good Day” continues the jazz rap vibes explaining about how rather pleasantly this day has been panning out in his hood. “What I Bring to the Table” shifts towards a hardcore boom bap direction talking about getting his & breakin’ ‘em all off leading into “Sounds of the Subway” brings the horns back for another jazz rap cut getting on his New York shit.
“Just Stop” moves on from there with a more mellow boom bap atmosphere providing some advice for the kinda people who don’t know when to shut the fuck up until “Make Moves” reaches the halfway point of the full-length responding to those saying he ain’t the hardest. “High Tech Low Life” kicks off the 2nd leg of The Package ruggedly talking about going nowhere as long as he has is notepad & pen in his backpack while “All Fans” expresses his increasing appetite over some strings.
To get the 4th quarter started, “Beware Now” jazzily advises to realize where one stands & spraying up blocks while “Band on Break” brings some pianos into the fold responding to the people wondering where he’s been for so long. “Night Stress” featuring Steele talks about everyone having their own right to rebel & scoffing at these muhfuckas playing crash dummies while the title track spends the LP’s final minutes embracing a celebratory atmosphere confident of taking it to the top with him.
The B.D.I. Thug has been widely considered to be one of the most disappointing debut albums in hip hop & Backpack Travels was alright for what it was but if it takes another decade or so for Buckshot to go solo again, then I wouldn’t complain because I truly believe The Package is musically superior than both it’s predecessors. I think it’s a great for those who’ve been wanting him to produce an entire body of work for himself & the Duck Down co-founder lyrically sounds as sharp as he did on Rise of da Moon back in 2019.
Here we have the 12th studio LP from Atlanta, Georgia rapper & singer/songwriter Future. Coming up as a member of the Dungeon Family thanks to his cousin Rico Wade of Organized Noize, he officially made his debut in 2012 with Pluto & would later follow it up with a hot streak of modern day trap essentials like Honest, Monster, Beast Mode & my personal favorite of his: D.S. 2 (Dirty Sprite 2). With that said: A great deal of his material for the past decade has primarily been hit or miss. I mean sure HNDRXX took a more sensual approach & SUPER SLIMEY showed a pretty great chemistry with fellow trap trailblazer Young Thug, but Beast Mode 2 was a step down from the predecessor & he got with Juice WRLD to put out a collab tape that literally should’ve never happened: WRLD on Drugs. Finally at the very beginning of that next year, The WIZRD was just passable even though it showed NO artistic evolution whatsoever & Save Me was a decent attempt at being more vulnerable. High Off Life admirably found him staying true to himself in the midst of trying new things & I Never Liked You put the toxicity claims about him to rest. Metro reunited with Future for We Don’t Trust You & We Still Don’t Trust You, refining Pluto’s previous double album FUTURE HNDRXX & becoming his best since D.S. 2 (Dirty Sprite 2). Coming off Mixtape Pluto however, we’re getting a glimpse of The Real Me.
“Fukk a Interview” hooks up a synthesizer-based trap beat produced by ATL Jacob, FNZ & Wheezy talking his shit for his whole entire family for the intro whereas “1 2” gets his gangsta rap shit for a couple minutes over a Smatt Sertified instrumental. “No Misery” puts some odd effects on his vocals talking about trying to tie a bitch like an ace until “California Girls” takes a stripped-back trap approach talking about having bitches around the world.
Meanwhile on “Tank Top Pluto”, we have Future flexing his lifestyle over a boisterous beat from DY prior to the latter’s fellow 808 Mafia brethren TM88 getting behind the boards for “Weight Up” so he can talk about getting his cake up combing an opulent backdrop with some hi-hats. “Konnichiwa” instrumentally makes me feel like I’ve been teleported a couple centuries forward boasting his exotic hoes while “Trench Coat” continues the gangsta themes talking about his grandmother’s house being a drug store.
“Snowing in Skyami” to dig up an outtake from the Mixtape Pluto sessions that Taurus cooked up including a hilarious line regarding him having more women than Nick Cannon while “Build a Bitch” goes for a drumless direction although the repetitive lyricism can get tiring after a bit. The only single “Radio” explores the tension between humility & success over a Dez Wright beat eschewing any mainstream appeal in the process while “2018” brings back the raspy voice he infamously used for the “King’s Dead” single the same year over a DJ Spinz instrumental.
Continuing the 2nd half of The Real Me, “Money Over Everything” has somewhat of a distorted trap quality to it talking about the revenue being his to priority while “Off the Hinge” suggests to let him have his way since he has 5 vibes in his bedroom over a Southside beat. “If I Could” talks about how it wouldn’t be a sin for him to eventually rule the whole world & the difficulty of telling his loved ones how he feels while the bouncy “Big Moment” confronts his girl regarding her to take the stress outta her.
“Cast a Spell” once again delves deeper into the themes of romance raspily assuring this woman that he does shit better than her exes & after “Kick” combines electronics with trap to talk about him beginning to feel the effects of some drugs he took, “Hollywood” acknowledges him being crazy enough to know he’s groovy comparing himself to a pop star AND a rock star simultaneously containing what might be the most upbeat drums on the entire full-length.
The song “Feeling I Give” prepares to send off The Real Me willing to bet $1M on his doubts of any other artist being more toxic than him while “Alice” easily sticks amongst my top 3 cuts, referencing the Disney classic Alice in Wonderland over a playful instrumental that the Louis Vuitton’s creative director for men’s fashion Pharrell made. “Eye to Eye” spends the final minutes talking about being on another level with his money.
Mixtape Pluto still gets a divisive reputation over 9 months since it came out & although I couldn’t tell you why Future lied about having hidden features twice when he’s handling all the performances himself, I wouldn’t really consider The Real Me to be on par with the double LP he & Metro put out a couple years ago. It’s more in the same category as The WIZRD in that there are some tracks I can see myself revisiting, but it doesn’t necessarily evolve the sound he became synonymous with during my adolescence.
Legends Will Never Die 