Mickey Diamond – “Gucci Ghost 4” review

This is the 11th full-length studio album from one of the illest Detroit emcees in the underground currently: Mickey Diamond. Emerging at the beginning of 2020 off the strength of his debut EP Bangkok Dangerous, the dude has since gone on to turn quite a few heads in the underground by building up the impressive discography for himself with his previous 9 albums alongside 7 EPs & a mixtape. But for the past year, Mickey has been consistent putting out some of the best material of his career thus far. This includes the Gucci Ghost album & it’s sequel produced by Big Ghost Ltd., the Ral Duke-produced Oroku Saki EP, the Sadhugold-produced Death Threat$ album, the Camoflauge Monk-produced Capital Gains album & more recently Gucci Ghost 3 only last weekend. But as we approach Christmas weekend, Diamond & Big Ghost are keeping the series going by unleashing a 4th installment to the Gucci Ghost saga with only a few days’ notice.

After the “Cut the Check” intro, the first song “Gucci North Face” is a sample-based opener referring to WWE Hall of Famer, 2-time WWE Intercontinental Champion & 3-time WWE Tag Team Champion Rikishi whose nephew Jacob Fatu is the longest reigning MLW World Heavyweight Champion & a former HoG Heavyweight Champion whereas “Ice Caps” gives off a somber boom bap edge talking about being in the last days. “Maurizio’s Funeral” has this drumless soul flip declaring himself as a hitman for hire rocking luxurious attire prior to “Giverny Frames” bringing back the kicks & snares so he can get on his mobster shit to round out the first half of the album referencing 10-time WWE world champion, 2-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion, United Football League (UFL) co-founder & $7 Productions co-founder The Rock.

After the “Gucci Boycott” interlude, “Yachts n Boycotts” starts the 2nd leg of the LP by jumping over a suspensefully dark boom bap instrumental asking to be forgiven for his sins along with reminding that there’s a thin line between family & friends just before “Godzilla Mac 10s” keeps it raw talking about being a certified killa. “Murder for Hire” morbidly gets in his outlaw bag leading into “The Last Supper” featuring Big Trip, Bori Rock, Shaykh Hanif, Snotty & Ty Farris closing out Gucci Ghost 4 in the form an 8-minute posse cut with my favorite verses going to Diamond as well as Big Trip, Snotty & T-Flame. I also loved the line Ty had regarding Dana White, who is now the CEO & President of the UFC after WME Group merged Zuffa with the WWE to form TKO Group Holdings this fall.

You know since the first Gucci Ghost came out at the beginning of December last year & then 2 followed only 3 weeks later, I should’ve figured that a 4th installment was on the horizon at some point & I actually happen to love it as much as the predecessor that we got only the previous weekend. Big Ghost Ltd.‘s production is predominantly in that boom bap style with more drumless undertones, Mickey still remains as one of the sharpest lyricists in the Umbrella collective & I love how there’s more features except they all pop up in the backend of it.

Score: 4.5/5

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Conway the Machine – “Palermo” review

Buffalo emcee Conway the Machine following up his best release of 2023 at the beginning of the month Conductor Machine by putting out his 12th EP only days before Christmas. As you may already know by now since late 2015, as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher, the trio have had the culture on lock ever since their arrival by their constant work ethic balancing quality & quality as well as bringing the underground to the mainstream or vividly detailing their lives in the streets on top of boom bap, drumless, jazz rap & even trap production. Con’s full-length debut From King to a God was my Album of the Year for 2020 & the Shady Records-backed sophomore effort God Don’t Make Mistakes is the most personal he’s ever been. Organized Grime 2 & Big Ghost Ltd.-produced What Has Been Blessed Cannot Be Cursed were both great EPs, but his latest full-length Won’t He Do It received more moderate reception even though it was the beginning of a new era for him & like I said out the gate: Conductor Machine was the best thing Conway has done this year, but is now teaming up with German lo-fi producer Wun 2 resulting in Palermo.

After the introductory interlude, the first song “Carduni” really starts off the EP with a dusty ass boom bap instrumental getting on his Pyrex shit whereas “Mind Tricks” talks about his mind playing tricks on him over and over unsettling beat with some kicks & snares. “Brick by Brick” reminds how exactly he built his whole career taking a more lo-fi approach to the traditional boom bal sound, but then the drumlessly jazzy “Cold Dish” featuring Goosebytheway flexes that they both have all the intangibles.

“Cosca” tells all the haters to stay in their lanes going for a groovier vibe with kicks & snares but following the “Zisa” skit, Goosebytheway returns for the uncanny boom bap infused “Montagna” reminding that everyone knows the way they be movin’. “Bianca” continues to push near the end of Palermo by bringing back that lo-fi flare so La Maquina can boast & finally to wrap up the EP, “Gaspare” featuring Goosebytheway sends things off with 1 last boom bap joint telling their competition to give it up.

I was already familiar with Wun 2 heading into Palermo because of his collaborations with Hus Kingpin or Tha Connection, so I was undeniably interested in what was gonna come out of this EP & I still enjoy it although not as much as the last EP we got a few weeks ago. The production fuses his lo-fi sound with boom bap along with Italian samples so Conway can built its concept around the themes of both resistance & truth.

Score: 4/5

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Big Hit – “The Truth’s in My Eyes” review

Big Hit is a 52 year old rapper from Los Angeles, California notable for being the father of one of hip hop’s most in-demand producers that we’ve seen in recent memory: Hit-Boy. He was found guilty & convicted of a hit & run resulting in great bodily injury almost a decade ago, unlawfully being sentenced to 12 years & 4 months in prison including a 5-year GBI enhancement connected to Count 1. This February, his petition for a writ of habeas corpus was granted & became a free man few weeks ahead of his son’s 36th birthday. Hit would have his father join forces by making Surf or Drown 2 a collab effort tailored for Father’s Day Weekend & now only less than a couple weeks until Christmas, they’re keeping it rolling except Hit-Boy is fully producing his dad’s official full-length solo debut album.

The title track is a symphonic opener to the album talking about keeping it gangsta so I ain’t got shit to hide whereas “Red Lotion” featuring Jay Worthy & RJ finds the trio boasting that they’re flamed up & burning forever on top of a drumless soul sample. “Load ‘Em Up” featuring the Baby Stone Gorillas sets out to load it the sticks, spin the block, load ‘em up & pull off in the Lotus truck leading into “Take Some Off of That” going into trap turf with co-production from Rogét Chahayed calling out those who ain’t cut from the same cloth as him.

“Extra Clips” gives off a smoother edge to the instrumental describing the way he lived in the streets proclaiming the LA County Sheriffs to be worse than the feds just before “Wigglin’” featuring Mozzy shifts gears by lacing a chill backdrop with hi-hats & even a g-funk beat switch during the end of it as both of them admitting they’re trappin’ again, but then “Broke the Mold” luxuriously disses all the copycats out here these days.

Big Hit’s son joins his dad on the mic for the booming lead single “A$AP Chauncey” looking to run it up while “Boo Bop” works in these strings & later keys accompanied by hi-hats dropping braggadocio on the lyrical front. “Shoppin’ Monster” featuring WWE Hall of Famer Snoop Dogg fuses elements of trap & g-funk so both of them can celebrate while the highlight “Man, I’m Rollin’” gives off a jazzier flare thanks to The Alchemist rockin’ shit that’s fresh off the showroom floor.

“Breaking the Ice” featuring Half-a-Mil & J. Stone weaves together pianos chords with kicks & snares so everyone can handle business while “The Pain is Deep” gives off a g-funk vibe once more admitting that if this is heaven, then he doesn’t even wanna see hell. “Inspiration” featuring Figg Newton & Killa Twan is a decent trap cut dedicated to everyone catching cases while “Speaking in Codes” featuring Benny the Butcher does that general sound significantly better advising that the sharks gotta learn to finesse around.

The penultimate track “Stay On” featuring Big Tray Deee formerly of the LBC Crew & Tha Eastsidaz finds the 2 joining forces over a funky boom bap beat as both of them make it known that they’ve paid their debts to society after spending time behind bars prior to “G’z Don’t Cry” closes out Big Hit’s debut LP that’s been almost a decade in the making by soulfully admitting that the titular rule is in fact a lie.

Now for those of you who just got into Big Hit this spring when he came home & put out Surf or Drown 2 with his son the next month for Father’s Day, there’s no way that you’re not gonna walk away from The Truth’s in My Eyes liking it more since you get a better look of who he is artistically & personally. Even though a few guests fall flat, the overall sound impressively ranges from boom bap to trap & g-funk on top of Big Hit’s passionate performances.

Score: 3.5/5

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Snotty – “Boy George Dreams” review

New York City emcee Snotty making his 11th EP the 4th & final project that he’s given us in 2023. Establishing himself by dropping his last 10 EPs along with 3 mixtapes & The Steiner Brothers’ eponymous debut, he would go on to join the Umbrella collective with likes of Jay Royale or Mickey Diamond & even his Steiner Brothers cohort Pro Dillinger to name a few. I’ve also heard his features throughout the Gucci Ghost series as well as The Final Sniff of the No Cosign, Just Cocaine saga & even some of Hus Kingpin’s material within the last few years (most notably Portishus). But coming off the Chapter II EP couple months ago, Snotty is helping close out the year by putting out Boy George Dreams.

“Everybody Eats” is an orchestral-tinged opener likening it a soup kitchen whereas the soulful “190E 2.5” admits that he feels like part of him has changed & that shit’s hardly been the same for him ever since the love been gone. “Obsession” has a bit of a boom bap flare instrumentally detailing his obsession with enterprising prior to “Apartment 1C” featuring fellow Umbrella collective member Mvck Nyce works in this solemn sample taking things to the streets.

The beat on “Dapper Dan Jaccet” pays homages to Daringer’s whole style explaining how hard be flexing that Gucci, but then Daniel Son of the Brown Bag Money collective teams up with Snotty for the grimy “Felonious Food Courts” reminding that the streets know the names & they don’t have to say it twice. “Tuxedo Enterprise” shoots for a smoother instrumental bragging that they invented fly & “Shrimp Dinner” by The Steiner Brothers eerily talking about out they’ll Hudson River shrimp dinner someone.

“Ostrich Interior” starts the encore of Boy George Dreams on a drumlessly moodier note assuring that there’ll never be another like when it’s all said & done that is until “Trench Baby” slides through with a sample-laced sendoff to the project by Snotty telling the story of what it was like for him being born & raised out in the trenches of my 2nd favorite place to travel to in here in the States behind Los Angeles of course: NYC.

Of the 4 projects that we’ve gotten from Snotty this year: Boy George Dreams has to be my favorite solo project of his but that’s not to say it isn’t neck-&-neck with the Steiner Brothers album. The guest list is consistently unparalleled throughout the 10-track/24 minute offering, the production teeters between boom bap & drumless and I lastly find the performances from Snotty himself to be the most passionate he’s sounded so far. The Umbrella collective stays consistent.

Score: 3.5/5

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(həd) p.e. – “Detox” review

(həd) p.e. is a g-punk outfit from Huntington Beach, California masterminded by Jahred Gomes. From their first 2 albums under Jive to their first stint on Suburban Noize in the mid-2000s, these guys have truly been making a name for themselves for over 25 years whether that be their eclectic sound or the more political lyrics on some of their recent output. They returned to Subnoize in 2019 for their 11th album Stampede even though it wasn’t generally received that well by both critics & fans alike, but the Broke sequel Class of 2020 returned to their roots & the subsequent EP Sandmine wound up being angrier. However to come off the Califas Worldwide compilation & their covers album 70s Hits from the Pit, M.C.U.D. & company are ending Suburban Noize’s 25 year anniversary by detoxing their 13th full-length LP of all original material.

“No Way Out” is a skull-smashing trap metal opener to the album declaring that they’re back in black whereas the title track returns to their g-punk roots singing that he knows just what you want. “Waiting” gives off a bit of a rap rock vibe addressing someone who’s no good for him, but then “Too Late” goes into a straight-up nu metal direction talking about how you need to count your blessings. Moving on from there, “This Dream” takes it back to the g-punk sound that they created reminding that the dream they have isn’t for everyone just before “Compromise” fuse elements of reggae, punk rock & hip hop refusing to give & take. “Rat Race” embraces works in another trap metal beat so M.C.U.D. can paint the image of a nightmare leading into the rap rock “Going Nowhere” promising they ain’t leaving anytime soon. “Pour My Wine” draws near the end of the album with a rap metal groove encouraging to light the blunt up & fill up his cup or glass with wine prior to “PCH” closes the album for a funky rap rock dedication to those doing time as we all know that life’s too short & time is continuing to fly by.

Class of 2020 to me wasn’t that bad of a sequel to Broke, but the way Detox pays homage to their g-punk origins by capturing the frenetic energy & signature elements of their distinctive sound is more than enough to satisfy anyone who obviously loves these guys. Ulrich Wild’s masterful mix & master seamlessly melds raw aggression, hip-hop influences & hardcore vibes to deliver a sonically cohesive experience. If this is how the 25 year anniversary of Suburban Noize Records ends, it’s a pretty ass-kicking high note.

Score: 4.5/5

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Bas – “We Only Talk About Real Shit When We’re Fucked Up” review

Bas is a 36 year old Sudanese-American rapper & songwriter born in Paris, France & raised in Queens, New York who emerged in 2011 by putting out his debut mixtape Quarter Water Raised Me. The 2013 sequel Quarter Water Raised Me 2 would catch the attention of J. Cole, who shortly after helped Bas become the 2nd act after Omen other than Cole himself to sign to his Interscope Recordsimprint Dreamville Records. He would introduce himself more to the Dreamville fans the next spring on the moderately received full-length debut Last Winter & the sophomore effort Too High to Riot couple years later won them over, as it’s still the most critically acclaimed body of work in Bas’ discography to date. His previous LP Milky Way in 2018 was also treated to mild reception as were the couple of EPs that he’s given us since then Spilled Milk & [BUMP] Pick Me Up, but the highlights on those last few projects had me holding out hope that Bas would reach the heights that Too High to Riot did once again.

“Light of My Soul” starts the LP with a drumless loop from Boi-1da sampling “We’ve Got a Way Out Love” by The Originals confessing that he has a problem makin’ other people’s problems his own whereas “Black Jedi” likens himself to Mace Windu shifting gears with it’s trap instrumental. “Choppas” talks about going round like the helicopter working in a cloudy backdrop & hi-hats just before “Home Alone” featuring J. Cole produced by T-Minus & Cubeatz serves as a vibrant dedication to the people that switched up on them, the women they miss, the ones they I love, the ones that stayed & the seeds that we growin’ although Bas feels like he’s been featured on his own track.

Meanwhile, “Risk” takes a smoother approach sonically detailing a relationship with a woman in which he took a risk with because she was almost too perfect at first until distancing herself from him leading into “Decent” featuring Amaarae talking about being 100% the same as they were when they started over a spacious trap beat. “Ho Chi Minh” gives a look at Bas’ emotional & mental state as well as his experience with substance abuse over a solemn instrumental, but then “179 Deli” featuring AJ Tracey dabbles with the UK drill sound a bit telling y’all to stay with them for the ride.

Cole returns on “Passport Bros.” for a mediocre pop rap/dancehall fusion with some afrobeats undertones & I say it’s mediocre because my biggest problem with it personally is that both of Bas’ verses feel underwritten although I’ll still take it over “Testify” featuring Sha Sha since it continues to expand on that dancehall vibe singing that they’re gonna “fuck each other right”. The atmospheric “U-Turn” featuring A$AP Ferg & Blxckie breaks down a woman who had them running back with Ferg having the better of the 2 guest performances prior to the final J. Cole appearance on the album “Papers Cuts” groovily asking if you dumb.

“Diamonds” looks to take a leap as artist have to continually explore & give more of themselves to feed the insatiable appetite of the audience on top of some summery acoustic passages while “Yao Ming” boasts that he got racks as tall as the iconic Houston Rockets player of the same name over soulful background vocals. The song “Dr. O’blivion” is more stripped-back thanks to Cole himself explaining that “she don’t want none of the madness you come with” while the penultimate track “Khartoum” is a powerful ballad about the ongoing war in Sudan featuring Adekunle Gold on the hook. “Wait on Me” ends the LP on a melodic note singing that he loves the moments you spending with him.

I remember upsetting a couple Dreamville fans after the Milky Way review because I still believe it’s the most commercial body of work I’ve heard from Bas, but We Only Talk About Real Shit When We’re Fucked Up happens to be the most I’ve enjoyed a project from the guy in about 7 & a half year. Those pop rap/trap elements from that previous album make their way over here once more except this time, he’s mixing them with some new sounds that he’s trying out like dancehall or afrobeats.

Score: 3.5/5

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Ruby da Cherry – “Existential Hymns for the Average Sigma” review

This is the 2nd solo EP from New Orleans emcee/producer Ruby da Cherry. Blowing up as 1/2 of the $uicideboy$ alongside his cousin $crim, they’ve built up an impressively extensive discography over the last decade & even have their own Virgin Music imprint G*59 Record$ with an ever-growing roster of artists. Budd dropped his full-length solo debut A Man Rose from the Dead in the midst of the COVID-19 to mixed reviews & as Ruby comes off Tragic Love Songs to Study to earlier this summer, he’s back at it with more Existential Hymns for the Average Sigma.

After the “¯\_(ツ)_/¯” intro, the first song “Excalibur” is a punk rock opener with Ruby singing that he knows he’s gonna find a way down the line whereas “I Was a Teenage Nihilist” following the “where y’at, duckboy?” interlude features faster instrumentation talking about the nihilism he faced as an adolescence. “Pearls Are Just Oyster Puke” after the “where y’at, duckboy??” interlude continues to take things heavier assuring that he’s still breathing & after the final “where y’at, duckboy???” interlude, the final song “Heroin As a Recreational Activity” is a punk rock closer talking about his past drug addiction.

tragic love songs to study to was a solid way for Ruby to properly introduce everyone to his pop punk alter-ego because he continues to delve further into the world of punk rock music recalling back to his Vapo-Rats days. His vocals & songwriting are still on point, but I noticed a couple heavier instrumentals in comparison to the previous EP last summer & it has me wondering if he’s gonna dabble with metal music in regards to his next solo EP.

Score: 3.5/5

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Mickey Diamond – “Gucci Ghost 3” review

Detroit emcee Mickey Diamond is back with his 10th full-length LP. Emerging at the beginning of 2020 off the strength of his debut EP Bangkok Dangerous, the dude has since gone on to turn quite a few heads in the underground by building up the impressive discography for himself with his previous 9 albums alongside 7 EPs & a mixtape. But for the past year, Mickey has been consistent putting out some of the best material of his career thus far. This includes the Gucci Ghost album & it’s sequel produced by Big Ghost Ltd., the Ral Duke-produced Oroku Saki EP, the Sadhugold-produced Death Threat$ album & the Camoflauge Monk-produced Capital Gains album. However to come off Gone in 60 Seconds & Bangkok Dangerous 4, he’s surprise-dropping a 3rd installment of Gucci Ghost.

The first song “Live Fast” after the “Maurizio’s Dead, Somebody Shot Em” intro sets off the LP with a piano-driven boom bap instrumental living in the fast lane & looking to die free whereas “Nauti by Nature” works in more pianos, kicks & snares talking about shooting ya. “Gucci Underwear” weaves another piano-boom bap hybrid into the fold firing shots at everyone who’s been lamed out up to this point prior to “Icebergs” shifting into more lavish turf reminding that there’s dark matter scattered over everything.

“Patrizia’s” starts the 2nd leg of the LP by returning to the boom bap assuring that he could do this shit forever if he wanted to just before “Reggiani’s Revenge” ruggedly calls these computer thugs Microsoft & seeing all the dead people a.k.a. dead presidents that he’s stacked up for himself by now. After the “Murder for Hire” interlude, “Designer Caskets” dustily compares his flow to hot lava & “Aldo’s Ghost” ties up the Gucci Ghost trilogy by eerily disappearing into the vapors RKOing everybody as if he’s 14-time WWE world champion, 4-time WWE tag team champion, WWE Intercontinental Champion & WWE United States Champion Randy Orton.

Oroku Saki is the best EP that we’ve gotten from Mickey in 2023, but I firmly believe that Gucci Ghost 3 has now taken over Death Threat$’ spot for the best full-length he’s dropped this year & most certainly a late AOTY contender with only a couple weeks left until 2024 begins. Unlike the predecessor being more feature-heavy & the original Gucci Ghost only having a couple, it’s just Diamond & Big Ghost here continuing to elevate one another like they’ve been doing for the past year.

Score: 4.5/5

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Big K.R.I.T. – “Regardless, It’s Still Timeless” review

Mississippi emcee/producer Big K.R.I.T. is teasing bigger plans for 2024 with his 6th EP. Starting out by releasing a few mixtapes from the mid to late 2000s, he eventually signed to GoodTalk Records in 2010 & his 6th mixtape K.R.I.T. Wuz Here that same year landed him a joint venture with Def Jam Recordings along with a spot in the XXL Freshman Class in 2011. His first 2 studio albums Live from the Underground & Cadillacticain 2012 & 2014 respectively continued to show his potential, he would go on to form his own label Multi Alumni some time after. His first outing under the new independent label was his previous album 4eva’s a Mighty Long Time in October 2017, which is the best double disc hip hop album of the 2010s without question. Following that was the T.D.T. compilation, K.R.I.T. Iz Here which was an underwhelming sequel to K.R.I.T. Wuz Here given how excessively commercial it was in comparison to the rawness of the predecessor & finally K.R.I.T.‘s previous full-length D.R.D.D. (Digital Roses Don’t Die) leaning towards neo soul a bit. I nevertheless had my curious it’s about Regardless, It’s Still Timelesssince K.R.I.T.’s one of hip hop’s most important southern artists in recent memory.

The EP starts with a 5th installment to the “King” series that began on K.R.I.T. Wuz Here & last left off on It’s Better This Way looking back on starting in the trenches to eventually making it out over a woozy self-produced instrumental whereas “Set ‘Em Free” takes the synth-trap route looking let off the 100 rounds that he has saved just for his opps. Shortly after is Part 6 of K.R.I.T.’s famous “My Sub” series with a bass-line & hi-hats knowing they shakin’ for that drop & “Man on the Moon” sends it all off with a funky stream of social consciousness.

K.R.I.T.’s last couple albums have been underwhelming yet I still believe that he’s more than capable of bouncing back & Regardless, It’s Still Timeless really isn’t that bad of a 4-track, 11 minute EP preluding everyone for his upcoming 6th LP next year. It’s pretty cool that he spent half of it continuing a couple series of songs that’re popular within his established fanbase & the other half by going into an upbeat direction.

Score: 3.5/5

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B.G. & Gucci Mane – “Choppers & Bricks” review

This is a brand new collaborative mixtape between B.G. & Gucci Mane, one of whom hails from New Orleans, Louisiana starting as 1/4 of the Hot Boy$ & the other coming straight outta Atlanta, Georgia becoming one of what I like to call the big 3 trap pioneers. The only time we’ve ever really heard them together previously was in 2015 on the track “Try It Out” & with B.G. being released from prison this past fall, he & Wop are joining forces throughout the duration of Choppers & Bricks thus making the collab tape the first body of work from the Baby Gangsta ever since he came home.

“Talk” is a chilling trap opener produced by DJ Paul cautioning that shit’s gonna start getting real here pretty quickly whereas “Guwop & Gizzle” gives off a more suspenseful atmosphere instrumentally so they can both break down the significance of both their nicknames. The title track boasts that they got plenty of sticks & weight on them accompanied by a bouncy beat, but then “Cold” gives off a vibrant approach with the help of Mike WiLL Made-It reflecting on the days where they were both incarcerated.

The Atari-synths that Honorable C.N.O.T.E. hooks up throughout “My Bitch” aren’t too bad breaking down how much they spoil the special women in their lives leading into the spacious “Run a Bag Up” that ATL Jacob cooked up talking about making that paper. “Paperwork” makes it clear what they’re standing on over a solemn beat with co-production from 30 Roc, but then d.a. got that dope radiates a chilling atmosphere during “Idiot’s Worst Nightmare” declaring themselves to be exactly what these bitches fear.

“At This Point” has one of the weaker features on the tape from Lil Jairmy despite the bell-infused trap instrumental making it known that there ain’t no stopping for any of them while “Rewanksta” pretty much recreates “Wanksta” by 50 Cent down to Bandplay heavily sampling it. The song “Project Baby” featuring C-Murder finds the trio breaking down what it was like in the PJs for them while KLC gives “She Say She Love Me” more a dirty south feeling telling the baddies to let them see ‘em bend over. “Beautiful Life” happens to be a profound closer expressing gratitude that both of them are home.

I know B.G. said he wrote 7 or 8 albums worth of material during his time behind bars & stand by that we could be in for the best music that he’s released post-Cash Money if he gets the right producers & features. If anything, Choppers & Bricks could very much be the beginning of that. My favorite thing Gucci has done within the last few years & a consistently solid way for B-Geezy to reintroduce himself to everyone. The production’s better than Breath of Fresh Air & it’s fun hearing these 2 different worlds of southern hip hop colliding.

Score: 3.5/5

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