Naomi Sharon – “Obsidian” review

Naomi Sharon is a 28 year old singer/songwriter from Rotterdam, Zuid-Holland, Netherlands who started out in 2018 with her debut single “Breeze”. She would go on to release 4 more singles until Toronto superstar Drake made her the newest signee to OVO Sound this past summer. So after building up some hype for this full-length debut LP over here in the form of a couple singles, we’re getting a proper introduction to her a couple weeks after For All the Dogs became the best thing Drizzy has done since 2015.

“Definition of Love” is a great opener drawing from sophisti-pop, alternative R&B, afrobeats & UK bass singing that her partner is exactly that whereas “If This Is Love” works in a smooth soul instrumental singing about this man’s beauty becoming strange to her. “Another Life” fuses alternative R&B with ambient house, ambient pop, downtempo & afro house confessing that her heart is aching even though she promised herself that she wouldn’t break it leading into the acoustic “Myrrh” passionately sings about an anciеnt love filling the room.

40’s production on maybe my favorite track here “Celestial” is absolutely dreamy with Naomi on top of it telling the person that she’s no longer seeing that she actually still adores him just before the moody, afro house infused “Time & Trust” advises that the 2 things don’t mix. “Push” featuring Omah Lay is an afrobeats duet with both singers tackling themes of intimacy, but then “Holding in Place” has a bit of a wavy chilled out EDM influence to the beat singing about times like this not lasting forever & doing the best she can to keep the most important person in her life with her.

“Extacy” discusses losing empathy & parts of her are already starting to move on over a luscious instrumental while the cavernously produced “Lucid Dreamer” explains that there’s no luxury worth living. “Regardless” assures this guy that she’ll stick around even if she’s brokenhearted accompanied by some acoustics & after the “If This Is Love” outro, the bonus track “Hills” truly ends Naomi’s debut album with a tropical vibe singing about having a dude loving love that wasn’t for them.

Starting the deluxe run officially, “Nothing Sweeter” balances between contemporary R&B & neo-soul with a hint of singer/songwriter explaining that nothing else hits different for her than the first kiss from the love of her live while “Goodbyes (Myrrh)” experiments with deep house & garage house with the help of DJ Snake for a reimagined successor to “Myrrh” & one that I find myself enjoying significantly compared to the original version of it.

OVO as a label generally tends to be mid in what they have to offer alternative R&B alongside trap & pop rap, but I can definitely see why Drake signed Naomi Sharon to begin & am interested in hearing her blossom artistically going forward. She incorporates elements of afrobeats, downtempo, sophisti-pop & afro house into the PBR&B sound that October’s Very Own specializes in with an additionally clear Sade influence.

Score: 3.5/5

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Gucci Mane – “Breath of Fresh Air” review

Gucci Mane is a 43 year old rapper, record executive & entrepreneur from Atlanta, Georgia emerging in the mid-2000s becoming one of the Big 3 pioneers in trap music alongside T.I. & Jeezy as well as having one of if not the largest discography throughout the entire subgenre that continues to grow today. He spent a good bulk of this decade signing acts to 1017 Global putting out a number of showcase compilations that successfully gave these newer cats more exposure. Wop’s last solo effort Ice Daddy in 2021 was a solid commemoration to fatherhood & he’s looking to return in the form of his 16th album following former 5-time NWA World’s Heavyweight Champion, former PWG World Champion & WWE’s Director of Live Events Adam Pearce’s first night as the GM of the Monday Night RAW brand on USA Network.

“Must Be Me” is a soulful, jazzy trap opener talking about how he’s seeing something that everyone else doesn’t whereas “Bluffin’” featuring Lil Baby hooks up these synthesizers & hi-hats together so both of them can call for some of these people out here to throw their hand in & stop all that cap. “Thank Me” featuring the late Young Dolph gives off a manic atmosphere musically boasting they got blue cheese in their pockets leading into “Trap Money” with underwhelming features from Li Rye & Sett hopping over a classy sample & more hi-hats flexing that they still got paper from their hustling days.

Dolph returns for the rubbery “Pretty Girls” produced by Mike WiLL Made-It showing off all the baddies that they have surrounding them just before “Glizock & Wizop” featuring Key Glock happens to be a decent introduction to the titular trio of the same name from the synth-woven trap beat to the boastfully icy lyrics. “Internet Chatter” makes it known that he isn’t phased by all the things they say about him online accompanied by a minimal trap sound that Dez Wright & Murda Beatz cooked up just before the shimmery “Talkin to the Streets” featuring Mac Critter drops off decent braggadocio.

“There I Go” featuring J. Cole has these cavernous undertones to the beat that Mike WiLL brings to the table here knowing that the hoes jump out the gym for both of them while “Mr. & Ms. Perfect” feels like a spiritual successor to a highlight off Wop’s 8th mixtape Mr. Perfect over 15 years ago. “I Know” vigorously produced by Tay Keith declares his awareness off how much it hurts people knowing he’s doing well while the piano-driven “Stomach Grumbling” ends the first half of the LP explaining that they want to be him despite the difficulty of doing so.

To start the 2nd leg, “Business Not Personal” gives off a theatrical edge instrumentally advising not to get emotional over any business matters as it has nothing to do with you personally while the cloudy “King Snipe”featuring Kodak Black & Richie Souf talks about being real from the jump. “06 Gucci” featuring DaBaby & 21 Savage finds the trio paying homage to Chicken Talk/Hard to Kill-era Gucci delving into the gangsta lifestyle accompanied by strings & hi-hats while the spacious “Pissy” featuring Nardo Wick & Roddy Ricch shows off their yellow gold.

The organ/trap hybrid that Zaytoven gives “Say No Mo” is interestingly distinct talking about not wanting to hear another word from anyone that doesn’t want to talk money while the fittingly lavish “Married with Millions” details the life of having a family as a millionaire. “Woppenheimer” goes for a suspenseful vibe pointing out that people like bringin’ up the past talkin’ recently while “Now It’s Real” talks about life being as beautiful as Pharrell & WWE Hall of Famer Snoop Dogg over keys & hi-hats.

“Broken Hearted” airily asks if anyone can cure the heartbreak that he’s experiencing while “Hurt People” remains in trillwave turf once more uniquely examining why everyone likes to cause harm to one another in our daily lives. “By the Water” sees Zaytoven lacing Wop with a synth-trap beat expressing for his desire to cop a house that has an ocean view & the closer “Big Boy Diamonds” is taken from WOPTOBER II. Better than “King Snipe” but much like “Mr. & Mrs. Perfect”, it’s an older cut that has no purpose of reappearing here.

I was interested in hearing that Breath of Fresh Air was going to be a double-disc LP considering the World War 3 mixtape that celebrated it’s 10-year anniversary over the summer happens to be one of my favorite projects from the trap pioneer. With that said: It’s not as solid as Ice Daddy was over 2 & a half years ago. Although I like that he took a different direction with it after the deaths & incarcerations of some of his friends, the production is a mixed bag & a few features punch under their weight other than a couple older tracks being rehashed.

Score: 3/5

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Smiff – “Virginia Native” review

Roanoke, Virginia emcee Smiff is returning with a 3rd full-length effort. Properly introducing myself in the summer of 2018 off his debut To Whom It May Concern, he would follow this up 3 years later by releasing Flowers & is now returning to provide the listener a better look at who he is both artistically & personally as a Virginia Native even though he’s now based in our nation’s capital.

“Purgatory” starts the LP on a cloudy note talking about the city where young homies get clapped up whereas “Fallin’” works in a sample heavier sound looking to take a leap of faith. “Early Morning” takes a soulful approach instrumentally admitting that he’s coming fresh off the late night even though he gets up early regardless, but then the triumphant “Back in My Mode” hooks up another soul flip except this time they’re swapping out the kicks & snares for hi-hats getting back in his element.

To close out the first half of the album, “Hazard Pay” featuring Richie Rich shoots for a groovier vibe with the beat reminding that what goes up must come down leading into “Hell Raiser” featuring 4Lo Drilla starting the 2nd leg over a slowly morbid instrumental advising to keep a heater around you if you don’t have family that supports you. “Find My Way” says it all topically accompanied by airy production just before the cloudy” I Promise” featuring Jabb refuses to stop.

“Ode to My City” featuring Heroux nears the end of the album by paying homage to Roanoke backed by a woozy trap beat & as for the title title track that ends the album, we have Smiff on top of a boom bap instrumental so he can take pride in being a product in the titular state fittingly wrapping it all up on a sincerely heartfelt moment.

Virginia Native marks a moment of reflection for Smiff acknowledging his promise, maturity & healthy progress toward his ambitions because the growth compared to the first album is noteworthy. Tight feature list, improved production & you get a more introspective side of Smiff compared to the debut.

Score: 3.5/5

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DJ Oreeyo – “Freshman Year” review

DJ Oreeyo is a 15 year old MC/producer/DJ from Detroit, Michigan who happens to be the son of local veteran & Middle Finger Music recording artist Fatt Father previously of the world famous Fat Killahz. He eventually followed his dad’s footsteps by making music himself, properly introducing himself last summer by dropping a debut single. Now that it’s been only 14 months since then, everything makes sense for Oreeyo to returning on Friday the 13th in an effort to bring his musical introduction to the world to next level by releasing a full-length debut LP.

“Bell Work” is a drumless, stripped back opener looking back on the days when he didn’t know how to cook in the lab & having the hang of it at this point whereas “O.M.W. (On My Way)” dives into trap territory talking about getting the paycheck & a chick who wants him bad. After the spoken word “Peddling Purpose” interlude, “Good Day” gives off a warmer feeling having a positive feeling on how today’s gonna go just before “All My Life” talks about how there ain’t no slipping over a cloudy beat with some hi-hats.

Fatts shows up with his son for “TBT 1” pulls more from the Detroit trap scene stylistically showing off their Ws leading into the piano-driven “Grind” melodically talking about the hustle that never ends. “New Life” draws near the end of the album by mixing these guitar kicks on top of hi-hats needing peace & after the “Mama’s Note” skit, “Head Up” wraps up the album on the atmospheric tip showing optimism in the midst of hardships.

We’ve heard Oreeyo with his pops in the past, so it only made sense for him to cook up an entire project by himself & Freshman Year gives us a glimpse at the potential he has because there’s no doubt in my mind that he’s only gonna evolve artistically as time goes on. His production’s more rooted in the trap sound compared to the dusty boom bap Fatt Father is known for, but his songwriting isn’t too bad for his age at all & certainly shows passion in his delivery.

Score: 3.5/5

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The Streets – “The Darker the Shadow the Brighter the Light” review

West Heath, Birmingham, England, United Kingdom rapper, singer/songwriter, musician & producer Mike Skinner a.k.a. The Streets has returned with his 6th full-length album & over a decade since his last one Computers & Blues. His debut Original Pirate Material is widely considered to be a landmark recording in the UK hip hop scene with the follow-up $1K Don’t Come for Free also receiving acclaim, but his output under the Streets moniker since has been hit or miss. So when it was announced that he was returning after putting out the below average mixtape None of Us Are Getting Out of This Life Alive, I went into The Darker the Shadow the Brighter the Light a little optimistic.

“Too Much Yayo” is a boring house rap opener to start the LP asking why he never learns backed by a blobby electronic instrumental whereas “Money Isn’t Everything” works in some synthesizers & hi-hats so Mike can talk about how wealth really isn’t your whole world. “Walk of Shame” jangly tells everyone what exactly his daily commute happens to be leading into “Something to Hide” is literally recycled from the previous album that Mike had dropped a decade prior. It’s not bad, just feels lazy to put it on another record.

However, “Shake Hands with Shadows” blends UK drill with cloud rap admitting that he doesn’t see it as really anybody’s business but his own before the hip house infused “Not a Good Idea” talking about the Devil himself being on his shoulders. “Bright Sunny Day” has a feel-good vibe to the beat looking forward to another positivity-filled day ahead, but then the title track confesses to feeling reincarnated since this disaster started ripping off Doop a little bit.

“Funny Dream” wonkily opens up about a dream that he had that made him change the way he feels while the sonically terrifying “Gonna Hurt When This Is Over” pointing out that everything’s in slow motion for him personally. “Kick the Can” advises that the road to success is always under construction with a playful instrumental while the mediocre final single “Each Day Gives” mixes these strings & hi-hats reminding that every new day has no mistakes in it.

The song “Someone Else’s Tune” talks about someone Mike’s known for so long that he can rely on their memory over another hip house beat prior to the drum & bass inspired “Troubled Waters” provides a profound message to those who be in the struggle right now including Mike himself. “Good Old Daze” warmly ties up The Streets’ decade plus return talking to those who think the future is not what it used to be.

If anyone thinks the None of Us Are Getting Out of This Life Alive tape is the worst thing that Mike’s ever done, I’m pretty sure that The Darker the Shadow the Brighter the Light just took over that spot. The production’s more centered around house/wonky music in contrast to the UK Garage sound that The Streets is known for, it’s really Mike’s performances on here that leave little to be desired which is a huge shame since how much I’ll always love his first 2 albums.

Score: 2/5

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G-Mo Skee – “8 Bit Filth 2: Hero Hunter” review

This is the 3rd EP from Richmond, California lyricist G-Mo Skee. Emerging as a member of the trio Stampede & later the Inf Gang. He would drop 2 official mixtapes Got Filth & Got Filth II: The Great Adventures of G-Mo independently before Twiztid signed him to Majik Ninja Entertainment in 2016. His full-length debut My Filthy Spirit Bomb coming out that same winter to significant acclaim, but I personally think G’s sophomore effort Chaly & the Filth Factory is his best work so far because of it’s incredible concept & the instrumentals accompanying it (mostly handled by former Strange Music in-house producer MIKE SUMMERS a.k.a. 7). His last LP The Filth Element commemorated his 30th birthday by proving that he didn’t need MNE, but is returning to The Dojo for 8 Bit Filth II: Hero Hunter ahead of his upcoming 4th album album Huckleberry Filth & the next EP Filth City produced by Stu Bangas following his Astronomicon 6.5 return.

Things start off with the 3rd & final installment of the “Final Boss” trilogy sampling Super Mario World adding some kicks & snares into the fold reminding that he’s the final boss off this rap shit whereas “Filthbound” is my favorite on the EP putting a unique spin on Earthbound & former Majik Ninja in-house producer Godsynth cooking up the phattest beat on the entire project. “Inf Kong Country” featuring Cell & Jae Harmony of the Inf Gang finds all 3 members of their respective Richmond crew flipping Donkey Kong Country referencing AAA Mundial Crucero Campeon, IWGPジュニアヘビー級チャンピオン, 5-time WWE Cruiserweight Champion & WCW World Tag Team Champion Juventud Guerrera alongside WWE Hall of Famer Paul Bearer

“That Ain’t Falco” goes into trap turf sampling Starfox prior to “Heart Pieces” going for a dreamy boom bap quality instrumentally dedicating this the love of his life that is hip hop just before “Falcon Punch” featuring Seuss Mace & Ubiquitous references Captain Falcon’s neutral special move in the Smash Bros. series over a triumphant instrumental. “Skull Kid” angelically talks about what the road & show business did to him leading into the wavy boom bap closer “Hero Hunter” telling everyone to drop their coins.

A reference to Twisted Metal was made on the latter cut that I enjoy in light of it getting a TV adaption last summer on the Comcast Corporation subsidiary NBCUniversal-owned peacock with the franchise’s mascot being played by the current ROH World Television Champion, former 2-time AEW TNT Champion, GHCタッグチャンピオン, inaugural ROH Hall of Fame inductee, the longest reigning ROH World Champion, ROH Pure Champion, TNA World Champion, 2-time TNA World Tag Team Champion, 5-time TNA X Division Champion, record 3-time NXT Champion & 2-time WWE United States Champion Samoa Joe.

The original 8 Bit Filth contains some of G’s best material & this sequel here is an equally fun return to Majik Ninja for the Richmond emcee. The video game samples are as creative as they were last time mainly grounding them into his signature boom bap sound & his ear-grabbing bars always entertain. Here’s to Huckleberry Filth & Filth City.

Score: 4/5

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Offset – “Set It Off” review

This is the sophomore full-length solo LP from Atlanta, Georgia rapper Offset. Starting out as 1/3 of the Migos with Unc & Phew, he released a fantastic collab album with 21 Savage & Metro Boomin’ on Halloween 2017 called Without Warning only to make his solo debut Father of 4 the best of the 3 compared to QUAVO HUNCHO & The Last Rocket. But with Quavo showing significant improvements a couple months ago by dedicating Rocket Power, we now have Offset returning after nearly 5 years to Set It Off.

“On the River” is a minimal trap opener produced by Southside showing off his pen-game & fast-paced flows whereas “Say My Grace” featuring Travis Scott talks about making room on his plate only for them to pray before eating over dramatic instrumental from Tom Levesque of Vanguard Music Group, Vinylz & FNZ. “Worth It” featuring Don Toliver has a smoother vibe to it thanks to CHASETHEMONEY hoping they happy with their bitches making them work that is until Future pops up for “Broad Day” to reference their hometown NBA team the Atlanta Hawks in light of it’s CEO Steve Koonin becoming a TKO Group Holdings board of directors member on top of a Detroit trap inspired beat from from Nick Papz.

“Fan” is a 2-parter crossing over elements of Memphis rap & pop rap essentially giving a middle finger to pretty much everybody just before “Freaky” featuring Cardi B sees the power couple over a ratchet Tay Keith instrumental talking about how they like it. “Hop Out the Van” has one of the most awkward hooks on the album paying homage to the late Lil Keed on top of a mediocre beat looking to let off the heat, but then “Don’t You Lie” hooks up a crooning sample & hi-hats talking about how this shit ain’t bankroll.

Boi-1da gives off a cloudier feeling to “I’m On” flexing that he can meet a bitch & take her home on the same night while “Big Dawg” mixes these violins & hi-hats together cautioning that he’ll stomp you out. “Night Vision” has to be my favorite on the LP from sumptuous Metro Boomin’ instrumental to the lyrics exposing the opps when they hide while “Skyami” featuring Mango Foo has one of the weaker guest performances despite the atmospheric beat & discussing the penthouse life.

“Dissolve” shoots for a nocturnal groove that Dez Wright cooked up wanting this chick to tell him who she gon’ call when them pills dissolve while the glossy trap-tinged “Fine as Can Be” featuring Latto talks about a baddie fucking with a rich guy. Wheezy’s production on “Buss My Watch” is just absolutely beautiful with Set showing off his Maison Margiela alongside his girl while “Dope Boy” featuring Young Nudy flexes their statuses from their days in the streets over an eerie backdrop & hi-hats.

Chlöe assists the father of 5 on the pop rap/R&B duet “Princess Cut” promising to be smashed sound asleep, but Cardi returns for the aggressive “Jealousy” tackling the themes of envy. The piano/trap infused “Blame It On Set” which was the original name of the album clarifying that they can’t be too upset while the emotionally vulnerable “Upside Down” talks about how Takeoff’s murder has made him feel. “Healthy” though closes out the LP with acoustics & hi-hats praying for God to give him a sign.

“54321” not being on here is a bit disappointing on the other hand whether it be the plugg instrumental that Baby Keem & Mike Dean cook up or the reference to former 3-time WWE world champion, 5-time WWE Intercontinental Champion, WWE United States Champion, 3-time WWE Hardcore Champion, 3-time TNA World Champion, ΩCW Heavyweight Champion, 9-time WWE Tag Team Champion, ROH World Tag Team Champion, HoG Tag Team Champion, 2-time ΩCW Tag Team Champion, 2-time TNA World Tag Team Champion & The Crash Mundial Parejas Campeon Jeff Hardy.

Given how much I enjoyed Rocket Power over the summer, I went into Set It Off wondering where he would take things next since his own solo debut came from such a personal place & I enjoyed it as much as that previous album. He challenges himself to evolve more respectfully instead of resting on his laurels, the features are mostly solid & the trap production is nearly as tight as it was 4 & a half years ago.

Score: 3.5/5

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Jay Worthy & Kamaiyah – “THE AM3RICAN DREAM” review

This is a brand new collaborative EP between Vancouver, British Columbia, Canada born albeit Compton, California raised emcee Jay Worthy alongside Oakland recording artist Kamaiyah. Both of whom have crossed paths with one another on previous singles like “Bullshit” & “Good Lookin’” throughout the duration of these last 3 years, but both west coast spitters are now looking to take things to the next level by enlisting Brooklyn beatsmith Harry Fraud behind the boards to fully produce THE AM3RICAN DREAM.

“9AM” is a triumphantly soulful kickstarter talking about the pigs knocking on their doors at 9am pacific time or noon eastern since both emcees are out in Cali whereas “Money in the Bag” has a jazzier boom bap flare talking about making that bread. “Pressure” featuring Buddy & Guapdad 4000 finds the quartet joining forces takes a groovier route admitting freaks they type, but then “Good Shit” featuring Max B flips another soul sample talking about smoking that good weed.

To start the 2nd half of the EP, “Pull Up” brings in the funk for an irresistibly fun party-starter just before “Entrepreneur” goes for a cloudier approach cautioning that shit’s gonna be getting real scary. “Figueroa Fortunes” references the luxuries of the major north-south street in Los Angeles County while “Ragtop Riches” gives me a bit of a summer feeling talking about being the highway dippin’. “Streetlights” lastly closes out this EP by asking what you would do for the spotlight over a chopped up soul flip.

It’s no 2 P’z in a Pod, but what we got here is more than worthy of further solidifying THE AM3RICAN DREAM as the 2nd best collab effort in Jay Worthy’s discography as of me writing this & the strongest I’ve heard Kamaiyah in a while. They build off one another impressively considering they’re both westside representers, the features are all well picked out & Harry Fraud’s production elevates both lyricists’ chemistry.

Score: 4/5

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Guilty Simpson – “Escalation” review

This is the 7th full-length LP from one of Detroit’s greatest MCs: Guilty Simpson. Coming up as a member of the Almighty Dreadnaughtz collective & a frequent collaborator of the late J Dilla, it wasn’t until late March of 2008 where he officially branched out on a solo career by having Stones Throw Records back his incredible full-length debut Ode to the Ghetto. He has since followed it up with a handful of equally great projects including his Madlib-produced sophomore album O.J. Simpson, the Apollo Brown-produced Dice Game; the Oh No-produced Simpson Tape & more recently the Gensu Dean-produced EGO just to name a few. But coming off the Guilt EP the previous summer, we’re looking at an Escalation assisted by Staten Island producer Uncommon Nasa.

“Spillage” is a dusty synth-laced opener with Guilty talking about how it’s like the realest shit ever to him when he’s poolin’ in a chill setup whereas “Fast Talk Maturity” takes a more cavernous approach instrumentally refusing to pit stop whilst in the middle of being in a paper race. “Smoker’s Guilt” works in a vocal sample boasting that he’s in the corner with the bud lit just before “The Devil” returns to the boom bap reminding everyone that Satan’s a lie.

Meanwhile, Guillotine Crowns & Short Fuze join Guilt for “The Era That Doesn’t Know” over mind-altering beat with some kicks & snares talking about how it’s like a trip to his city with his verse planned leading into the grim “S.T.F.U. (Shut The Fuck Up)” telling everyone that revenge is a heavy load. “Easy” is a synth/boom bap crossover talking about how he makes it look simple as Hell, but then the groovy “Can’t Trust Them” featuring Shortrock discussing people that he’s unable to trust.

To start the final leg of the album, Quelle Chris has it’s best feature on the morbidly produced “Stakeouts” getting in their storytelling bag vividly painting the imagery of a stakeout in place while “Ratz” gives off an electro influence to the beat talking about snitches. The woodwind/boom bap hybrid “Rumble” flexing that the formula was perfected in a matter of seconds & “Storm’s Coming” rounds out the LP by thunderously cautioning that something bigger’s coming on the horizon.

Now whatever it is that Guilt has for us in the pipeline has me highly anticipating it & Escalation shows a significant elevation in sound for this reviewer’s hometown veteran. The production draws inspiration from Guilt’s past collaborators Jaylib, Apollo Brown, Gensu Dean, Black Milk & Katalyst with the Detroit emcee himself pulling from his late friend Dilla also & even the late Sean Price of the Boot Camp Clik.

Score: 3.5/5

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Paul Wall & Termanology – “Start Finish Repeat” review

This is the 2nd collaborative LP between Paul Wall & Termanology. One hails from Houston, Texas & the other coming straight out of Boston, Massachusetts. However, both of them have been holding it down for the culture for the past 2 decades with their insane work ethics & albums like The People’s Champ or Politics as Usual. They’ve worked with one another a few times within the last couple years & are took their chemistry to new heights with Start 2 Finish, so it was enough to have me anticipate the sequel Start Finish Repeat.

“Wall Paper (No Chit Chat)” is an angelic boom bap opener produced by Statik Selektah getting on that grind time whereas “Palm Trees” featuring AZ takes a more summery route from the slick instrumental to the lyrics about being fresh out the coupe after traveling high. “It’s Magic” featuring CL Smooth goes into funkier territory doing this with no apologies whatsoever leading into “Houston BBQ” featuring Bun B returning to the boom bap thanks to Large Professor providing an anthem for you to cookout to in the 713.

Moving on from there, “Talk About It” weaves this groovy sample with kicks & snares dropping smooth braggadocio just before “Positive Vibes” featuring Tony Sunshine of the Terror Squad gives off a glossy boom bap edge to the beat getting in their positivity bags. “Do It for the Ghetto” featuring Big K.R.I.T. works in some pianos & hi-hats so all 3 of them can join forces to write a ballad dedicated to the streets, but then “Got It Made” featuring Peedi Crakk of State Property discusses the way they living over an airy instrumental from Diamond D of the Diggin’ In The Crates collective.

“Blue Bill Bandit” compared themselves to thieves when it comes take $100s over a flute-tinged boom bap beat from Buckwild while “Smoke Somethin’” featuring Sheek Louch incorporates a soul sample courtesy of JR Swiftz talking about smoking weed of course. “Leather Recliner” is a synth-laced late night cruiser to bump riding with the top down while “No Apologies” brings back the Trill O.G. Bun B for a glamorously dusty joint about how they gon’ have to bring an army to take theirs.

To start the final leg of the duo’s 2nd collaborative effort, the penultimate song “Real Life” gives off a jazzier flare musically giving y’all a look into their actual lives & the title track featuring NEMS fresh off his Scram Jones-produced major label debut Rise of the Silverback rounds it all out with Cartune Beatz keeping the jazz influences in the picture bringing some kicks & snares into the fold so all 3 emcees can make it known to everyone listening with only minutes left that they back at it.

Start 2 Finish was a cool look at the Boston & Houston emcees gelling with one another, but this sequel over here is on par & even has it’s highs that’re higher than the last collab album was a year & a half ago. The production is generally based in Term’s east coast boom bap roots, but he & Paul are both spittin’ at an exceptional caliber together & the feature list is consistent on top of it

Score: 4/5

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