Sublime – “Until the Sun Explodes” review

Sublime is a ska punk band from Long Beach, California now comprised of drummer Bud Gagh, bassist Eric Wilson & frontman Jakob Nowell. The trio’s 1992 debut 40oz. to Freedom & their eponymous 3rd LP under MCA Records would become some of the greatest material to come out of the fusion genre between 3rd wave ska & punk rock music although their sophomore effort Robbin’ the Hood wasn’t as positively received. 3 decades since the death of Jakob’s father Brad, they’re signing to Atlantic Records for their 4th & final album.

“Ensenada” begins with a reggae rock intro where Jakob’s singing about wanting to make love to a whore whereas “Wizard” instrumentally takes it back to their ska punk origins describing 7 years of darkness. “Can’t Miss You” pulls further inspiration from the reggae rock style cautioning not to trust his love because it’ll only go just before “Backwards” featuring FIDLAR makes a turn into ska punk turf once more addresses the problem with their friends.

After the “Maybe Partying Will Help…” interlude, “Favorite Song” featuring Skegss unites both parties so they can sing about the music they love the most sounding like shit to them now leading into “Personal Hell” fusing ska punk & hip hop recalls a man Jakob knew in a previous life. “F.T.R.” not to be confused with the record-tying 3-time AEW World Tag Team Champions & former ROH World Tag Team Champions of the same name sings about having a good feeling & keeping the positive vibes rolling.

“Evil Men” hooks up some bright guitar tones & some drums yearning to make love while “Trey’s Song” featuring Bad Brains frontman/guitarist H.R. finds the pair describing a situation where they’re in love with women who don’t feel the same way. “Casino Toarmina” has a more stripped-back feeling singing about wanting to take a Costa Rican woman home over some acoustics while “The Problem with That Is It Makes Me Stoked…” hits us with another interlude.

Kicking off the 2nd half of Until the Sun Explodes properly, “Gangstalker” gives off a more standard punk flare putting us inside the shoes of somebody experiencing paranoia while “Figueroa” treads the reggae rock waters once more singing about breakin’ his back doin’ the best Jakob can. “Froggy” tells the story of someone who everyone wanted to become friends with carrying over the reggae elements while “Come Correct” featuring G. Love & Special Sauce sings about acting accordingly around them.

“What For” makes it clear that Jakob only wants to be around this woman for 24 hours while “247-369” with my favorite feature Pennywise brings both SRH Productions representatives together for a punk rock headbanger. After the last 2 installments of the “Maybe Partying Will Help…” trilogy, the title track sings about Jakob owing his deceased father Brad his life & “Thanx Again” finishes Until the Sun Explodes showing gratitude for the band’s supporters.

I wouldn’t consider Until the Sun Explodes to be on the same tier as 40oz. to Freedom or self-titled by any means, but I’d put it above Robbin’ the Hood as the 3rd best in Sublime’s brief yet impactful discography without hesitation even if plans of blink-182 drummer Travis Barker originally producing it fell through. The production entertainingly combines alternative rock, 3rd wave ska, reggae rock, punk rock, ska punk, hip hop, dub & rap rock for a satisfactory epilogue to their illustrious career.

Score: 4/5

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Olivia Rodrigo – “you seem pretty sad for a girl so in love” review

Olivia Rodrigo is a 23 year old singer/songwriter & actress from Murrieta, California who began acting for The Walt Disney Company in the late 2010s prior to focusing on a musical career & signing to Geffen Records. Her full-length debut Sour solidly explored the perils & discoveries she made when she was 17 & the sophomore effort Guts reflect the process of maturity she experienced toward the end of her adolescence, looking to make a departure with her 3rd album compared to both of it’s predecessors.

The intro “Drop Dead” fuses pop rock, synthpop, new wave, big music & indie pop daydreaming over someone she’s crushing on whereas “stupid song” takes inspiration from Simple Passion by Annie Ernaux singing about wanting this guy more than anything she could write. “honeybee” continues from there assuring she has love for this person even if she can’t quite describe it while the rock-driven “maggots for brains” thematically bases itself around Miranda from Sex & the City.

“u + me = <3” nears the conclusion of you seem pretty sad for a girl so in love singing about being optimistic of a new relationship beginning leading into “my way” gives off some Gwen Stefani vibes furiously calling out a woman for crossing her relationship boundaries. “purple” marks a turning point where things start to unravel just before my favorite single “the cure” experiments with pop rock, singer/songwriter, acoustic rock, post-Britpop, big music & chamber pop coming to terms with her flaws.

Meanwhile on “begged”, we have Olivia giving a more nuanced take of wanting more affection from her boyfriend “what’s wrong with me” featuring Robert Smith finds pair joining forces to help her realizes that this guy she’s dating is the cause of her sadness. “less” makes her last attempts at saving their relationship from collapsing & after “expectations” refuses to settle for someone with a fake job, she spends the final minutes likening her ex to “cigarette smoke” regretting the time she spent with him.

Guts was a huge improvement above Sour & you seem pretty sad for a girl so in love completely embraces Olivia Rodrigo’s full artistic potential by dropping the best music I’ve heard from her. Dan Nigro’s production almost perfects her pop rock sound incorporating some additional elements of singer/songwriter, new wave, alternative rock, indie rock, acoustic rock, post-Britpop, big music, jangle pop, chamber pop, adult contemporary & traditional pop portaging a relationship from beginning to end.

Score: 4.5/5

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R8 – “Dawn Chorus” review

United Kingdom trap producer R8 curating his 3rd solo EP of rappers performing over his beats. For a few years already, he’s gotten a chance to work with some of the increasingly popular trap artists in recent memory from 9 Vicious to untiljapan & tana in addition to becoming a member of the Vanguard Music Group production team. However, seeing that he’s continuing to drop stuff under his own name with Dawn Chorus peaked my interest even if he was only able to get 4 guests on it & has been getting quite the attention.

“Grand Risings” by Nosaint begins with a trap intro where the latter’s rapping about some of these dudes out here being full-blown hoes whereas “Need Don’t Want” by Santova gives off a cloudier vibe instrumentally even if the repetitive songwriting does nothing for me. “Sak Pasé” by Nosaint co-produced by Patrick Garza boasts that his racks will do the speaking for him & after the compositional title track Tom Levesque co-produced, “Treat You Right” by Nosaint talks about treating his girl properly.

Deathtoricky gets his own moment to shine in the spotlight with “Holiday” even if it another track that I’m not head over heels for, but then “Unfortunate” by 9 Vicious samples the Tems song of the same name airing out someone who did them dirty. “Margiela Coat” by Nosaint talks about finding a woman who’s different from these other hoes until Dawn Chorus finishes up with 2 more 9 Vicious songs: “Free Mind” sampling another Tems joint & “Patience”.

Both of R8’s previous extended plays 8 & 8² have their individual selection of highlights such as “Farewell” or “Whole Story”, but Dawn Chorus brings more consistency to the table than it’s predecessors & think this is his finest solo offering yet. His cloudy trap production remains opulent start to finish & out of the small handful of guests, Nosaint taking up almost half of it was fun since he’s been getting a lot of recognition for his rapping abilities recently & the 9 Vicious fans will eat his contributions up.

Score: 3.5/5

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$amaad – “Idea of Evil” review

This is the 4th mixtape from Compton, California rapper/producer $amaad. For almost a decade already, he’s built quite a large discography for himself consisting of his last 3 tapes as well as 26 EPs & 4 full-length studio albums. The Say Hi $amaad! (Care Package) series would go on to receive the same favorable reception as did the Child of Drama penology coming off the final installment over a year ago to have Evilgiane of the Surf Gang fully produce Idea of Evil in it’s entirety.

“Castle in the Sky” begins with this ambient plugg intro mixed with some heavy vocal effects using it’s title for a nod to スタジオジブリ’s theatrical debut of the same name written & directed by it’s co-founder 宮崎 駿 whereas “Child of Drama” carries those exact same vibes talking about having bullets for dumb muhfuckas. “Griffith Was Nothing” instrumentally has a more standard trap flare to it flexing that he’s doing this like it ain’t shit while “Saving You for Later” clarifies to an individual who thought they were saving him.

Moving on from there, “Drank Hunters” brings back the syrupy feeling of the earlier tracks talking about how he can’t act like he don’t want it just before “Leisure Day” featuring Saiah Woes finds the 2 decently linking up over an 808-heavy beat talking about seizing shit when they wake up. “Mama, I’m Alive” feels less of an interlude & more of an 103 second freestyle over this bouncy plugg instrumental leading into the title track featuring 730atMorning talks about wanting meaning out of their suffering.

“We” also featuring 730atMorning details the kinda women who they consider to be more their speed while “Us” featuring Rafa talks about bitches who be acting funny when they know both of them have to leave whether it’s for studio sessions or touring. “Seinin Anime! Show Out” continues wanting his lover to tell him exactly what he’s doing wrong in their relationship while “In Hell” collides some bells & 808s talking about people not nattering down there.

$a’maya appears on “Tendencies” trading bars back-&-forth with $amaad on the microphone for a couple minutes while “#SurfBae” talks about the ability he has of making bad bitches wanna start hustling. “All Around the World” reaches Idea of Evil’s halfway point expressing his desire of traveling the entire globe & how he embarrasses people in every state while “Palm Tree Evening” kicks off the 2nd half hopping over a plugg beat talking about his girl waking up clean.

“Sweet Chin Music” references the iconic finisher of 2-time WWE Hall of Famer, 4-time WWE world champion, WWE Intercontinental Champion, 6-time WWE tag team champion, the current WWE Senior Vice President of Talent Development & head booker of their main developmental brand NXT Shawn Michaels while “Nobody No One” hooks up a lo-fi drum break talking about not being scared of anyone because they don’t have guns like he does.

Meanwhile on “Posse”, we have $amaad calling out the people who claim to be making money in their music when that isn’t the case whatsoever & wanting to give his crew diamonds while “D’ussé Don’t Say” talks about getting rich off some bad choices he made in the past. “I Got Water 4 U” featuring Saiah Woes reunites both artists over this aquatically atmospheric instrumental doubling up in the trap while “Rich Fucker” talks about him going 30-for-10.

“I Take Trips & Don’t Leave” gives off a more psychedelic plugg edge admitting to him trying to hit his girl from the back while “Green!” featuring Niontay talks about their preference of lean instead of liquor & their own revenues gradually increasing. “Behind My Back” spends nearly a minute & a half experimenting with lowend addressing the individuals running their mouth unbeknownst to him while “Sniper Gang Kodak #SurfGang” talks about trying to ball out.

Wrapping up Idea of Evil’s final moments, the song “It Was All Good” combines a sample with some elements of cloud rap & trap explaining his vision of making millions while “Making My Way” interestingly flips the iconic Vanessa Carlton single “1,000 Miles” talking about living downtown with his bae. “Get Me Started” recalls a time where a hoe wanted to fuck him at this party & the outro “I Look Back” featuring Saiah Woes concludes the tape on a more introspective note.

Sure Idea of Evil has some occasional moments where you can feel it’s lengthy runtime & some understandably getting the impression that it’s bloated, but a great deal of it to me anyway provides us some of the most important material in $amaad’s career. Evilgiane’s production sticks with a predominant plugg sound including secondary influences of trap & ambient plugg with only a few guests joining him in describing a mind at war with itself.

Score: 4/5

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Mickey Diamond – “Blood of the Lamb” review

New surprise LP & the 19th overall Detroit, Michigan emcee Mickey Diamond. Emerging at the beginning of this decade 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 18 albums alongside 7 EPs & a mixtape. Since 2022 however, Mickey has been consistent putting out some of the best material of his career thus far. This includes the Gucci Ghost series 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, the outstanding Oroku Saki sequel Super Shredder & Gucci Gambinos. Coming off both Wolf Tickets & Black Sheep however, the Blood of the Lamb has arrived without any prior announcement.

“Stigmata” begins with this soulful boom bap beat talking about his preference of being wealthy instead of having all the fame whereas “Cold Sweats” takes an eerier route instrumentally explaining that karma catches up to all in the end. “Break Bread” brings some pianos into the fold so Diamond can talk about killing the greedy just before “Practice What You Preach” hooks up some sampling chops spitting more hardcore lyricism.

Meanwhile on “Communion”, we have Mickey over this gospel-inflicted boom bap beat explaining that he speaks from the heart rather than making himself sound good leading into “Have Mercy” grittily talking about still surviving when the backstabbers tried to take him down. “Collection Plates” starts the 2nd half on some more piano-driven boom bap instrumentals boasting that he’s been like this entire life while “Wormwood” sinisterly takes a more conscious approach to the songwriting.

“PREYers” featuring Daniel Son references the inaugural IWGPヘビー級チャンピオン, former 12-time WWE world champion, WWE tag team champion, 3-time WWE Hall of Famer, Real American Beer founder, Real American Freestyle Wrestling (RAF) co-founder & known racist Hulk Hogan while “Lamb’s Blood” brings another gospel flip to the table gives us some observations of his even if he including myself isn’t the kind of guy who knows the bible by heart.

The penultimate song winds down Blood of the Lamb’s final moments on some drumless gospel vibes giving all praises to God for having his back & that being the reason why he won’t ever forsake Him while the outro “Erick’s Sermon” soulfully concludes The Wolf, The Lamb, The Goat trilogy talking about a vow he made to his his father that he won’t ever let him down. Especially since he was the one who made sure he had food on the table when Diamond was younger.

Wolf Tickets made for an introspectively spiritual detour from Gucci Gambinos or the Gucci Ghost saga & Black Sheep focused more on Mickey Diamond’s capabilities of telling stories, but what makes Blood of the Lamb an interesting conclusion to this series he & Big Ghost Ltd. have been doing for 6 months already is the production could likely be more sample-heavy than it’s predecessors & the likelihood of it being Diamond at his most religious topically.

Score: 4.5/5

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Tezzus – “The Resurrectiøn” review

This is the 9th extended play from Atlanta, Georgia rapper Tezzus. Introducing himself with his first few EPs Hard2Kill as well as Hellraiser & Everyday’s Halløween, his 2024 debut mixtape Tezzus Khrist would significantly elevate his profile locally as did the handful of appearances he made on The XA Tape. He later gave us the Søufside collaborative EP with Percaso, Backrooms, King Phønk, I Phønk, U Phønk and Tezzy Pendergrass until Young Thug signed him to YSL Records following 9 Vicious’ departure. ##FilthyLikeMax was a solid debut for the label & the eponymous Uy Scuti Bøyz tape left audiences including myself divided, making up for the latter with The Resurrectiøn.

We have PROJECT4PLAY sampling “Cranes in the Sky” by Solange on the intro “Solange” talking about being rich after not having shit whereas “Aubrey” flips “Trophies” by Drake discusses sitting in the back of a car with an extendo. “Tezzus Mane LaFlare” hops over a sample of “Lemonade” by Gucci Mane talking about living what he raps while “Jeffrey Williams” interpolates “Halftime” by Young Thug demanding $250K to sit with him.

“Katy Perry” samples “Dark Horse” by the latter featuring Juicy J to kick off the 2nd half of The Resurrectiøn thanks to Rafmade talking about fucking a hoe in New York until she’s sore leading into the rage-inducing “Ye” sampling “No Mistakes” by Kanye West detailing money coming after praying for the fame. The penultimate song “Lil Røkk” co-produced by ilykimchi of Working on Dying gives off a generally cloudier trap vibe talking about his phone being on do not disturb mode & the outro “ØWay” sends off the EP flexing that he’ll have all his ice on him this summer.

Hopefully the reception of the Uy Scuti Bøyz tape a couple months ago was nothing more than a bump in the road because I truthfully got more enjoyment outta this than I did that or even FilthyLikeMax not too long after YSL signed Tezzus last fall, making The Resurrectiøn the best thing he’s done since joining the label. He’s basically catching up with us on how life’s been treating him & the sample-heavy production PROJECT4PLAY mostly handles results in some of the greatest beats he’s made.

Score: 4/5

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Vybz Kartel – “God & Time” review

This is the latest studio LP from Kingston, Jamaica deejay, singer/songwriter, entrepreneur & businessman Vybz Kartel. Someone who’s widely crowned as the King of Dancehall subgenre of reggae similarly to roots reggae icon Bob Marley becoming recognized as the symbol of the entire genre that he helped pioneer. For over 3 decades, the Adidjahiem Records founder has released over a dozen EPs & full-lengths including during his decade long prison bid for Clive “Lizard” Williams’ murder. Coming off Heart & Soul last summer decently celebrating his engagement, God & Time looks to take a more personal approach.

The title track begins with this dancehall opener talking about him telling us the many lessons & blessings he’s experienced in his life whereas “Soft Girl Era” seductively tells his partner to open up her love because he’s falling right in. “Some Days” sings about the Worl’ Boss’ desire of wanting to love a woman better than the next guy leading into “Geenie” asking his lover if she would abuse his powers if he had the ability to grant wishes.

Spice appears for “Confessions” so both the King & Queen of the Dancehall can each take their rightful places at the throne just before “Stay for the Night” featuring Wizkid incorporates some Afrobeats influences so both of them can encourage their romantic interests to spend an evening with them. “Casi Casi” featuring Farruko joins forces for an atmospherically bilingual duet that I could truthfully care less for while “Panic” featuring Shenseea makes up for it bridging 2 different generations of dancehall.

“Round & Round” continues the 2nd half getting more sexual in terms of lyrics & stylistically throwing it back to his early 2010s output while “Try Again” featuring Skillibeng might be my least favorite collaboration The King & The Prince have done yet because I felt like it could’ve been somewhat longer. “Hype Life” on the other hand was quite possibly my favorite single of the bunch celebrating di Teacha’s wealth even if I wish his rival-turned-ally Mavado had a verse instead of handling the hook.

The song “Dancehall Ting” nears God & Time’s conclusion talking about the rest of the artists in this style of reggae merely being sheep compared to his greatness but once “Big Business” further embraces bashment’s main components at it’s core boasting that he’s purchasing apartments instead of blowing it all on liquor, “Watch Over Me” finishes the album on the highest note I can think of talking about themes of faith.

During his incarceration, Vybz Kartel’s lawyer would say God & Time to the Worl’ Boss so frequently to the point where he began applying it to his own life & the follow-up to his previous album over 9 months ago could likely be the most I’ve enjoyed di Teacha’s music since coming home. The dancehall production’s a considerable improvement over the predecessor mixing some trap dancehall undertones into the fold & bringing some of the genres’ biggest artists past & present on board for a well-rounded experience.

Score: 3.5/5

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SK da King – “Due Diligence” review

Here is the 4th extended play from Baltimore, Maryland emcee SK da King. Emerging as a member of the Checkered Flag Boyz under the original moniker Paul Skola, it wasn’t until a few years ago where he signed to Conway the Machine’s very own Drumwork Music Group as a solo act as announced by his debut single “Actions” & would go on to introduce himself to the Drumwork fanbase that fall in the form of the debut EP Horus. His full-length debut studio album Made 4 Thiscame after Before the Album & has enlisted Haas Almahdi to produce Due Diligence following No More Mr. Guy.

The title track begins with a powerful boom bap intro talking about him trying to build his catalog strongly whereas “Animal” featuring ItzGitty makes for the only song I didn’t care for dustily responding to people calling them beasts. “Top Spot” ends the 1st half talking about his name ringing bells & coming back hot just before “East Side” mixes a piano with some kicks & snares to explain that this is a lose-lose game along with having shit locked from side to side.

“Cruise Control” winds down the last few moments of Due Diligence talking about him riding for this shit & how heavy Drumwork moves over another boom bap instrumental while “Early Bird” gives off a more nocturnally rawer vibe talking about bringing the money home regardless of not knowing when he’ll return home. The closer “John Gotti” spends the last few minutes of the EP comparing himself to the iconic Mafia boss of the same name.

Familiarizing myself with Haas Almahdi after producing for the likes of Lloyd Banks or 7xvethegenius & more recently Courtney Bell, hearing that he was linking up with SK da King gave me the feeling that SK was gonna outdo every single EP he’s done up until this point & that’s exactly what he does. Outside of a guest appearance, Haas’ boom bap production & SK’s lyricism make for a great pairing even if it’s only for 23 minutes.

Score: 4/5

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DJ Clay – “Let ‘Em Bleed 5” review

This is the 9th mixtape from Detroit, Michigan emcee, producer & turntablist DJ Clay. Being an in-house producer for Psychopathic Records for 2 decades already, he would also start up his own label Armed Robbery Entertainment in addition to putting out his last 8 tapes & the 2019 full-length debut Over the Fear Of…. However, the DJ for the Juggalo Championship Wrestling (JCW) hit YouTube show JCW Lunacy has finally returned ahead of a sophomore effort for the long-awaited 5th installment of the Let ‘Em Bleed series.

After the EDM intro, “Man of the Year” begins with a Clay solo track getting boastful over a vocal sample & some horns whereas “Chop ‘Em Up” by Ouija Macc hops over a trap instrumental produced by DeadBoyGrim & DJ Clay to spit the wicced shit. “After the “Yoo-Da” skit, “Dumbazz” by Bailz & Shaggy 2 Dope finds the 2 comedically poking fun at all the dumbasses while “Skrrt Skrrt (Juggalo Phonk)” by Shaggytheairhead finds the latter putting a juggalo spin on the phonk subgenre.

“Willis” brings Clay back on the mic for a trap-tinged single that we got summer responding to those claimin’ to be the man while “Party Like Us” by Lardi B kicks off the 2nd half with a decent club anthem. “Hurt You” by Shaggy 2 Dope hooks up some pianos & hi-hats addressing an individual whom the Southwest Strangla can’t get enough of leading into “Shiny Shit” by Tierre Diaz confidently giving fans what they want musically.

Violent J returns for a “Duke of the Wicked” sequel reminding everyone why the JCW Commissioner & 50% owner alongside former WWE, WCW & TNA writer and former WCW World Heavyweight Champion Vince Russo earned himself that nickname to begin with while “The Darth Fader Cut” dabbles with turntablism with the help of DJ Chunk for 110 seconds. “The Father, The Son & The Holy Spirit” marks the last DJ Clay solo joint calling to let the feelings we don’t know free from our souls while “Sorry for the Wait” by the Odd Squad Family ends with an apology for Let ‘Em Bleed 5’s delay.

I knew it was gonna be different since some of the former Psychopathic alumni who appeared on all 4 of the previous entries of the Let ‘Em Bleed saga had their ties to the Clowns severed for almost a decade, but it’s alright because Let ‘Em Bleed 5 continues the series strong showcasing where the hatchet’s been at currently with both of it’s co-founders & the CEO of it’s Chapter 17 Records subsidiary all contributing in addition to A•R signee Tierre Diaz & a couple affiliates like the Odd Squad Family or Lardi B who’ve all performed at previous Gatherings.

Score: 4/5

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Cashus King – “Water to Wine” review

Here is the brand new studio LP & 13th overall from Los Angeles, California emcee Cashus King. Originally known under the monikers Co$$ & later Ca$hiu$ King until settling on his current name, most will recognize him for his long-standing affiliation with Blu & Exile in addition to him having 6 extended plays & 7 mixtapes aside from the previous dozen of full-lengths in his solo discography. 3 years have already passed since Lava Lamps & the London, England, United Kingdom producer Big O has been brought in to soundtrack a Water to Wine transformation.

After the “Barry Water” intro, “Likwid (Big Fish)” begins with this angelic boom bap opener talking about how both of them been floating through districts whereas “Precipitation” featuring Fashawn embraces a jazzier vibe instrumentally to spit streams of consciousness. “Cherry Cola” featuring L.O.U. & P-Rawb samples “Shake Your Booty” by Bunny Sigler to use it’s title as a metaphor for drinking water over soda prior to “Streams” featuring Blu, Frannie EL & Shari returning to a conscious approach to the lyrics.

“Drownin’” has a bright boom bap quality to it encouraging all to keep swimming forward when life throws you overboard just before “Hydration (Reign)” ends the 1st half talks about watering the plants of our imagination & tells the world to keep dreaming. “Drippin’ (Soakin’ Poems)” works in some synths so we can hear the Heaven in their skills to start the 2nd leg while “Potions” featuring G-Holy stylistically leans towards a more g-funk direction getting on their west coast shit.

Nearing the end of Water to Wine, the song “Swimmin’” brings a triumphant trap flare to the table talking about doing backstrokes while “Holy Water” hooks up some organs to make room for Cashus to get confessional on the mic. “Like Lava for Water” apologizes for having people fight their wars for the days they came up short & after “Dark Agua” featuring Big Tone offers food for thought, the outro “Wine” ends by asking who or what we’re living for.

Many including myself would consider Before I Awoke to be Cashus King’s finest collection of solo material, but this new one isn’t far behind it assuring the world we all have the ability to turn Water to Wine in the metaphorical sense of everyone having the capability of change. Big O cooks up some of the strongest production of his career & Co$$ lyrically takes audiences through an exploration of transformation at its deepest level with a handful of guests.

Score: 3.5/5

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