Flint, Michigan recording artist RMC Mike enlisting The World Famous D-Boy to fully produce his 4th EP. Signing a joint deal with Rio da Yung O.G. & Peezy’s own labels M.I.N.E. Entertainment & #Boyz Entertainment alongside EMPIRE Distribution, his first couple EPs Rookie Season & Sophomore Season established himself as in the Detroit trap scene until his full-length studio debut Junior Season elevated it further. His last EP Ghetto Season was good & his 2nd album it preluded Senior Season was ok, returning to embark on a trip to The 6.
After the “Walk a Mile” intro, the first song “I Remember” is this trippy Detroit trap intro shrugging off those calling him a rapper insisting he’s an artist whereas “Venting” talks about selling out every show because he’s a main attraction. “5am on Fenton Road” featuring Louie Ray vividly takes us to the Flint streets in the early hours of the morning while “U Never” cloudily shouts out his late grandfather who recently passed.
“Radric Davis (Get It)” featuring Bossileni Jagg goes for a darker Detroit trap vibe instrumentally paying homage to one of the big 3 trap pioneers Gucci Mane & prior to the “Walk a Mile” outro, the final song “Get Yo Roll On” featuring Iced Up Records signee Krispylife Kidd officially closes out the EP with them fucking up the whole zone.
Can’t necessarily blame RMC Mike for taking 2 years off because having Sophomore Season & Ghetto Season as my favorite EPs of his respectively, The 6 will most certainly accommodate for the primarily moderate reception Senior Season got. I found myself enjoying The World Famous D-Boy’s production for giving the Detroit trap style that can feel repetitive to some a refreshing take & of course Mike maintaining his signature mix of savagery, humor & rampant trash talk.
In front of us is the 10th studio LP from Sacramento, California emcee Mozzy. Becoming a fan of in the summer of 2017 off his debut 1 Up Top Akh & he went on to be featured on the soundtrack for Black Panther only 6 months later & drop 6 more full-lengths through his EMPIRE-backed Mozzy Records prior to Memphis veteran Yo Gotti landing him a contract with Collective Music Group/Interscope Records. His major label debut Survivor’s Guilt was more poignant than what Mozzy had done previously & Children of the Slums last spring exemplified growth in his rap career & personal life, although Brash Dummies became a letdown. 8 months later, some Intrusive Thoughts of his are becoming let out in the open.
After the “$FlyMoney2X” intro, the first song “Press Play” is this nervous opener talking about never taking a weekend off & never leaving his dogs despite what people say online whereas “Death Before Dishonor” featuring EST G finds the 2 hoping a gangsta shot them if they happen to die in their sleep. “Under Oath” works in more traffic music influences talking about the slums having a hold of him while “Katta Clips” dabbles with Detroit trap throwing it back to a deep cut in his catalog “Dear XXL”.
Lil Poppa joins Mozzy on the sample-driven “Nightmares” talking about it being hard to sleep at night trying to be doing alright leading into the solemn although much necessary “Keep Callin’ My Name” getting some pain off his chest lyrically. “7 2’s” continues the introspection feeling fed up with seeing graduation pictures whenever he checks the news, but then “Role Model” talks about him not trying to become someone others should take examples from.
“Pac Proud” hooks up these prominent piano chords gives his flowers to the late west coast icon 2Pac & speaks on being unable to forget the trenches since he’s a child of it throughout while “Hella Hyphy” taps in with his Northern California roots embracing the hyphy subgenre Keak da Sneak pioneered. “Who Want War?” featuring Polo G gives off a bloodthirsty trap vibe asking if anyone wants beef with them while “10%” advises to ask him why he signed to CMG.
E Mozzy & Maine Musik appear for “Modify It” catchin’ somebody lying about catching a body while “Reputation Everything” featuring Celly Ru breaks down their name around the street being everything to them. “Blood Diamonds” featuring Peysoh blends nervous music & gangsta rap themes together for a collab that makes up for the latter 2 while Tsu Surf gets his own solo cut with “Free Surf” calling for his freedom. “No Fabrication” finally ends the album brushing off any notion that his life is all cap.
Similarly to his CMG debut, Intrusive Thoughts doesn’t shy away from the trials & tribulations that drive some of Mozzy’s most memorable recordings bouncing back from the mediocre reception of Brash Dummies with his best since Children of the Slums. He continues his journey towards inner peace attempting to silence his unquiet mind & move forward from his traumatic youth in Oak Park in addition to imparting some knowledge on how to keep your mind strong enough to navigate street life & emerge with your soul intact.
This is the official full-length studio debut album from Brooklyn, New York emcee & the current Ruck Down Records CEO Bernadette Price. The widow of the late Sean Price of the Boot Camp Clik & Heltah Skeltah, she’s made a few appearances on songs in the past whether it be her late husband’s posthumous offering Imperius Rex or even with the likes of RJ PayneRim, the Snowgoons, Ruste Juxx & Vic Spencer. With the 10-year anniversary of Sean’s passing approaching this summer, Duck Down Music Inc. has finally decided to allow the world to hear A Widow’s Cry.
After the Keisha Plum intro, the first song “Drama Time” featuring Ruste Juxx produced by Stu Bangas is this horn-inflicted boom bap cut warning that people ain’t slick as they think they are whereas “Real Life” featuring Smif-n-Wessun & Terror Van Poo ominously finds everyone getting serious topically. “Flatlined” featuring Terror Van Poo links up with Vinny Idol behind the boards to continue kicking it hardcore & after an interlude, “Bars” featuring Ruste Juxx & Terror Van Poo shows off their lyricism over a Khrysis instrumental.
The title track ominously warns that she’s gonna make everyone remember her for good leading into “Gloomy” featuring Terror Van Poo grimly talks about them moving like they gonna stick ya ass up for the loot instead of doing so sensitively as if it’s a love movie. After another interlude, “Sean’s Gone” soulfully remembers her late husband that tragically left us almost 10 years ago already & “Shut da Fuck Up” featuring Sean Price himself silences everyone over a boom bap beat from Da Beatminerz.
Santana Fox keeps it in the basement sonically during “Skully” assuring that everyone still out here delivering while “No Love” featuring Terror Van Poo reunites the pair so they can make it clear that they ain’t your muhfuckin’ friend. “Now Ain’t the Time” featuring Terror Van Poo soulfully declines any thoughts coming their way that isn’t theirs whatsoever & ahead of the outro, the final song “Do About It” featuring Rock & Terror Van Poo ends by suggesting y’all should’ve been believing in Bernadette.
Being able to hear her working with all those artists that I mentioned at the very beginning has really come full circle on A Widow’s Cry since her official debut LP establishes herself as an artist along with honoring the memory of her husband that left us way too soon. The production is primarily grounded in the traditional boom bap sound, recruiting the right beatsmiths & guests to join her in transforming her vision into a work of art.
In front of us the 3rd studio LP from Buffalo, New York emcee Heem. Catching my attention in 2020 after becoming of a protege of Benny the Butcher & signing to Black Soprano Family Records, he also made a few appearances on the label’s showcase EP prior to dropping his debut mixtape Long Story Short & a debut EP High Art. His debut album From the Cradle to the Game came in the spring of 2023 & with the 1-year anniversary of Bars & Noble next month, it’s understandable for him to make a sequel.
“187” is this eerie boom bap intro talking about his murderous tendencies making them think it’s all good until getting caught up with later whereas “Charlies” soulfully clears up the feeling of everyone else being unable to walk in his shoes. “1993” somberly lets everyone know exactly where he comes from prior to “For Gangsters Only” featuring Charles Hider shouting out all the G’s in their lives.
The title track maintains an overall hardcore hip hop vibe instrumentally to talk about doing it for his city while “Gangsta Pain” featuring Harrd Luck returns to the boom bap so they can break down the hurt that all the street dudes out in their parts go through. “The Streets” works in a vocal sample so he can talk about practicing what you preach just before “Retro Flow” produced by CG has to be my favorite cut on here all across the boards.
“Dog Eat Dog” featuring Illy Foo begins the final act of Bars & Noble 2 by talking about the way the world is while “Simon Says” admits to the entire B$F squad having no screws to their heads. “Gangsta Boogie” ruggedly asks if anyone out there who were never feeling him are finally doing so now & not really dancing on beats that much, but then “Guns & Butta” samples “You Can’t Stop the Rain” by Loose Ends to sell 20s for the 10.
Heems finds himself on a whole new level since he’s been reconstructing his path in the rap game for the past 11 months & with Long Story Short still sticking out as my personal favorite of his, I do enjoy the Bars & Noble more than I liked the predecessor almost a year ago already. He’s at strongest, wisest & more well seasoned nearly half a decade into the game already although the features are cut below the original.
Here we have the 7th EP from Buffalo, New York emcee, songwriter, entrepreneur, curator & now professional wrestling promoter after forming the 4th Rope independent circuit promotion Westside Gunn. Proving his legend status & that he’s to be a force to be reckoned with all in nearly a decade whether it be running one of the hottest hip hop labels in recent memory to his first 2 full-lengths FLYGOD & Supreme Blientele. The success of the 4th Rope promotion has included 2-time RoW Heavyweight Champion & current HoG Crown Jewel Champion Zilla Fatu becoming the inaugural 4th Rope Heavyweight Champion carrying on the legacy of his late father in former AJPW世界タッグチャンピオン, FMWハードコアタッグチームチャンピオン and 2-time WWE Intercontinental Champion Umaga & even the current 3-time TNA World Tag Team Champions The Hardy Boyz becoming the inaugural 4th Rope World Tag Team Champions, putting together a joint pay-per-view with the Brett Lauderdale-owned deathmatch promotion Game Changer Wrestling (GCW) called For the Culture that will be taking place in Las Vegas tonight ahead of WrestleMania XLI live on the Comcast Corporation subsidiary NBCUniversal-owned streaming service peacock, surprise-releasing Heels Have Eyes to coincide with it.
After the “Fishscale Friday” intro, the first song “Einstein Kitchen” produced by CG is this piano-based boom bap opener taking y’all to the spot where the rhymes are cooked leading into the drumless “Goro” that Harry Fraud laced admitting that he had to go back inside the kitchen so he can go to SummerSlam XXXVIII in August that’ll mark the 1st to take place across 2 nights. “Davey Boy Smith” returns to the boom bap thanks to Denny LaFlare homaging the late WWE Hall of Famer, former WWE Intercontinental Champion, 2-time WWE Tag Team Champion & 2-time WWE Hardcore Champion of the same name & the closer “Egypt” featuring Doechii on the remix soulfully references former ROH World Television Champion, NXT Champion & 3-time WWE tag team champion Tommaso Ciampa.
In what’s already been a huge week for professional wrestling with WrestleMania along with AEW Dynamite outliving WCW’s Monday Nitro as Discovery Global’s longest running wrestling show in spite of WWE Hall of Famer & former 3-time WCW Hardcore Champion Eric Bischoff, West drops off a quick 10-minute EP to warm everyone up ahead of 4th Rope’s biggest event yet with the east coast hip hop styles that’ve made GxFR so beloved in the past decade & one that I might like more than the EP he put out 5 months ago. The production balances boom bap, drumless, a hint of jazz rap & chipmunk soul fluidly on top of the iconic curator handling the vocal performances solely by himself in contrast to having a bunch of guests on it.
This the 4th studio LP from New Orleans rapper, producer & deejay $crim of the $uicideboy$. The first of the boy$ to branch out on his own by dropping the solo debut A Man Rose to the Dead during the COVID-19 pandemic to mixed to negative reception including from myself. Lonely Boy was a solid introduction to $crim’s alter-ego even though you can tell it was inspired by Destroy Lonely’s debut album If Looks Could Kill & the sequel Lonely Boy 2 was more of a thank you, returning after over a year for Via Crucis.
“Destination: Lost” sets it off by talking about his evil ways over a self-produced instrumental that starts off drumless up until the 2nd half of it whereas “Tale of the Missing Man” cautions everyone to not waste the days they have left going another round for the man who ain’t coming back. “Whiskey 4 the Holy Ghost” hazily advises to never give up on what your dreams are & continuing to fight just before “Real Tree Playas Anthem” shows off exactly how fly he is.
Moving on from there, “Axeman of New Orleans” embrace is a bit of a Memphis vibe to the beat representing the northside of New Orleans leading into the grim standout “Reborn” co-produced with G*59 Record$ in-house producer Dynox talking about him finding God after his 2019 detox. “Warped Lives of Blameless Children” gets in his emo rap bag expressing his desire to feel somewhat decently, but then the rage-inducing “Psych Ward” talks about coming from the dirt.
“#lonelycore” shows an emo influence once again refusing to believe his therapist after being told that he’s been healing & crying in secret while “Nightmare on the Northside 3” is a 2-parter continuing the trilogy that began on A Man Rose to the Dead & Lonely Boy respectively. “Guns N’ Roses” heads for more of a bombastic approach admitting his pill addiction has made him fear less while “Father, Hold Me” asks where the memories go when we all die.
The lead single “Methamphetamine Blues” samples Pinegrove suggesting not to ask how he’s been if you genuinely could give a fuck less while “Ex Nihlio” talks about demons taking over him & being too different than anyone else. “Pill Hill Serenade” confesses to relapsing off the pills getting high to the point where he can’t even move while “Eastern Block Psalm” pulls from the Memphis scene talking about those who’re jealous of him.
“Do Killers Ring the Doorbells?” observes that something in the room doesn’t feel right soon as he sets foot & suggesting to count his blessings when all else fails while the buzzing “Death Rides a Grey Horse” talks about his chrome heart being decked out in the Chrome Hearts luxury brand. “Physician, Heal Thyself!” asks what’s left for him to gain & feels conflicted by the stranger taking on his mirror while “Daddy Warbucks” refers to itself as the song you make money to.
As for “Way of Sorrows”, we have $crim embracing the Memphis influences once again dismissing those saying they gon’ pop shit when they’ve never actually popped shit their whole lives while “Today’s a Beautiful Day to Die” sinisterly warns for everyone to get out his way. “Walk on Water” wants to know who else be doin’ shit the way he does crossing over soul & trap while the stripped-back “Depression, My Best Friend” talks about his struggles with the mental state.
“Staring at the Dust” dedicates itself to everyone around the world who’s been feeling hopeless while “Leave the Gun, Take the Cannoli” talks about him finally taking off. “Ugly Sunday” advises for everyone to stay the fuck up out his way while “Red Mist” talks about the inside of his double cup feeling like magic. “Gospel of Scott” ask what you’re gonna do when people find out who you really are & “Vena Amoris” ends his most spiritual solo effort talking about the vein of love.
6 years after starting to follow Christianity, the Lonely Boy is back exactly a week after his 36th birthday to make an 88 minute album in which it’s name refers to 14 steps which led to Jesus’ crucifixion similarly to the NA 12 Step guide to sobriety. $crim’s production culminates all the sounds that he’s tried throughout his career into 1 & elevates his own instrumentals with lyrics revolving around mental health & quite possibly the most religiously conceptual thing I’ve ever heard from either $uicideboy$ member.
New Orleans, Louisiana emcee/producer Ruby da Cherry back with his 3rd EP. 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.Tragic Love Songs to Study to & Existential Hymns for the Average Sigma were both enjoyably carefree punk EPs from Ruby, continuing towards that direction Coping Strategies to Combat the Algorithm.
After the “¯\_(ツ)_/¯ (Shrug 3)” intro, the first song “End of Summer 2005 (Started Off as a Tropical Depression)” talks about how life sucks & riding it out until his last day whereas “VCR Eject Button (It’s Time to Grow the Fuck Up)” after the “where y’at duckboy? [6]” interlude admits to feeling he’s been in Hell for years. “Moldy Memories (Peer Pressure Turned Me Into a Diamond)” after the “where y’at duckboy? [7]” interlude was great easycore single with additional influences of melodic hardcore, emo-pop & skate punk fighting until the war’s over leading into “Kino Der Toten” after the “where y’at duckboy? [8]” interlude ends by choking on his thoughts.
Almost a year & a half since Existential Hymns for the Average Sigma came out already, I can’t be mad at Ruby for putting out Coping Strategies to Combat the Algorithm simultaneously alongside $crim’s 4th album Via Crucis that also dropped today & only days before Duckboy’s 37th birthday. And while I personally find myself enjoying Via Crucis more, I still respect Ruby for throwing it back to his Vapor-Rats days. This one has a prominent easycore vibe with melodic hardcore, emo-pop & skate punk undertones in as opposed to the heavy skate & pop punk vibes of the last EP.
Dave Blunts is a 23 year old rapper, singer/songwriter & internet personality from Davenport, Iowa by way of Salt Lake City, Utah who’s put out a total of 16 EPs & a couple full-length albums since 2018 or so. I’ve even mentioned his guest appearances on the latest Babytron & D. Savage albums Tronicles & We Love D. Savage respectively in the past several months. However with his popularity increasing, Dave’s 3rd studio LP felt like it could be his biggest one of his career.
“Solar’s Departure” starts by referencing the disgraced former IWGPジュニアヘビー級チャンピオン, 2-time WWE world champion, 4-time WWE Intercontinental Champion, 5-time WWE United States Champion, 7-time WWE tag team champion & 3-time WCW World Television Champion Chris Benoit over a cheerily drumless instrumental whereas “Air Mattress” goes for a plugg direction talking about his diamonds changing with the climate.
His health concerns get brought up on the trap, lowend & regalia crossover “1st Day Out the Hospital” except the line where he disses KanKan comes off as INCREDIBLY transphobic leading into the colorful trap cut “Game Changer” talks about taking what he wants. “1 Year Max” serves as a response to WWE Hall of Famer Snoop Dogg’s comments regarding Dave’s weight & “Knee Surgery Tomorrow” makes a comparison regarding this bitch’s head game.
“Issabella’s Untimely Deportation” cuts off the titular woman after learning she really be fuckin’ his mans over some synthesizers & 808s just before “Tired of Being a Simp” gets on the regalia tip talking about him getting too attached to women he hardly knows. “Solar’s Unsuccessful Attempt to Return” keeps the regalia vibes telling his ex he really wants her back prior to “White Chicks dissing KanKan again & 9 Vicious, except the 9 Vicious jab is justified.
Meanwhile on “10 Bands on Solar”, we have Dave maintaining a regalia flare talking about everyone being on his dick now that he’s becoming popular while “Diddy Games” likens PlaqueBoyMax to disgraced Bad Boy Entertainment founder Puff Daddy a.k.a. P. Diddy or Diddy. “Sex Crimes” continues to hurl transphobia towards KanKan’s way & includes a line regarding Antonio Brown raping Britney Taylor, but then “Moving Slow” talks about his affinity for lean.
“Industry Planet” reflects on taking shit for granted during the days he was broke over a cloudy trap beat while “Balcony” blends pop rap & regalia talking about being a man & putting his feelings to the side. “Thinking of You” finds him trying to get Solar back swapping out the pop rap elements in favor of rage while “Bummy” talks about the codeine making him feel lovely.
The song “Back in the DMV” produced by thr6x expresses the pain inside of him because of Issabella not fucking with him & the closer “Issabella” ends the LP by talking about giving her a shot since Solar’s not coming back. Lastly even though I’m very well aware of the fact that it was left off the final cut, the jerk instrumental on “Bitches” featuring Ye formerly known as Kanye West was actually refreshing to hear Kanye on even if his verse feels like a ripoff of Lil Yachty catching strays from former WWE Champion, 4-time WWE Intercontinental Champion, 3-time WWE United States Champion & 15-time WWE tag team champion Kofi Kingston a few months ago.
Known for his dark humorous lyrics as well as introducing characters in his songs, You Can’t Say That as an album is only a slight improvement from the mixed reception of both Well Dude Here’s My Thing & If I Could I Would although it’s very much decent. There’s nothing wrong with the production drawing from regalia, pop rap, trap, rage, lowend, jerk, comedy rap, emo rap & pluggnb since I tend to review countless artists in those styles. My problems more so lie with the context of some of Dave’s lyrics like the transphobic KanKan disses & mentioning Antonio Brown’s rape case.
Too $hort is a 58 year old MC, songwriter, producer & record executive from Oakland, California known for being a west coast pioneer within the last 4 decades. Born to Mack, Life is…Too $hort, $hort Dog’s in the House, Get In Where You Fit In & Gettin’ It (Album #10) all stick out in his extensive catalog. This fall will mark 8 years since The Pimp Tape & he’s finally returning with the 21st full-length studio LP he’s actually been teasing since roughly 2022 or so only 2 & a half years after Mount Westmore’s debut Snoop, Cube, 40, $hort.
“Still Mackin’” samples the “Dope Fiend Beat” off Born to Mack to talk about his longevity in the rap game whereas the uncanny trap-flavored title track discusses always winning in the end & all the bitches knowin’ his name. “You Don’t Know” dabbles with Mobb music thanks to Ant Banks talking about these hoes not having an idea as to what’s going on while “Pick a Side” featuring WWE Hall of Famer Snoop Dogg wants to know exactly who their partners are playing for.
BossLife Big Spence & Larry June join $hort Dog on “Pimpin’ Like Kenny Red” for a turnt-up hyphy track likening themselves to pimps leading into “Go Bitch” featuring Big Zeke, Jay Chess & Kokane serving as a g-funk club banger for the bitches out there who be doing the most. “No Feelings” featuring Bandaide & Mistah F.A.B. brings the trio together so they can live & die by the code, but then the acoustic trap hybrid “Keep It Going” featuring King George encourages everyone to continue moving.
“The Budget” pulls a bit from rap rock to spend a few bucks while “Sucka Shit” essentially calls out the people who be on their bullshit. “Got It from the Bay” represents the northern side of California that made him while “Brain Surgery” talks about people having to know how to do it to make it. And prior to the Check the Stats” outro, the self-produced “Everywhere” takes the Mobb route for the final time reflecting on the places his career has taken him.
Drawing heavily on his Bay Area roots & long-standing partnerships, the 1st installment in a new trilogy is more of a a deliberate look back as much as a statement of staying power Too $hort has ultimately bridging the classic template with new wrinkles & familiar faces. The funk-heavy, bass-driven production marks a return to the smoothness that anchored many of $hort’s most influential releases during the golden age & joins the ever-growing list of hip hop pioneers adapting decades later.
This is the 23rd mixtape from Pittsburgh, Pennsylvania rapper, singer/songwriter, actor & entrepreneur Wiz Khalifa. Following his first 2 albums Show & Prove and Deal or No Deal as well as his 8th & 9th mixtapes Kush & OJ and Cabin Fever respectively, his Atlantic Records-backed 3rd album Rollin’ Papers established him as a star & stoner’s icon as did the Mac + Devin Go to High School film & soundtrack. Taylor Allderdice would also receive acclaim, although a lot of what he’s released since has been hit or miss with the biggest hits being Fly Times: The Good Fly Young & the Stoner’s Night collab tape with Taylor Gang Records signee & Three 6 Mafia co-founder Juicy J a few years back. Wiz Owens felt disappointing last summer & Kush + Orange Juice 2 finally arriving on 4/20 weekend only feels right.
The intro hops over this laidback instrumental for Wiz to talk about the kush making him move progressively slower whereas “How We Act” featuring O.T. Genasis produced by Cardo, DJ Quik & Jason Martin formerly known as Problem goes full g-funk for their main bitches. “Crime, Bud & Women” suggests there’s nothing left to do if you stay away while “5 Star” featuring Gunna was a cool pop rap single that Mike & Keys laced with Dominique Sanders.
“Top Down” featuring Jason Martin & Ty$ finds the trio cloudily talking about them rather looking out for their people just before “Pimps n Hustlers” featuring Luh Tyler shows a Mobb influence to the beat dedicating this one to both of those kinds of people in the streets. “I Might Be” featuring LaRussell remembers when all they wanted was 100 bands leading into “What’s Hannin’?” taps in with DJ Fresh to hang with the real ones & throw up gang signs.
Curren$y makes an appearance on “Jet Taylor” representing both Jet Life Recordings & Taylor Gang with Terrace Martin & TM88 giving off a delicate tone instrumentally, but then Wiz Khalifa gives Max B his own 3 & a half minute song assuring that’ll never stop grinding. “Red Eye” shows a bit of a reggae influence getting everyone around him as stoned as he is while “My Influence” featuring Juicy J flexes the Hollywood moves they makin’.
“Take Your Time Get Paid” featuring DJ Quik delivers another g-funk heater going out to everybody who be making money at their own pace while “Cashed Out” featuring Larry June atmospherically claps back at anyone envious of not being in their respective positions. “Got It All” featuring Chevy Woods boasts they have everything others want while “Just to See You Smile” reflects on a special person in his life who’s no longer here with him.
Conductor Williams strips the drums during the chipmunk soul “Super Duper High Outro” for Wiz to drop a brief verse & shout out everyone involved in the tape while “Keep Ballin’” starts the deluxe run talking about the money calling him. Mike WiLL Made-It samples “Throw Your Sets” by the Tear da Club Up Thugs & Crucial Conflict during “Khalifa’s Home” giving a fuck less what others say while “Hide It” gets in his pop rap bag again.
“Bring Your Lungs” featuring Smoke DZA flexes that both of them do it bigger than the Brooklyn Nets’ home arena Barclays Center or the Los Angeles Lakers’ home arena the Staples Center & the final bonus track “Hit It Once” finishes Kush + Orange Juice 2 sampling “White Clouds” by 福村浩 talking about the weed he smokes being the type of shit a vast majority of stoners would wanna hit.
Coinciding with the original Kush + Orange Juice’s 15 year anniversary earlier in the week, the sequel arrives like a visit from a friend from long ago who’s stayed the same other than growing up & becoming wealthier. The production mostly handled by Cardo matched with DJ Quik’s engineering makes the chill soundscapes significantly more terminal joined by a loaded roster of guests who haven’t changed much in the past decade & change speaking on more of the Taylor Gang touchstones you know & love: jet-ski races, beach picnics, fat joints, drop-tops, crab rolls, hot-boxing Ferrari F8s.
Legends Will Never Die 