Key Glock – “Project X” review

Here is the 5th studio LP although his 2nd for a major label from Memphis, Tennessee rapper Key Glock. Notable for being the cousin of the late Young Dolph, he signed to Paper Route Empire in 2017 after his debut mixtape Whole Lotta Errthang & has since released 4 more tapes in addition to an EP & his last 4 full-lengths. The most notable being Glockoma 2 & his previous one Glockaveli. Over a year later since making his debut for Republic Records, Project X has arrived in time for summer.

“Mannish” produced by the late Tay Keith who unexpectedly passed yesterday afternoon opens up with a cloudy trap intro talking about having too many hoes whereas “50 Hoes” flexes that he has bitches in every state over some pianos & hi-hats. “Hardknock” talks about embracing the rockstar lifestyle now that he’s been blowing up over an eerier instrumental while “Face Down” runs it back with Tay Keith again for an effective club anthem.

As for “Big 5”, we have Glock slowing the pace for a groove-heavy cut talking about standing on business every single time leading into “6AM” discusses waking up early in the morning so he can make some bread. “Dummy” acknowledges his continued success over a boisterous Tay Keith beat with co-production from Cubeatz looking to add more commas to his bank account just before “Drug Luv” talks about women being in love with drugs & guys staying bitter.

“Work It” hits us with another club anthem although I don’t think it’s better than “Face Down”, but then “Faded” ends the 1st half of Project Xexperimenting with plugg to talk about getting fucked up. “Sick” kicks off the 2nd leg flexin’ without having to go to the gym over an Honorable C.N.O.T.E. instrumental & making it clear that he ain’t nothing like these bitches while “SRT Muzik” talks about nobody being able to compete with him musically.

Tay Keith returns behind the boards once again for “Benzo” showing off this new Benz that he copped while “Cash Money” pays tribute to Mannie Fresh, who’s certainly underappreciated for architecting the titular Republic imprint’s signature sound 3 decades earlier. “Cherry on Top” talks about poppin’ his shit with confidence over a more psychedelic trap instrumental while “Loco” wasn’t that impressive of a single in my opinion.

“Go” winds down the last few moments of Project X talking about still being the same as he was prior to the fame while “Seeing Red” luxuriously becomes self-aware of needing his medication after fucking around & waking up on the wrong side of the bed. “Houston Flow” nears closer towards the end of the album showing his appreciation for the 713 & the outro “Reminiscing” couldn’t have finished off on a more introspectively reflective note.

Looking to further push himself artistically, Key Glock explores a broader range of southern hip hop styles without abandoning his trap roots & that’s what makes Project X my 2nd favorite entry in the Paper Route Empire’s flagship delegate’s whole discography. Tay Keith’s many contributions are bittersweet to hear considering his tragic death only 24 hours earlier & although I’d like to hear some guests who’re on his level lyrically, I appreciate him continuing to hold the fort down individually.

Score: 4/5

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D12 – “D12 Forever” review

D12 is a duo from Detroit, Michigan now consisting of Kuniva & Swifty McVay. Other members included B. Flatt, Bizarre, the late Bugz, the late Dirtty Ratt, the late Eye-Kyu, their late de facto leader Proof, Killa Hawk, DJ Head, Fuzz Scoota, mR. pOrTeR & most notably Eminem. Becoming the first act to sign with Shady Records after Interscope Records helped launch it, their full-length debut Devil’s Night has become a hometown classic & the sophomore effort D12 World went for a more commercial sound, carrying the legacy forward 2 decades after Proof’s murder by dropping their 3rd album under Compound Interest Entertainment.

“My Salsa” after the “Again, Another Public Service Announcement” intro produced by Jake Bass opens up sampling “My Band” talking about giving what the world’s been missing whereas “Tear It Down” featuring B-Real & Xzibit finds the quartet linking up for a hardcore hip hop single. “Proof & Eli” lets Derty Harry shine posthumously with his son Eli Ble$$ed for a couple minutes just before “Better Dayz” talks about having faith in God when times are hard.

As for “Kill the Engineer”, we have Swift & Kuniva trading bars over a boom bap instrumental talking about an audio engineer being murdered in their studio leading into “Tenderism” featuring Method Man finds all 4 of them getting back in their hardcore bag lyrically. “Dirty Nation” flips the Funkadelic single “1 Nation Under a Groove” for an carefree g-funk anthem while “Still Hating” featuring King Iso & Tech N9ne after the “Nick’s Coffee House” skit returns to a more hardcore hip hop sound.

“Bugz ‘98” pays homage to their fallen brethren in the vein of “Bugz ‘97” off D12 World while “Even Knights Kneel” talks about kings having to meet their Gods over a rap rock beat. “Nightmare Walking” featuring Xzibit includes a touching callback to “Kurt Kobain” off Searching for Jerry Garcia during Kuniva’s verse & after “What If?” takes a few minutes to paint vivid scenarios, “Forever” ends the D12 Forever talking about representing the team for life.

Regardless of Eminem saying at the end of “Stepping Stone” that D12 was over, I have all the respect in the world for Swifty McVay & Kuniva keeping the group’s legacy alive even if it’s only them going forward. That said: If we’re gonna get a whole series out of this considering that sequel to D12 Forever is being hinted, I wouldn’t mind it & feel like fans would still appreciate it as a gift coinciding the 25 year anniversary of their debut. Jake Bass’ production reminds me of the Dirty Dozen’s earlier output, the guests are all carefully selected & the performances of both members are harder than the My Brother’s Keeper EP in comparison.

Score: 4/5

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tana – “Me” review

Here is the sophomore effort from Atlanta, Georgia rapper & producer tana. Starting in 2018 as a member of the plu2o9 collective under the original moniker BabySantana, he would go on to drop his first 2 EPs Recreation! & Planet Sosaalongside his debut mixtape Quan before signing to Lil Tecca’s very own Republic Records imprint Galactic Records the next fall. tana later preluded his full-length debut bana by putting out Gaultier as well as London & Dale, celebrating his independence by dropping Me.

“keep rollin’” begins with a self-produced 2-parter talking about nobody being on his level artistically whereas “me & my gun” takes a more psychedelic trap approach instrumentally so he can get in his gangsta rap bag. “Insane (For Your Love)” swaps out the psychedelia in favor of pop rap elements expressing how obsessed he is with a woman he’s in love with leading into “i like her” talking about his girl chiefing blunts & the beat reminds me of KiD CuDi’s early material at points.

As for “take u there”, we have tana over a druggier instrumentally explaining that he likes to count up his bread & mind his own business just before “pray for my mama” talks about making sure his people are good where they’re rising. “Everything Will Be Fine” dismisses acting right since he credits his selfishness to being the main reason he became wealthy while “control” provides words of encouragement, telling the audience he believes in them.

“nsfw (the prelude)” kicks off the 2nd leg of Me on some 808s & Heartbreak vibes singing about being from the future while “again” returns to a trap sound dissing 9 Vicious & admitting that his days have been getting somewhat darker. “laptopnotebook” mixes some hi-hats with sampling techniques talking about not needing anything else other than those 2 specific items while “PMD” details being in love with the way she sits on his ambition.

Cardo gets behind the boards for the song “show it off” talking about wanting to link up with his shawty because he finds their relationship to be nothing short of gorgeous while “dear jodie” produced by Zodiac of Vanguard Music Group pens an open letter to a woman he knew wanting her to know that he’s a changed man. The outro “philly” spends Me’s final minutes talking about coming to fuck shit up & arriving to the function throwing bands.

Despite being happy for tana no longer being held back by a major label, I wouldn’t put Me above Bana or even Gaultier although I’m adamant of him putting something out of that caliber regardless of whether he signs somewhere else or not. The cloudy yet poppy trap production could’ve been better especially during the 2nd half of it other than a few occasional highlights & would’ve loved a guest appearance or 2.

Score: 3/5

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Cochise – “Trench Town” review

Cochise is a 28 year old rapper & producer from Palm Bay, Florida who introduced himself back in 2018 off his debut extended play. He would go on to drop 4 more EPs along with the full-length debut Benbow Crescent & the sophomore effort The Inspection. The latter of which has been widely considered to the weakest entry in his discography yet & Why Always Me? back in 2024 was an improvement, celebrating his independence following his departure from Columbia Records with his 4th studio LP.

“Parlay” begins with a 90 second rage intro talking about chopping the roof off his coupe whereas “SRT” carries over the hypertrap vibes instrumentally boasts that he made millions off this rap shit, hence why no one can tell him shit. “White Boy Swag” produced by venny has a crazy line about Puff Daddy a.k.a. P. Diddy or Diddytrying to kill KiD CuDi on top of more rage beats leading into the soulful trap fusion “On My Mind” admitting that he woke up with some recurring thoughts in his head.

Pradabagshawty makes one of many stellar guest appearances on “Test” hopping over a BenjiCold beat talking about pulling up with choppers & kidnapping kids just before “We Chat” spends 78 seconds discussing a bad bitch who turns out to be bad news later on. “Who Dat?” sends a warning of decapitating anyone who tries to fuck with him leading into “Glorious” featuring Lelo joins forces over a Supah Mario instrumental sneaking in the club with firearms.

“It’s a Trap” gets the 2nd half of Trench Town going on some plugg shit cautioning against women saying they like you when that isn’t the case whatsoever in reality while “Headache” talks about needing some Advil to make his head stop killing him. “Cutlass” featuring Oodaredevil & 454 finds the trio masking up & shutting out mascots together while “So Much Fun” featuring prettifun talks about being so rich the point where they don’t need to make music anymore.

Meanwhle on “Bad Jit”, we have Cochise talking about his experiences of being a wild kid growing up while “Hashtag” wasn’t that impressive of a single to me although I appreciate the way he observes social media’s prominent usage of hashtags. “Gon” hooks up some celebratory synthesizers into the fold talking about killing shit with his twin by his side & the outro “Gilmora” takes inspiration from Ye to end the album giving a fuck less what people have to say since they treat him like a villain.

I wasn’t really a fan of Cochise’s major label output other than Benbow Crescent, but Trench Town commemorates this new era of his career no longer being held back by a major label to drop the most enjoyable collection of music he’s made since his debut. All 5 of the guests match his energy in terms of performances with the cloudy trap & rage production going a lot crazier than The Inspection or Why Always Me? combined.

Score: 3.5/5

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YG – “The Gentleman’s Club” review

Compton, California emcee YG back for his 4th LP & 10K Projects debut. Coming up in 2009 off his debut mixtape 4Fingaz, this was followed up with 4 more tapes prior to Jeezy discovering him in 2013 & landing him a deal with his Def Jam Recordings imprint CTE World. YG’s potential would begin to show in the form of his full-length debut My Krazy Life & came into his own on the sophomore effort Still Brazy launching his own label 400 Records around that same time period, but the next 4 tapes Stay Dangerous as well as 4Real 4Real, My Life 400 & I Got Issues all received mixed to poor responses as did the 3rd installment of the Just Re’d Up series. However, he’s opening up The Gentleman’s Club to celebrate the summer.

After the intro, “OMG” featuring Pusha T begins with both of them over a sinister beat although there’s a questionable line during Push’s verse whereas “Kudos” incorporates a harp instrumental talking about saying goodbye to everything to made him. “Hitman” has a more aggressive vibe in general promising to be the last one standing while “Simon Says” featuring Isaiah Falls & Odeal derails it with a hideous pop rap cut.

“On the Low” featuring Tyler, The Creator & produced by Ty$ was highly anticipated by me talking about dressing like Vogue models just before the nervous “We Know the Truth” confesses to not having Drakeo the Ruler murdered. “Hollywood” featuring the Shoreline Mafia finds the trio hitting us with more traffic music detailing their gangsta upbringings while “Gang Bizness” featuring PayGotti kicks off the 2nd half with a gangsta rap single that I found myself enjoying less than the one prior.

We have YG responding to the “Hitman” who tried to claim his life on “Ready to Die” hooking up some prominent pianos & capitalizing on his ability of telling stories but after “Writing My Wrongs” leans towards a more cavernous vibe instrumentally talking about all the mistakes he’s made in his life, “Dinner Dates & Heartbreaks” has a cloudier approach to the beat lividly airing out a bitch for lying to him & demanding that she gives him the truth for once.

“Tiffany” splits itself into 2 separate portions recalling an encounter Chris had with the titular character whom he met at the club who happened to be transgender while “Insecure” featuring Ab-Soul & J.I.D was my favorite single of the bunch, talking about their own personal insecurities. The closing track “Mid Life Crisis” spends The Gentlemen’s Club’s final minutes hopping over a Jay Versace beat looking to get all the bullshit off his mind.

The Gentlemen’s Club is noticeably more conceptual than a lot of YG’s recent material & I’m happy that he came to the realization of throwing shit at the wall to see if it sticks wasn’t entirely the best way to get out of his contract since his discography suffered as a result. Some of the contemporary R&B/pop rap-flavored cuts still don’t do it for me although the elements of hardcore hip hop, conscious hip hop, gangsta rap & nervous music are all higher quality material.

Score: 3/5

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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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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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Wiki – “Ancient History” review

Here is the 6th studio LP from New York City emcee, songwriter & producer Wiki. Formerly a member of the Ratking trio, he would go on to drop his solo debut No Mountains in Manhattan in 2017 under XL Recordings not too long after their disbandment followed by the sophomore effort OOFIE that next fall & Telephonebooth through his own label Wikset Enterprises. Coming off the Navy Blue-produced Half God & the Tony Seltzer-produced 14K Figaro however, he’s looking to dig up some Ancient History.

“G.T.F.O.H. (Get The Fuck Outta Here)” begins with this drumlessly soulful intro admitting that he feels like he isn’t missing out in 2026 whereas “Right Away” gets a little more optimistic over sample-based trap instrumental catching himself on a good day. “1 Time” chefs towards a boom bap direction talking about people not knowing how much power he truly has while “Park” psychedelically spends the early hours of the day sitting in the grass.

Navy Blue gets behind the boards for one of my personal favorite tracks “I.H.N.Y. (I Hate New York)” from the opulent boom bap beat to the lyrics detailing the love/hate relationship Wiki has with the city that made him the very person who he’s become but after “Bloom” featuring duendita & produced by Lil Ugly Mane raps & sings about people knowing where to find them right when the sun rises every morning, “Old Gods” reaches the halfway point solely spitting heat over a Tony Seltzer instrumental.

“Bourbon” kicks off the 2nd half of the album talking about being the cornerstore’s biggest clientele while “All in the Lining” featuring Your Old Droog finds the pair joining forces for another abstract boom bap standout Navy Blue cooked up once again. “Marm Era” soulfully describes memories he can recall like they happened yesterday while “Had Your Fun” continues the sampling to let everyone who thought he was done know that he’s still here.

Salimata joins Wiki for the romantic “Something New” talking about giving up their bullshit for each other over a MIKE beat to wind down the last few moments of Ancient History while the song “7 Deadly Sins” gives us a moody description of Christianity’s capital vices. The title track spends the last 5 minutes of the full-length with a symphonic instrumental from one of my top 10 producers of all-time The Alchemist talking about his shorty being sick of him.

Although I’d still consider Half God to be the most essential statement in Wiki’s solo catalog with 14K Figaro likely becoming a close 2nd at this point & of course placing the spectacular Faith is a Rock collaborative album he did with MIKE a few years ago on that same pedestal, I still liked a good chunk of Ancient History for it’s departure from the predominant trap production & conscious subject matter of it’s 2023 predecessor for a more drumless sound & getting more cryptic with his songwriting.

Score: 3.5/5

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Kain Cole – “Khronicles of Kain” review

This is the sophomore effort from Belleville, Michigan emcee Kain Cole. Coming up artistically as a teenager, he would unfortunately wind up incarcerated for 8 years until signing to Detroit independent powerhouse Middle Finger Music almost immediately after coming home & showed us how much he perfected his craft by having the label’s co-founder Foul Mouth producing his 2022 debut album S.U.M.P. (Surviving Under Major Pressure). Following a string of guest appearances for his fellow MFM alumni Bizarre & Isaac Castor, the time for the Khronicles of Kain to be told as finally come.

“Gotta Have It” begins with this soulfully jazzy intro thanking all of his haters whether it be past or present whereas “It’s Up to You” embraces more jazzier vibes taking a more motivational approach to his songwriting for a couple minutes. “Heavyweight” switches things up with a boom bap instrumental & the gritty penmanship leading into “I.Y.K.Y.K. (If You Know You Know)” reminds the world that he’s been doing this prior to his incarceration.

Meanwhile on “Uno”, we have Kain over some strings mixed with kicks & snares flexing that he kills muhfuckas in silence despite him constantly smoking loud while “Blue Check” chops up more soul samples talking about how some will literally sell themselves out for money. “Foolish” ends the 1st half on some chipmunk soul shit admitting that it’s been hard for him to change because he loves this shit while “I Know” talks about people being inept of telling him what he’s already aware of.

“Bebe’s Kid” continues the 2nd leg of the LP taking a jazzy boom bap route instrumentally making it clear that he actually lives what he writes instead of merely yapping & after “Break a Leg” swaps out the jazz elements in favor of some orchestral undertones getting in his shit-talking bag for a bit, “We Get It In” featuring Bang Belushi finds the pair boasting that they’re so raw to the point where their intensities are felt across 10 different cities.

The song “Pesto” winds down the Khronicles of Kain coasting a piano-driven boom bap beat asking who the fuck these cornballs think they’re talking crazy to & rollin’ 100 deep with his squad while “Seasoned” featuring Bad News Brown joins forces with the MC/producer duo named after the late WWE Hall of Famer to discuss their own experience in the game. “How Did I Survive?” lastly finishes things up explaining his way of escaping the terror he’s seen.

Almost 4 & a half years since his debut, Kain Cole makes it clear to anyone that he didn’t go anywhere which I think his feature run justifies that & I might have to put Khronicles of Kain above S.U.M.P. (Surviving Under Major Pressure) because of the growth shown compared to it’s predecessor. Foul Mouth’s production varies between drumless, boom bap, jazz rap & chipmunk soul backing Kain’s introspective lyrics & a couple appearances from his MFM brethren.

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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