Apathy – “Connecticut Casual 2” review

Connecticut underground MC/producer Apathy releasing a sequel to Connecticut Casual as his 9th full-length solo LP. Emerging only 2 decades back as a member of the Demigodz & the Army of the Pharaohs collectives founded by Open Mic & Vinnie Paz respectively, he was also signed to Atlantic Records at one point even though he eventually left due to creative differences. Since then The Alien Tongue has built up quite the solo discography on his own, with my favorites being Honkey Kong! as well as The Widow’s Son or more recently Where the River Meets the Sea. & King of Gods. No Second fully produced by Stu Bangas. Almost a year & a half later, it only makes sense to commemorate the upcoming 10 year anniversary of Connecticut Casual by enlisting Playa Haze to fully produce Connecticut Casual 2.

“Connecticut Formal” is a jazzy opener to the album representing his homestate whereas “Hammond Court Kids” shifts gears into a twangy boom bap direction talking about how they can only be 1 king & never forgetting who wears the crown. “No One Can Hear You Scream in Space” works in more kicks & snares over a soul sample to discuss a love that was for sure kin to the moon landing, but then “Vacation” keeps it boom bap with a calming vocal flip talking about being in his own head staring off to space.

Meanwhile, “Jackie O” mixes these kicks & snares with a mellow loop admitting that he’s been having dreams of JFK’s widow as of late just before “Fenwick” featuring Kappa Gamma brings back the jazz influences to the beat paying tribute to the titular city. “Never Change” featuring Little Vic hops over a woodwind-laced boom bap beat encouraging everyone out there not to switch up just before the warm yet dusty “Around the Planet” letting his mic take a cruise across the globe.

“Eazy $” goes drumless beginning the last leg of the LP by making some cash while “Todd McFarlane” featuring Celph Titled likening them themselves to the Canadian comic book creator over a dusty instrumental. The penultimate track “Kingdom of the Coroner” goes rap rock to justifiably declare himself as the king of Connecticut at this point & lastly, “Tick Tock Tick” sends off Connecticut Casual 2 dustily chasing time to make another classic referencing Neuralink founded by Tesla CEO, SpaceX founder & Twitter owner Elon Musk.

Connecticut Casual was great showing of hometown pride almost a decade ago, but the sequel here essentially changed the outlook on Apathy’s whole career moving forward & while Where the River Meets the Sea was cathartically important for him to get out although he still wasn’t capturing the sound of what he wanted to do, Playa Haze’s production achieves that goal. It’s inspired by a sound that was from the Midnight Marauders, ‘93 ‘til Infinity & The Main Ingredient era albeit still on its own shit so Ap can deliver the soundtrack to where he & his crew come from: The New England shoreline.

Score: 4/5

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B.A.R.S. Murre – “Jewelry Store Shootouts” review

New Jersey emcee B.A.R.S. Murre returning from a 4-year hiatus for the 5th full-length studio album in his discography. Signing to Black Soprano Family Records over a decade ago for his debut Chicken & Cake, he would continue to follow this up with Dead Nasty as well as Whimsical & Black Tanita respectively. However nearly 3 & a half years since the last LP Husky Marinara including the fact that B$F’s been growing as a label in recent years, Murre’s returning for some Jewelry Store Shootouts.

The title track has a funky boom bap flare to the instrumental talking about being on his way to Philly for a new piece until everything goes wrong whereas “Guess Who” featuring Rick Hyde & produced by Johnny Slash keeps it grimy asking to take a guess as to who they just served. “Like That” featuring Loveboat Luciano works in a flute with kicks & snares lookin’ to shake everything since it’s more than rap just before the symphonic/boom bap crossover “Beat Bleed” looks to son anyone who wants to step up to him.

“Gremlin” eerily likens himself to that of the titular mischievous sprite & after the “Stupid Motherfuckus” interlude, “Ralph Cifaretto” feat. Benny the Butcher finds the 2 ruggedly referencing the Sopranos character of the same name whom Tony eventually kills. “Uranus” featuring Elcamino brings a much colder atmosphere to the table instrumentally talking about being the new Patrick Swayze, but then “D’Lo Brown” turns up the rawness paying homage to the former WWE Superstar from the Attitude Era of the now WME Group-owned division of TKO Group Holdings.

B.A.R.S. jumps on top of sinister piano chords clashing with the kicks & snares for “Boomin’” talkin’ about everything being a heater while “Cooker X3” featuring Fuego Base & even Lil’ Fame brings the trio together aggressively reminding that they done came up from a shady crew. “Yes Sir” featuring Heem comes together to grittily talk about their bloodline coming together & after the “Big G.M.” interlude, “Paranoid” gives me a mafioso/boom bap vibe admitting to switch up as a result of paranoia. Armani Caesar hops on the “Pumper” remix serving as the penultimate track for a Bonnie & Clyde anthem done in the signature GxF fashion & “The Coolest” ends the album by wickedly having the power to rule Earth.

Jewelry Store Shootouts has been in the making since for quite some time when you look at 10 of the 17 songs being released as singles over three course of 2 & a half years, but it’s most definitely a step above anything that B.A.R.S. Murre has done previously. You can hear how much he’s evolved as a lyricist over a decade of being in the game, it’s more well-produced & even the guests all add their own flavor for the latest member of the Black Soprano Family introducing himself to a wider audience in the underground.

Score: 4/5

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Ritchie with a T – “Triple Digits [112]” review

Ritchie with a T is a 29 year old MC from Phoenix, Arizona notable for emerging as 1/3 of Injury Reserve. The trio would release 3 mixtapes alongside a couple EP’s & albums, respectively until disbanding as a result of Stepa J. Groggs’ death, with Ritchie & Parker continuing to make music together as the duo By Storm introducing themselves the previous on the best single of 2023 in my opinion “Double Trio”. However to build up anticipation for By Storm’s upcoming debut album, Ritchie’s setting out to try something different & going solo.

The “Wings” intro sets the tone of the album with heavy synthesizers singing everyone knows there’s so much more to know whereas “W.Y.T.D.?!?! (What You Tryna Do?!?!)” fuses industrial hip hop & rap rock with industrial rock, synth punk & even post-punk abstractly asking the titular question. “RiTchie Valens” goes for a cloudier approach additionally pulling from trap, neo-psychedelia, glitch hop & pop rap responding to those who’re starting to feel a lot more like a tenant just before “The Keepers” nocturnally calls out people holding the gate as if he ain’t trying to blow past.

After the “Only You” interlude, the title track brings the glitch hop vibes back rollin’ up & steppin’ in similarly to if the place was his own while “Dizzy” featuring Aminé mixes neo-soul with boom bap & once again glitch hop telling y’all to look who it is that came through. “Looping” swaps out the dusty undertones in favor of footwork as well as nu jazz & jazz rap trying his best to chance but after the “Your Worst Nightmare” interlude, “How?!” featuring Niontay blends cloud rap & drill talking about many saying you gotta plan it out.

“Get a Fade” goes minimal instrumentally so Ritchie can sing with heavy auto-tune slathering his vocals paying homage to 808s & Heartbreak a bit while “The Thing” featuring Quelle Chris finds the 2 rapping about how much shit you gon’ let stop the flow & block the money from stacking up. Lastly prior to the “[Credits]” outro, the final song “5onthe.” by By Storm finishes Triple Digits [112] with a 5-minute teaser of their upcoming debut together.

As an Injury Reserve fan, it was only a matter of time after Stepa’s passing that Ritchie would venture into uncharted territory by breaking free from the confines of group expectations & personal barriers. He details his journey of self-discovery acknowledging the pressure to meet the standards set by his previous collaborations & shattering these constraints by delivering a diverse blend of experimental sounds & infectious production, showcasing his true essence.

Score: 4/5

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Stetsasonic – “Here We Go Again” review

Stetsasonic is the first ever hip hop band from Brooklyn, New York consisting of Daddy-O, MC Delite, Wise & Bobby Simmons. They would only put out 3 full-length albums together during the late 80s/early 90s, but remained inactive as a unit although what they did would eventually pave the way for The Roots. But after teasing a comeback by releasing singles over the past 3 years, the band is getting back together for their 4th LP signing to SpitSLAM Records.

“Message in Our Music” is an old school-inspired opener produced with C-Doc talking about the message in their music has always been clear asking if you have what it takes to escape & change your fate whereas “(Now Y’all Giving Up) Love” works in these triumphant horns to boasting their return after over 3 long decades. Mala Reignz & Smoothe da Hustler both join Stet on the first part of a “Cypher” with Smoothe having my personal favorite of the 2 features, but then “Lolita” gets into their storytelling bag a bit over heavy sampling talking about the titular character.

Moving on from there, “Handled” brings the horns back into the fold reminding y’all they’re known for handling styles that others simply can’t leading into what is probably & with all respect here the weakest track on the album “Stet Dreams Come True” featuring Calvin III being this awkward reggae/pop rap fusion about being the Biggie to her Lil’ Kim. The soulful title track makes their case as being old school like Melle Mel without the disgruntled bitterness he’s shown in recent years while “Notes of Impression” featuring Ruste Juxx hooks up a crooning loop with hi-hats bringing you non fiction.

“Stetsa Anniversary” switches from trap to full-blown g-funk continuing to delve more into their comeback while the song “People in Your Neighborhood” goes for a humorous approach beatboxing & talking about drugs. The penultimate track “Hanging on a String” sonically pays homage to Zapp for a charming club banger rap & “Fallen Soldiers” concludes Here We Go Again by paying tribute to all of those who can’t be with us today.

I was hoping Prince Paul was gonna have at least some involvement behind the boards with this album, but I’m still very happy with what we got on Here We Go Again because it’s similar in a way to one of my personal favorite groups A Tribe Called Quest releasing We Got It From Here…Thank You Your Service nearly 2 decades after The Love Movement. It’s still very much a return to form for the band from the production to everyone sounding genuinely happy to be back doing what they do.

Score: 3.5/5

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Bryson Tiller – Self-Titled review

This is the eponymous 4th full-length LP from Louisville, Kentucky singer/songwriter & rapper Bryson Tiller. Beginning over a decade ago off his debut mixtape Killer Instinct, he would eventually sign to RCA Records & release the ground breaking debut T R A P S O U L celebrating it’s 9-year anniversary this fall. The sophomore effort True to Self was underwhelming & A N N I V E R S A R Y proved to be a step in the right direction but coming off 4 more tapes & EP since (more recently the Slum Tiller trilogy, Bryson’s looking reintroduce himself & show the world what he’s capable of.

After the “http://” intro, the first song “Attention” is a spacey R&B opener singing about being drawn by a captivating woman whereas “Stay Gold” clashes the pop rap & R&B styles together to address the value of the relationship & willingness to make things work. “Persuasion” featuring Victoria Monét is a trap soul duet detailing a flirtatious encounter between 2 people, but then the standout “Ciao!” sings about being finically taken advantage of over a laid-back instrumental from Charlie Heat, FNZ & Leon Thomas III.

“Peace” continues to mix passionate vocals derived from contemporary R&B with nocturnal & atmospheric trap production to admit his need for peace just before another favorite “Rich Boy” finds Vinylz, Boi-1da, Ging & Allen Ritter sampling “Throw Some D’s” by Rich Boy himself spending everything on his romantic interest qfrom the night. “R.A.M. (Random Access Memory)” brings some heavy synthesizers into the fold wanting the old him back that is until “No Thank You” blends hi-hats & lower register synths talking about an endured bond.

The summery guitars on “Find My Way” singing that believe in love except the problem is that he doesn’t know what else to call it while yet another highlight “Prize” fuses alternative R&B & pop rap to tell the woman in his life that no one ends can do it the way that she does. “Waterfalls” brings a psychedelic flare to the beat to sing about paintin’ waterfalls in his woman while “ÆON L U S T” goes afrobeats thanks to KAYTRANADA telling the story of being fascinated by someone special.

“Calypso” was a mediocre contemporary R&B choice of a single with additional elements of afrobeats & dancehall likening her body to Carribean music altogether while the cloudy albeit snappy “Outside” expresses his sexual desire to a freshly single woman who was unable to escape a disastrous previous relationship. “Undertow” strips things back saying he can feel her heartbeat in his chest while “F4U” flips ”Feenin’” by JoDeCi rapping his ass off. “Assume the Position” goes for a groovier approach telling her to put both her hands where he can see them prior to Whatever $he Wants” ending self-titled with a flavorful hybrid of pop rap, Detroit trap, alternative R&B & even hyphy music.

Decent album altogether, but the highs are high enough to the point where I’d actually put this eponymous effort right behind A N N I V E R S A R Y as my 3rd favorite LP of his. The production matches the caliber of that previous full-length combining contemporary R&B & none other than of course the trap soul sound he pioneered with pop rap, afrobeats, alternative R&B & electropop as Bryson invites listeners into a world where genre boundaries are not only crossed but reimagined in vignettes of his love life.

Score: 2.5/5

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Mickey Diamond – “Super Shredder” review

One of the illest Detroit emcees in the underground currently Mickey Diamond back with his 12th LP. Emerging at the beginning of 2020 off the strength of his debut EP Bangkok Dangerous, the dude has since gone on to turn quite a few heads in the underground by building up the impressive discography for himself with his previous 11 albums alongside 7 EPs & a mixtape. But for the past year, Mickey has been consistent putting out some of the best material of his career thus far. This includes the Gucci Ghost album & it’s sequelproduced by Big Ghost Ltd., the Ral Duke-produced Oroku Saki EP, the Sadhugold-produced Death Threat$ album, the Camoflauge Monk-produced Capital Gains album or more recently the 3rd & 4th installments to the Gucci Ghost saga this past winter. But to begin the 2nd quarter of the new year, Diamond & Ral Duke are getting back together for the Oroku Saki sequel Super Shredder.

“TGRI” begins with a cold boom bap instrumental treating the sewers like his 2nd home calling himself a bonafide villain with the chrome mask referencing WWE Hall of Famer, former WWE United States Champion, WCW World Television Champion & the inaugural WWE Royal Rumble winner “Hacksaw” Jim Duggan whereas “Shredder Loves April” goes for a soulful approach instrumental likening his romantic interest to April O’Neil. “Foot Clan Party” comes through with a cinematic sample talking about his name ringing bells from the Motor City all the way to Baltimore, but then “Cartoon Car Tunes” takes the uncanny boom bap route to cook in Dex’s lab in hazmat suits & protective masks declaring to be the face of true terror.

Moving on from there, “Coffee Beans” hooks up kicks & snares with a melodic vocal chop grinds on the office scene as well as people not knowing shit about high fashion until you saw him prior to “Rocksteady” ruggedly cautioning to get the fuck out the way since the Umbrella making their way in this bitch including a reference to WWE Hall of Famer, 7-time WWE women’s champion & WWE Hardcore Champion Trish Stratus. “The Masked Man” menacingly talks about Diamond’s competition knowing the deal with him by now but after the “Feudal Japan” interlude, “Tin Can Assassin” hops over strings discussing his style.

After the “Oozey” interlude, “Technodrome” continues the symphonic boom bap vibes to brush off anyone who steps up to him on the mic as “old news” while “Hyperstone Heist” heinously talks about being a killer. After the “Shredder’s Hideout” interlude, “They Took Splinter” dustily tells everyone else to say their prayers for God’s sake & after the “Anchovies” interlude, the final song “Shell Shock” finishes the album with a fun track for the party people.

4 months after dropping 2 last-minute additions to my Best of 2023 list, Diamond has done it again by taking everything that made Oroku Saki his best EP & translating it for the duration of an entire full-length. Ral Duke’s production is grimier even though he’s still somewhat new to being behind the boards for others’ projects, the Teenage Mutant Ninja Turtles concept remains untouched for any fan of the franchise & Mickey’s lyricism goes harder.

Score: 4.5/5

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Marv Won – “I’m Fine, Thanks for Asking.” review

Detroit emcee/producer Marv Won returning for his 5th full-length solo LP albeit the first after signing to Mello Music Group. Coming up as a part of the world famous Fat Killahz, he has gone on to become well respected in the battle circuit & has released his last 4 albums alongside a few EPs. It’s been over 2 years since we last heard from Marv on his 3rd EP Hagler & he’s looking to respond to everyone asking about his well-being by simply saying I’m Fine, Thanks for Asking.

The title track is a self-produced boom bap opener expressing that his feeling aren’t allowed when they surely are & that they really be expecting him to save their asses whereas “Measuring Stick” by the Twin Towers featuring eLZhi brings the 3 Motor City titans coming together for a gritty, bass-laden anthem that reverberates with the city’s hard-knock life. “Roc Nation Brunch” featuring Freeway blends epic orchestration & Joe Louis drums that hit like Tommy Hearns to deliver a tableau of Black excellence while “Purple” talks about a woman being destroyed by a kind of love.

“It’s Ok” goes for a smoother approach instrumentally providing comfort food for those simply trying to get through today while “Higher” brings this ghostly vocal sample flip into the fold so Marv can reasonably talk about becoming a better person. “Say My Name” featuring Monica Blaire soulfully encourages to acknowledge them by saying their names out loud so they know who they fuckin’ with, but then “Nosy” featuring Rapper Big Pooh returns to the boom bap explaining why they couldn’t sell dope.

Quelle Chris does the hook on the penultimate track “Good Thangs” crafting an auditory experience that feels like a voyage from the depths of darkness to the first light of dawn by orchestrates a narrative of resilience, guiding listeners through a transformation from enduring life’s hardships to savoring its most luminous moments & subtly reminds us of the virtue of humility, cautioning against the pitfalls of greed & encouraging us to keep our heads held high in adversity prior to “Grand Piano” ending the LP by stripping the drums to celebrate.

For his MMG debut, one of the Motor City’s most prolific battle MCs takes us on a soul-baring endeavor that weaves tales of struggle & triumph inspired by his storied life in his hometown. He brings a lyrical ferocity to his unapologetically raw & heartfelt rhymes by showcasing a seamless fusion of his word play & production with storytelling transcending mere verses that paint vivid portraits of life in the D. In a masterful blend of production & rap, this album is pure Detroit in it’s soul & sound reverberating with the city’s hard-knock life.

Score: 4.5/5

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Eddie Kaine – “Last Exit to Crooklyn” review

This is the 6th full-length LP from Brooklyn, New York emcee Eddie Kaine. Turning heads at the beginning of the decade off his Big Ghost Ltd.-produced debut album A Tree Grows in Brooklyn, the next couple albums Wonderful World of Kaino & Chosen were both moderately received until the Finn-produced Quincy Street Blues marked a return to form for Eddie. But coming off the BP Infinite-produced House of Kaine last fall, Kaine & Big Ghost are linking back up to take the Last Exit to Crooklyn.

“The Wrong Era” opens up shop by bringing a jazzier flare instrumentally so Eddie himself can admit he feels like he’s gettin’ lit in the wrong era giving flowers to those who paved the way like Gil Scott-Heron & Bobby Womack whereas “Reflections” works in some piano chords to get more spiritual than some think he is. “Gylan Kaine” shifts into soulful territory talking about the only goal is to do what they say he can leading into “Chain Walkers” featuring Planet Asia bringing the 2 backed by horns to get in their battle rap bags.

Moving on from there, “Could Never” clashes these somber keys with kicks & snares boasting that he cannot be touched just before “Crooktown” featuring Rim going back & forth with one another perfectly over a rugged boom bap beat sounding better than most of the cuts off their collab EP Meta if I have to be honest with myself here. “To the Pedal” has a warmer approach sonically talking about having his foot on the gas pedal full throttle, but then “Lanier vs. King” featuring Jae Skeese brings back the soul flips referencing Marcus Lanier & Lee King.

“Misery” keeps the chipmunk vocal sampling in tact talking about feelin’ like B.I.G. with all the Versace & Coogie on while “Cutthroat Drills” mixes pianos with kicks & snares getting back on the hardcore tip lyrically. The penultimate track “Roundtable Meeting” featuring Emilio Craig, Odawg, Passport Rav, Rim, Smaccz & Spoda is a cool 4-minute posse cut with a rawly rock-inspired sound just before “All the Above” shows off Eddie’s artistic versatility since he’s singing his heart out during the LP’s final moments.

A lot of the same essence that made A Tree Grows in Brooklyn so personal & relatable had crept it’s way onto Last Exit to Crooklyn, but it’s still very much a different story with new perspectives & some artistic maturity thrown in the mix. Big Ghost’s production is a bit jazzier than last time although the elements of boom bap, chipmunk soul & drumless are still present as Eddie touches on topics & has a true gift for making you feel like that’s your homie from round the simply just talking to you.

Score: 4.5/5

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M.A.D – “M.A.D (Me Against Death)” review

M.A.D is a 33 year old MC/producer from California City, California notable for being 1/2 of the duo Madopelli. Much like his partner-in-rhyme Ant Dog who put out his 3rd solo effort albeit LSP debut Sadistic Symphony yesterday, M.A.D himself has quite a few solo efforts under his belt already including Predominantly Me as well as Full Circle & 24/7. But considering the acclaim that Madopelli has gotten ever since Lyrikal Snuff Productionz signed them & Sadistic Symphony releasing a day prior like I said, it makes sense for M.A.D to go eponymous for his 4th LP by himself.

After the intro, the first song “Murder Music” opens the album with a bleak boom bap instrumental wanting his flowers when he’s here whereas “Tell on My Name” takes the trap route sonically talking about calling him Suge White since he’ll leave muthafuckas hanging off the balcony. “Ay Mad How You Feel?” brings back the kicks & snares with a soul sample in the mix admitting that he’s feelin’ incredibly high leading into “New Snuff Sound” by Madopelli putting a Snuff twist to the hardcore hip hop/boom bap style.

”Watered Down” incorporates more kicks, snares & even some piano chords calling out those watering themselves down artistically while “Gutted Like a Fish” keeps it dusty reminding that what goes around does in fact come around & that you’re only gonna hate your own self in the end. “Long Way Home” brings a bluesier flare to the beat for a dedication to those who never had a home & “Mt. Snuffmore” by Madopelli featuring M.M.M.F.D. establishes themselves as the LSP-equivalent to Mt. Rushmore itself.

Starting the last leg of the album, “Juggalo Love 2” is this acoustic trap crossover showing mad juggalo luv while “Go to Sleep” incorporates this high-pitched vocal sample with kicks & snares passionately asking why they be sleeping on his name. And before the outro, the final song “Feel Alone Again” concludes M.A.D’s best solo album yet going trap metal talking about loneliness.

Madopelli has quickly established themselves within the underground ever since signing to LSP & much like Sadistic Symphony which we got only yesterday, it’s counterpart M.A.D (Me Against Death) further exemplifies the freshness that they can do as solo acts. Very much indeed the best albums that they’ve done on their own. M.A.D is not only one of the most interesting producers rising in the underground wicked shit scene in the last couple years, but his hunger here is next level.

Score: 4/5

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Beyoncé – “COWBOY CARTER” review

This is the 8th full-length LP from Houston, Texas singer/songwriter, producer, dancer, actress, businesswoman & director Beyoncé. Rising to fame in the late-90’s as the lead singer of Destiny’s Child, she eventually began her career as a solo artist in the summer of 2003 with the slept-on Dangerously in Love, but found both B’Day & I Am…Sasha Fierce to be average at best. 4 though was her best since her full-length debut, paving the way for a self-titled effort & Lemonade to become her most critically acclaimed bodies of work yet. She began a new trilogy couple summers ago by foraying into house music on Renaissance & is shooting for a new direction on the sequel Cowboy Carter.

“AMERIICAN REQUIEM” is this empowering opener asking if you can hear her or if you fear her whereas “BLACKBIIRD” featuring Tanner Adell finds the 2 over acoustics covering The Beatles joint of the same name. “16 CARRIAGES” mixes contemporary country & country soul with additional elements of Americana & country rock traversing the emotions & experiences caused by sudden uprooting due to losing innocence at an early age just before the stripped-back “PROTECTOR” featuring Rumi Carter encourages that you’ll shine on your own one day.

The a capella “MY ROSE” asks bow many times have you let yourself get you down & after the “SMOKE HOUR ★ WILLIE NELSON” interlude, “TEXAS HOLD ‘EM fuses country pop & contemporary country with stomp & holler advising to lay your cards down. “BODYGUARD” brings an upbeat approach talking about being your lifeguard on top of her being the one to ride shotgun but after the “DOLLY P” interlude, “JOLENE” serves as a homage to one of Dolly Parton’s biggest hits.

“DAUGHTER” asks God to save her from from these fantasies in my head that ain’t ever been safe ones over this haunting acoustic passages while the fiddle/trap hybrid “SPAGHETTII” featuring Shaboozey finds the 2 talking about having shooters even though they ain’t part of a gang. “ALLIIGATOR TEARS” brings a country soul vibe to the table asking how it feels to be adored & after the “SMOKE HOUR II” skit, “JUST FOR FUN” mixes guitars & symphonics talking about time healing all.

Meanwhile, “II MOST WANTED” featuring Miley Cyrus is this country pop duet riding for their partners until the very end while LEVII’S JEANS” featuring Post Malone is this warm guitar ballad that I can definitely imagine going big once summer start rolling around getting sexy a bit topically. “FLAMENCO” goes acoustic once more talking about her mind telling her to settle right now & after “THE LINDA MARTELL SHOW” skit, “YA YA” is this incredibly groovy party starter clappin’ & drummin’.

After the “OH LOUISIANA” interlude, the downtuned “DESERT EAGLE” explains that she has the titler pistol in the backseat of her car because everything really is bigger out in Texas while the country soul “RIIVERDANCE” advises to pounce on that shit. “II HANDS II HEAVEN” cloudily talks about putting the whiskey up high with only God knowing why while “TYRANT” is this dynamic 2-parter d.a. got that dope helped put together showing off her tyranny. “SWEET ★ HONEY ★ BUCKIIN’” featuring Shaboozey has to be another favorite off the album from the fun Pharrell instrumental split in 3 sections to buckin’ like a mechanical bull & “AMEN” passionately ends the middle chapter of the trilogy by asking to have mercy on here.

Country is one of those genres that I’m not the biggest fan of altogether with a few exceptions like Johnny Cash being one of the biggest badasses to ever walk God’s green Earth or even Kacey Musgraves & Wheeler Walker Jr. as modern examples, but Cowboy Carter is a welcoming tribute to Bey’s grandfather much like Renaissance was to her grandmother. The production is mostly rooted in contemporary country & country pop with additional elements of country soul, singer-songwriter, contemporary folk music, & Americana music meshed with songwriting & performances better than most country music in the mainstream today.

Score: 4.5/5

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