Sheck Wes – “MUDBOY” review

Sheck Wes is a 20 year old rapper from Harlem, New York who started out in 2009 as a member of the MillYorkers at the age of 11. He eventually signed a joint deal with Travis Scott’s Interscope Records imprint Cactus Jack Records & Kanye West’s G.O.O.D. Music at the beginning of the year but now with him being on the verge to head out with Travis on the upcoming ASTROWORLD tour next month, he’s decided to drop his full-length debut.

The album begins with “Mindfucker”, where Sheck sends a message to his haters over some prominent hi-hats. The next song “Live Sheck Wes” talks about roaches in the crib over an eerie trap beat while the track “Gmail” brags about his skill level over a futuristic trap beat . The song “Wanted” gets confrontational over an instrumental with a sinister atmosphere to it while the track “Chippi Chippi” talks about his new lifestyle over a spacey beat.

The song “Never Lost” reflects on his rough past over a moody WondaGurl instrumental while the track “WESPN” laughs off at how his doubters became his believers over a spacey beat. The song Kyrie” sees Sheck comparing himself to the Boston Celtics player Kyrie Irving over a beat with some chilling bells & while it is cool, the track “Mo Bamba” takes it to a whole new level as Sheck talks about all these labels contacting him & intelligently comparing it to how his childhood friend & Orlando Magic player Mohamed Bamba was being targeted by universities when they were in highly school over a grimy trap beat with some keyboards.

The “Burn Slow” interlude is way much less of an interlude & more of an atmospheric brag while the track “Jiggy On the Shits” recalls roaming the streets at the age of 10 over another spacey beat. The song “Fuck Everyone” angrily talks about his arrival to the hip hop scene over a looped sample of a MacBook Pro start up sound & while the penultimate track “Danimals” does vent about an ex, the hook is awkward & the beat is generic as Hell. The album does end on a high note though with “Vetements Socks”, where Sheck gets introspective over a meditative yet blissful beat.

As a whole, this was a pretty solid debut. Some of the beats could’ve been better & I do appreciate Sheck Wes for holding it all on his own, but I wish we got at least just 1 Travis Scott verse on here. All that aside, this is a great beginning for the rising NY star. BITCH!

Score: 3.5/5

Ghostface Killah – “The Lost Tapes” review

Ghostface Killah is a 48 year old MC known for being a member of the almighty Wu-Tang Clan. He’s easily the most consistent member of the group with albums like Ironman, Supreme Clientele, FishScale, Apollo Kids & 12 Reasons to Die just to name a few. Last time we heard from him was in 2015 when he dropped Soul Soul & 12 Reasons to Die 2 but now, he’s finally returning with his 14th full-length album & he has enlisted Big Ghost Ltd. to produce it in it’s entirety.

After an intro from Michael Rapaport, we go into the first song “Buckingham Palace”. Ghostface on here links up with Benny the Butcher, KXNG CROOKED & 38 Spesh to tell you to watch how you talk to his goons get over a soulful beat with some triumphant horns. The track “Majestic Accolades” with Hus Kingpin & Planet Asia sees the 3 bragging about their skills over an instrumental kin to the Wu-Elements while the song “Cold Crush” with Chris Rivers, La the Darkman & Ras Kass is filled with battle bars an eerie beat with a prominent grimy guitar-passage.

After the “Put the Ghostface on It” interlude, we go into the song “Saigon Velour”. Where Ghostface gets with E-40 & Snoop Dogg to talk about the code of the street over a soulful beat. The track “Constant Struggle” with Bishop Lamont & Killah Priest sees the 3 vividly describing life in the hood over a soul sample with thunderous drums while the song “Done It Again” with Big Daddy Kane, Cappadonna & Styliztik Jones gets romantic over a piano & some horns.

After the “Reflections or C.R.E.A.M.” interlude, the penultimate song “Watch ‘Em Holla” with Raekwon, Cappadonna & Masta Killa feels like a classically gritty Wu banger with some horns. And before things end with a Michael Rapaport outro, the final song “I Think I Saw a Ghost with Sheek Louch & Vic Spencer is a rap rock anthem that’ll make you wanna flip your table over.

While it is short & I wish there were a couple tracks where Ghostface is rapping by himself, this is another solid effort. Big Ghost Ltd.’s vintage production style perfectly suits Ghostface’s lyricism & the guest verses are great, too.

Score: 4/5

Lil Wayne – “Tha Carter V” review

Lil Wayne is a LEGENDARY rapper from New Orleans, Louisiana who was signed to Cash Money Records at the very age of 9. He then got started as 1/2 of The B.G.’z, 1/4 of the Hot Boy$ & 1/6 of the Cash Money Millionaires. His first 3 solo albums Tha Block is Hot, Lights Out & 500 Degreez were average at best but we then found him improving in the mid 2000’s with Tha Carter, Tha Cater II, Dedication, Dedication 2, Da Drought 3 & my personal favorite Tha Carter III. He then started his own label Young Money Entertainment & followed his magnum opus up with a God awful “rock” album Rebirth along with the mediocre I Am Not a Human Being. He was able to bounce back in 2011 with Tha Carter IV, but things looked rough once again with the horrendous I Am Not a Human Being II in 2013 & the legal issues that’s been tangled in with Cash Money for the past 4 years. But now that he’s free from Birdman, he’s finally delivering his long-awaited 12th full-length album to celebrate being the sole owner of Young Money.

After the 2 minute spoken word intro, we go into the first song “Don’t Cry”. Here, Weezy talks about the afterlife over an atmospheric beat & the posthumous XXXTENTACION vocals on the hook don’t sound that bad at all. The track “Dedicate” is about his influence on today’s hip hop landscape over a trap beat with some plinky keys, the sampling of the 2 Chainz song with the same name as the hook was pretty cool as was the reference to The Walt Disney Company-owned Marvel.

The song “Uproar” is filled with clever battle bars & while I kinda feel like Swizz Beatz’ heavily sampling of the classic G. Dep song “Special Delivery” was too much, it does do it’s job. The track “Let It Fly” with Travis Scott is a modern day club banger with a moody beat with both parties complimenting each other very well while the song “Can’t Be Broken” is a middle finger to his haters over a piano & a BEAUTIFUL vocal sample.

“Dark Side of the Moon” is a romance anthem over a moody beat that works pretty well & I actually find Nicki Minaj’s singing throughout the 2nd half to be pretty empowering. The song “Mona Lisa” is about unfaithful women over an atmospheric beat & the Kendrick Lamar verse really makes it hard to decide who outrapped who. Especially with lines like “They started French kissing so he didn’t see moi” as well as that one about waking up to The Great Gatsby & then dogging it like Lassie.

The track “What About Me” is a dedication to his ride or die chick over a decent moody trap beat & even the Sosamann verse doesn’t really do much for me personally. The perfectly-titled “Open Letter” is Wayne venting to the listener over a spacey beat with punchy drums while the song “Famous” is a piano ballad reflecting on the Lil Wayne’s feelings of fame & the hook from his daughter Reginae Carter worked out much better than I had anticipated.

“Problems” talks about the issues he’s having with this woman over a bass-heavy Zaytoven instrumental while the song “Dope Niggaz” talks about growing up in the streets over a banger beat that constantly from that I to a killer sample of the classic Dr. Dre track “Xxplosive”. WWE Hall of Famer Snoop Dogg’s hook is charismatic too, but I really wish he had verse. The track “Hittas” talks about having shooters over a chilling vocal sample & the song “Took His Time” picks up where the previous joint left off albeit in a more introspective fashion over a trap beat with some piano chords & harmonious background vocals.

“Open Safe” sees Weezy flexing & it’s not bad, but the DJ Mustard instrumental sounds like any other instrumental that you’d hear from the guy. The song “Start This Shit Off Right” sounds like a vintage Early 2000’s club banger down to the Mannie Fresh instrumental & the Ashanti hook while the track “Demon” vents about all the demons in his life over a soulful trap beat from Cool & Dre. The track “Mess” is pretty much A Day in the Life of Lil Wayne over an spacey acoustic trap instrumental that’s very pretty while the song “Dope New Gospel” sees talking to himself in a mirror over a celebratory trap beat & the hook from Wayne’s ex-fiancé Nivea is beautiful.

The track “Perfect Strangers” is about switching women over an a trap beat from Mannie Fresh with somber piano chords while the song “Used 2” talks about his evolution over a spacey beat from non other than Metro Boomin’. The album ends beautifully with “Let It All Work Out”, which has a prominent Sampha sample throughout. Also, the final verse where Wayne recalls a suicide attempt at age 12 is damn-near heart-wrenching.

It’s been a long time coming but at the end, this was a strong return to form for Lil Wayne. I was a bit worried given that we’ve had many disappointing 20+ track albums this year, but the production is his best in years & Wayne himself has A LOT to say throughout it’s 87 minute runtime. It’s very remarkable & refreshing to hear him at his strongest in years after he went through so much. Welcome back, Weezy!

Score: 4/5

Reason – “There You Have It” review

Reason is a rapper from De Amo, California who I first caught wind of on the Black Panther soundtrack. He just signed to Top Dawg Entertainment last month & now, he’s releasing his full-length debut.

After the “Rufus Collection” skit, we go into the title track. Here, Reason talks about coming from the streets over a moody soulful instrumental. The track “Kurupt” talks about seizing the moment over an uplifting beat with punchy drums while the song “Fuck wit Me” gets braggadocious over a gloomy beat. The track “Bottom” talks about coming from nothing, but the Xian Bell feature is obnoxious. The song “Drive Slow / Taste Like Heaven” talks about the advice from his grandfather over a boom bap beat, but then it transitions into a something more jazzier.

The track “Thirst” is a club banger with some quirky synths while the song “Colored Dreams: Killers, Pt. 2” recalls a murder case he caught over a boom bap beat with some beautiful piano chords. The track “Better Dayz” is a solid cut taken from his 2016 mixtape The Free Album while the song “Situations” talks about a failing relationship over a moody beat. The penultimate track “State We In” talks about his newfound fame & the closer “Summer Up” returns to the braggadocious tip over a bass-heavy beat.

Overall, this was a solid debut. The production is much better than Jay Rock’s latest album Redemption & Reason sounds very passionate whenever he’s on the mic. If you wanna hear one of the hottest labels right now showcasing an up-&-coming star, give this a listen.

Score: 3.5/5

Cypress Hill – “Elephants on Acid” review

Cypress Hill is a legendary West Coast hip hop group consisting of MCs B-Real & Sen Dog alongside producer DJ Muggs & percussionist Eric Bobo. Their first 3 albums are widely considered to hip hop classics, but their material since then has been considered average. However, they are returning with their 9th full-length album after an 8 year hiatus.

After the Tusko intro, we go into the first song “Band of Gypsies”. Here, B-Real & Sen are spirting battle bars over a psychedelic beat. The track “Put ‘Em in the Ground” gets murderous over an eerie vocal sample & after the “Satao” interlude, we go into the song “Jesus Was a Stoner”. Here, B-Real makes many references to weed & religion over an instrumental with a haunting atmosphere.

The song “Pass the Knife” returns to the murder bars over an eerie beat & after the “LSD” interlude, we go into the song “Oh Na Na”. Here, B-Real of course talks about getting high over some infectious horns. After the “Holy Mountain” interlude, we go into the song “Locos”. Here, B-Real & Sen deliver street bars over a gritty beat.

The track “Falling Down” confrontationally talks about life over a distorted bass line & after the “Elephant Acid” interlude, the song “Insane OG” pretty much speaks for itself over a apocalyptic beat. However, I wish it was longer than just 84 seconds. “The 5th Angel” is an instrumental interlude that sounds like it could be playing in a trailer for an upcoming horror movie while the track “Warlord” talks about judgement day over a fitting boom bap beat.

The song “Reefer Man” is a sequel to “Dr. Greenthumb” with a tuba-inflicted boom bap beat & after the “Thru the Rabbit Hole” interlude, we go into the song “Crazy”. Here, B-Real & Sen talk about insanity over a trippy beat. The track “Muggs is Dead” is a psychedelic instrumental interlude while the penultimate track “Blood on My Hands” sees B-Real comparing himself to the Grim Reaper over an ominous beat. The closer “Stairway to Heaven” sees B-Real talking about his prediction of the afterlife over a prominent woodwind sample.

From front to back, this was a strong return to form for Cypress. Sure there are WAY too many interludes, but DJ Muggs’ production is just as gritty as the old days & it’s a bit more experimental too. The lyricism is sharper as well. If you wanna hear a fantastic comeback album from one of the greatest West Coast groups ever, PLEASE give this a listen.

Score: 4/5

Vinnie Paz – “The Pain Collector” review

Vinnie Paz is an underground titan MC from Philadelphia, Pennsylvania known for being the MC of Jedi Mind Tricks & the leader of the Army of the Pharaohs collective. He put out his first 2 solo albums Season of the Assassin & God of the Serengeti in 2010 & 2012 respectively, but returned in 2016 with the disappointingly average The Cornerstone of the Corner Store. And now just 3 months after the release of the latest JMT album The Bridge & The Abyss, Boxcutter Pazzy isn’t stopping with his 4th full-length album.

The album begins with “Winter Soldier”, where Paz gets confrontational over some strings. The next song “Necklace of Hands” gets bloodthirsty over a gritty yet soulful instrumental from Oh No while the track “Gasmask” is a mix of street & conscious bars over an eerie beat. The song “Sundae Bloody Sundae” intellectually compares himself to an ice cream man as a metaphor for a drug dealer over an alluring soul sample while the track “Jail Cell Recipes” continues this theme albeit in a much menacing & straight forward tone to it. The song “Tongan Death Grip” with Reef the Lost Cauze sees the 2 spitting battle bars over some sinister horns while the track “God’s Shadow” reflects on his early days over a woodwind-inflicted boom bap beat with a cool Biggie sample on the hook.

“DualTow Night Eagle” sees Pazzy getting back in your face over a haunting beat while the track “Blood on My Hands” gets back on the murder tip over a somber boom bap beat. The song “Floating Goat” sounds like it was recorded for the latest Soul Assassins album Dia del Asesinato, but it works very well on here. The track “Byzantine Jewelry” brags about how hardcore he is over a laidback beat with a beautiful soul sample on the hook while I do find the beat switch on the song “Requiem for Black Benjy in 2 Parts” as well as the verses from both Vinnie & Crimeapple, I found Tha God Fahim‘s verse to be pretty bland.

The track “Pray for Sleep” goes into the mind of a insane murderer over a gloomy vocal sample while the song “HaShem on a Pentagram” with Non Phixion members Ill Bill & Lord Goat sees the 3 talking about criminal activity referencing former アイアンマンヘビーメタル級チャンピオン, TNA World Tag Team Champion, WCW World Television Champion, 2-time WWE United States Champion, 7-time WCW World Tag Team Champion, 4-time WWE Intercontinental Champion & WWE Hall of Famer Scott Hall over an apocalyptic boom bap beat.

The track “Masked Stickups” talking about how he can have people disappear if he wants to over a piano & a funky bass-line while the song “Hollow Light Severed Sun” has a somber beat & I absolutely love how Paz experiments with his flow on here. The track “Cold in Philadelphia” tells the story of an immigrant coming to america over an acoustic instrumental while the penultimate track “Gracious” talks about all the things he’s grateful for over a vocal sample & some piano chords. The album then closes with “A Power Governments Cannot Suppress”, where Paz gets political & I absolutely love how the instrumental gets progressive throughout it’s 6 minute runtime.

Honestly, this is on par with Paz’s first 2 albums & I’ll even say it’s better than the latest Jedi Mind Tricks album. There are a couple weak spots & I feel like it 4 or 5 tracks could’ve been left out of the picture, but it’s just as rawly produced & angrily delivered than ever before.

Score: 4/5

Coops – “Life in the Flesh” review

This is the 5th studio LP from London, England, United Kingdom emcee/producer Coops. Introducing himself in 2013 off his full-length debut What Do You See? to mixed reception, the sophomore effort Lost Soul would be more positively received & the last album God Complexat the beginning of the previous year would be released to moderate feedback although it did catch the attention of High Focus Records. He made his debut for the UK’s most prominent hip hop label 5 months ago in the form of a No Brainer, following it up with Life in the Flesh.

The title track begins with a boom bap instrumental from Talos talking about living life to the fullest & getting his powers from above despite being skin, blood & bones whereas “Cold World” ruggedly breaks down how cruel people can be on this planet. “Rude Bwoi” talks about being immune to disrespect because he’s been on some rude shit from Day 1 & that being why bitches wanna chat with him just before “The Screen” eerily guarantees everyone they won’t hear anything this surreal.

“Guerillas” has to be one of my favorite Coops songs ever made from the summery beat to the lyrics about representing a whole different kind of breed leading into the drumless “Lift Off” portraying flashbacks of a previous life & slathering his vocals in auto-tune on the hook. “Free Up” gives off a militant vibe talking about bringing positivity being the only thing he’s trying to offer the world while “Sirens” tropically opens up to the criminal offenses he made during his youth.

After the “Irrelevant Material” skit, “Back to School” spends 88 seconds wittily putting himself inside the shoes of a teacher lecturing a classroom while “Place Called Home” has this luxurious boom bap aura instrumentally talking about being in the hood with his Gs. “Crowded” calmly vents over his search of a place where he can get a peace of mind but after “Fresh Air” talks about praying for a good day every morning, “If I Die” finishes Life in the Flesh wanting the world to know the way he would like his death to be handled when that day comes.

Thematically based around the cycle of life as well as death & reincarnation of the spirit/soul, Coops quickly follows up No Brainer starkly reminding the world of life being a test within itself in addition to some of the hardest & most important obstacles we have to overcome being the ones in our minds despite already facing many societal & worldly hurdles as it already is. The production’s more boom bap oriented than Life in the Flesh’s predecessor was, conveying the message of everything that happens in the middle makes us who we are & our decisions or choices shaping our futures both in this life & quite possibly the afterlife too.

Score: 3.5/5

Res 1 – “A Dog’s Dreams” review

This is the sophomore effort from Bristol, England, United Kingdom emcee Res 1. A member of the Split Prophets collective, he would team up with Datkid & Upfront MC for the respective collaborative Scribbled Thoughts and Drugs, Booze & Dental Issues respectively before making his solo debut Delph Efficiency in the summer of 2015 after I had graduated from high school. 3 years later, Illinformed has been brought in to fully produce A Dog’s Dreams & had high hopes for it based off both singles.

Datkid appears for the piano-driven boom bap intro “Funky Bag” so both of them can warn everyone to mind their mouths when speaking of the Prophets whereas “Blue Label” featuring Inja goes for a jazzier vibe instrumentally talking about trying to find their way out of the mist they grew up in. “No Your Business” hooks up a more soulful beat explaining that he doesn’t need to know what these other muhfuckas are doing until “Vertigo” featuring Datkid, Joey Paro & Smellington Piff lays their individually rough textured styles over a vocal sample.

“For the Love” reaches the halfway point talking about doing this music shit out of the passion he has for it over a funky instrumental just before “Too Ill” featuring Badhabitz & Bil Next kicks off the 2nd leg boasting how lyrically proficient they over a symphonic boom bap beat. “People You Know” featuring Joey Paro jazzily talks about their city being filled with a whole bunch of characters while “Living in a Snare” breaks down the circle of life over an orchestrally dusty instrumental.

The song “Mr. Contemptious” rounds out 3rd aggressively likening himself as a cross between dynamite & an open fire prior to Leaf Dog & Verb T accompanying Res to talk about life still being what they each make of it in the middle of the walls “Closing In” on all 3 of them. “84” spends the last couple minutes of the album sampling a drumless funk loop explaining that people better study up on the history of every mysterious thing that went down at the house he’s describing.

Being a fan of what Illinformed’s work with some of the biggest underground UK hip hop labels from High Focus Records to Real Life Drama Records & Lost Scroll Records, A Dog’s Dreams gave me confidence that it would surpass Delph Effiency to become the greatest entry of his entire solo career & I can verify that’s very much the case. The production’s a huge step above its predecessor a few years earlier, there’s more consistency regarding the guests’ performances & Res levels up his pen.

Score: 4/5

BROCKHAMPTON – “iridescence” review

BROCKHAMPTON is a hip hop “boyband” that originated in San Marcos, Texas in 2015. They dropped a flawed yet decent mixtape in 2016 called ALL-AMERICAN TRASH but in 2017, they completely reinvented themselves by dropping 3 near-perfectly creative albums with the SATURATION trilogy. However, things this year looked bleak for them in part of Ameer Vann (who was featured on the cover of all 3 SATURATION albums) was kicked out in May due to sexual misconduct. They then dropped 3 solid singles over the summer but now, they’re finally returning with their 4th full-length album.

Things start off with “NEW ORLEANS”, where they talk about how they’re calling their own shots over a gritty beat. The next track “THUG LIFE” sees the boyband’s de facto leader Kevin Abstract linking up with his older brother Dom McLennon alongside bearface to talk about depression over a beautiful piano instrumental while the song “BERLIN” sees Dom getting with Matt Champion & JOBA to talk shit over an abrasive beat. The “SOMETHING ABOUT HIM” interlude is an endearing tribute to Kevin’s husband Jaden Walker with a smooth instrumental from Romil Hemnani & Q3, but it sounds unfinished.

The track “WHERE THE CASH AT” sees Merlyn Wood & Matt Champion talks about their new rich life over a bouncy beat while the song “WEIGHT” is a heartfelt look into the boyband’s inner demons over some strings, but then it constantly switches from drum & bass with a piano to just simply punchy drums. The track “DISTRICT” is a club banger over a video gamey beat & after the “LOOPHOLE” interlude, we go into the song “TAPE”. Here, the boyband talks about their insecurities over a gloomy beat with skittering drums. The track “J’OUVERT” talks about success over a chaotic beat & while everyone’s performance on here was great, JOBA’s angry verse stood out to me the most.

The song “HONEY” gets braggadocious over an electro-funk beat while the track “VIVID” talks about how they’re making money now over an eerie electronic beat. The song “SAN MARCOS” is a guitar ballad about wanting more out of life while the penultimate track “TONYA” talks about unstable stardom over a prominent piano. The short switch up during Kevin’s verse & JOBA’s bridge was just ok, though. The album then finishes with “FABRIC”, where the boyband talks about still being depressed despite their newfound success & I absolutely love how the beat constantly switches throughout.

Being one of my most anticipated albums of the year, this did not disappoint. BROCKHAMPTON continues to be the most unique group in today’s hip hop landscape as their sound on here is refreshingly different than that of the SATURATION trilogy & I’ve also noticed that the chemistry between every member has improved.

Score: 4/5

Lupe Fiasco – “DROGAS Wave” review

Lupe Fiasco is a 36 year old rapper from Chicago, Illinois who blew up in 2005 after appearing on Touch the Sky off of Kanye West’s sophomore album Late Registration. He then released 2 classic albums Food & Liquor and The Cool in 2006 & 2007 respectively. However, his output since then has been very inconsistent. His next album Lasers in 2011 is easily his worst yet, Food & Liquor 2: The Great American Rap Album in 2013 was just ok but then Tetsuo & Youth in 2015 was a near perfect return to form for him. Given that, I was excited to see what he was going to do in the future. Then last year, his previous album DROGAS Light was a disappointing mixed bag. But randomly last week, he announced that he was finally putting out his 7th full-length album.

After the “In the Event If Typhoon”, we go into the first song “DROGAS”. Here, Lupe songs in Spanish over a guitar & a horn. The track “Manila” gets conscious over a fitting trap beat while the song “Gold vs. the Right Things to Do” insightfully talks about slavery in a fake patois over some choir vocals. After the “Slave Ship” interlude, we go into the song “WAV Files”. Here, Lupe talks about Babylon over a trap beat with some beautiful piano chords.

The track “Down” sees Lupe singing about Atlantis over a spacey beat while the 2014 “Haile Selassie” talks about inequality over a wavy trap beat. The track “Alan Forever” is a tribute to Alan Kurdi over a churchy beat & after the “Helter Skelter” interlude, we go into the song “Stronger” reflects on his past over a moody beat. The track “Sun God Sam & the California Drug Deals” talks about this drug addicted girl over an orchestral string-inflicted trap beat while the song “XO” sounds like an microwaved Lasers leftover.

After the “Don’t Mess Up the Children” interlude, we go into the 2013 song “Jonylah Forever”. Here, Lupe ponders what Jonylah Watkins’ life would’ve been like if she wasn’t murdered over an uplifting beat. The track “Kingdom” with Damian Marley talks about freedom over some synths with militant drums & after the “Baba Kwesi” interlude, we go into the song “Imagine”. Here, Lupe talks about how he wouldn’t change his past over a spacey boom bap beat. The track “Stack That Cheese” is a perfect sequel to “Hip Hop Saved My Life” while the song “Cripple” gets romantic over a jazzy boom bap beat.

The track “King Nas” talks about being the man over some punchy drums & luscious piano chords while the song “Questions from Chairman Fred” gets spiritual over a somber boom bap beat. The penultimate track “Happy Timbuck2 Day” references WWE Hall of Famer, former 2-time WWE Champion & 2-time WWE Tag Team Champion Yokozuna over a mellow beat & then the 2015 “Mural Jr.” ends things with fireworks as it’s a flawless sequel to the 9 minute-epic that kicked off Tetsuo & Youth.

I was worried about this given the 98 minute runtime as well as how disappointing DROGAS Light was, but this does NOT overstay it’s welcome. Despite a couple old tracks & some boring interludes, the production is rich & it really does Lupe’s smart lyricism justice as his topics are really well thought-out.

Score: 4/5