Hollywood, California rapper & entrepreneur Wakko the Kidd staying busy with his sophomore effort. Introducing himself in the summer of 2018 off his debut single “Multiple Racks”, he would go on to launch his own strain of cannabis called Airheadz a year later. However a couple summers ago, the Insane Clown Posse signed him to Psychopathic Records & has performed at many of their events like the Gathering of the Juggalos or Hallowicked. Coming off his full-length debut In Airheadz We Trust & The Kidd That Did, I was highly anticipating Infinity since MIKE SUMMERS a.k.a. 7 was solely producing it himself.
After the intro, “17 Dead” opens with a homage to the ICP song of the same name until “For the Haters” featuring Esham kinda has a boom bap vibe instrumentally sending a message to the people who’ve doubted them along the way. “Why” goes for a trap direction trying to figure out the reason everyone tries to blame him just before “Chasing Shadows” featuring Brotha Lynch Hung talks about making the bitch known as jealously their girlfriends.
“Dark Skies” kicks off the 2nd half of Infinity professing his loyalty always lying with Juggalo Championship Wrestling (JCW) Commissioner Violent J because he believed in him when no one else did while “Mirage (High All the Time)” embraces a calmer trap direction so the Kidd can talk about not trusting anyone since life’s an optical illusion. “Don’t Let Me Down” ghostly discusses not being left disappointed & the closing track “Save My Life” recalls a near-death experience.
In Airheadz We Trust & The Kidd That Did each have their own share of songs that made me understand why Psychopathic signed Wakko the Kidd, but Infinity finally gives us that 1 project I always knew he had in him that would finally shut up the detractors who’ve initially rejected almost every other artist who joined the hatchet until eventually leaving. 7’s production is a huge upgrade from Wakko’s earlier output, there are only a couple wicked shit guests joining him & it’s make absolutely sense for the west coast artist to step up his own performances.
Ravyn Lenae is a 27 year old singer/songwriter from Chicago, Illinois who broke out as a member of the 0 Fatigue collective. She would later sign to Atlantic Records & dropped 3 extended plays, including Moon Shoes as well as Midnight Moonlight & Crush. However, her full-length debut Hypnos alongside the sophomore effort Bird’s Eye have each contributed to her elevation amongst the most interesting R&B artists today & that was a huge reason for giving her 3rd studio LP a shot.
“Handle” produced by DJ Dahi opens up blending pop rock, the Minneapolis sound, new wave & alt-pop to sing about her love being more than the average person can typically put up with whereas “Familiar Dreams” confronts a person who’s become a stranger to her. “Never Let Me Go” feels like a cross between Hypnos & Bird’s Eye pleading for her partner not to leave her side until “In & Out” sings about the inability of letting this person she sees everywhere know how she feels.
Meanwhile on “Potential”, we have Ravyn suggesting she needs a break & declaring herself to be the one fucking with this guy’s head at night just before “Sew Me Back Together” sings about confessing to her lover that things get old real quickly when they’re not accompanying her. “Reputation” featuring Dominic Fike wraps up the 1st half of Blue Island portraying themselves as a dysfunctional couple leading into the final single “Saturday Night” combining freestyle, contemporary R&B, synthpop, chillwave & synth-funk singing about an ex missing her on a weekend.
“Babygirl” featuring Doechii continues the album’s 2nd act uniting for an R&B/hip hop crossover courtesy of Karriem Riggins reflecting on the risks they took in order to get in the positions they are presently but after “Barriers” yearns for a man who won’t run when it’s too deep including her suggesting he doesn’t back from showing any affection because she clearly came back for more, “Wish You Well” sends her final regards to an ex who can’t get her off his mind advising he moves on with his life & clarifying the breakup was to better herself.
The song “Bobby” has a more upbeat tone to it confronting our titular character regarding whether they should continue their relationship or end it right then & there while “Find It 1 Day” uses a composed rhyme to remind an ex of a love they fumbled except she’s making it clear towards the end that she still cares about this individual over a No I.D. beat. “Let Us In” takes up Blue Island’s concluding moments singing about getting emotional when the sun goes down, only to let it all out.
Marking a transitioning point in Ravyn Lenae’s career, Blue Island has me looking forward to what she & DJ Dahi can do going forward now that her ambitions have been redefined. The latter’s production maintains the primary contemporary R&B & pop influences of Bird’s Eye a couple years earlier including secondary elements of sophisti-pop, pop rock, new wave, folk rock, soft rock, synthpop, chillwave & synth-funk to explore the spaces between what once was & what could be.
St. John’s, Newfoundland & Labrador, Canada rapper Dax has returned for his 3rd studio LP. Working as a janitor before blowing up after dropping the single “YourWorthIt.org” with Hopsin in the summer of 2018, this was followed up with his debut EP It’s Different Now shortly after & the I’ll Say It For You EP under the Strange Music subsidiary It Goes Up Entertainment. Pain Paints Pictures was one of the worst debuts of this decade & the Columbia Records debutFrom a Man’s Perspective proved to be worse, unsure of what to get out of Anger Management.
“Big Boys Don’t Cry” tritely opens with this rap rock intro talking about men hiding vulnerability from the world whereas “Trauma” goes for a generic trap vibe, confessing to the feeling of in escaping the past. “Diary of an Alcoholic (10 Shots)” comes through with a fake deep perspective regarding alcoholism over a country rap instrumental leading into “God, Can You Hear Me?” melodramatically begs for the Man upstairs to listen to his pleas.
Continuing with “Man I Used to Be”, we have Dax talking about becoming half the person he was when Jamiroquai already tackled this subject with one of my favorite singles of theirs prior to the country-inspired “Temptation” reaching the halfway point speaking of desire knocking at his door. “The American Dream” forces himself to get in his patriotism bag when he’s not even American while over acoustics until “Caught You in the Bed” gets preachy regarding infidelity.
“Your Feelings” winds down the last leg of Anger Management mutating country rap & trap talking about the place Satan attacks at every chance while “Happy Wife, Happy Life” comes through with a corny pop rap track with a country twist to it. “Gave You the World” makes a turn towards cloudier territory talking about an ex-girlfriend he couldn’t save & “Comfortable Being Alone” hooks up a generic beat to send it all off finding solace in loneliness.
From a Man’s Perspective saw Dax coming into his own stylistically considering he’s pretty much embraced a more prominent country rap sound than anything he’s been doing for the past decade since & attached a sloppy point of view regarding men’s mental health when you got people like King Iso doing those topics justice, but Anger Management gratingly expands the musical ideas of it’s predecessor nearly 2 years ago to insincerely convey the reality of being honest with our struggles.
Dinner Party is a neo-soul/jazz rap supergroup consisting of Kamasi Washington, Robert Glasper, Terrace Martin & 9th Wonder. All 4 of whom are acclaimed producers in their own rights, dropping their eponymous full-length debut in the summer of 2020 through EMPIRE Distribution when the COVID-19 pandemic was occurring & following it up nearly 3 years later with the neo-soul influenced sophomore effort Enigmatic Society to more lukewarm reception. Nonetheless, I still had anticipation for their 3rd studio LP considering the respect I already for its individual members.
“Stop Being Late” begins with a 2 & a half minute opener blending jazz as well as hip hop & spoken word whereas “If It Ain’t Broke (Love Wins)” by Phoelix turns up the soulfulness, singing about leaving perfectly functioning things alone unless they’re no longer working. “Stargazing” also by Phoelix finds himself thinking of the world’s current state fusing jazz & R&B together but once “Breakfast at Sharkey’s” takes a prominently compositional approach, “I Wonder” by Phoelix kicks off the 2nd half on some neo-soul vibes.
As for “Just My Type”, we have Phoelix over some predominantly finger snaps carrying over the themes of romance leading into “I’m Yours” by Phoelix smoothly assures his partner that he won’t leave her for any other woman. “Mutual Respect “ leans towards the jazzier side of things for a bright instrumental piece preceding the outro “Peace of Mind” properly sending off Whatchu Bringing?tastefully combining elements of jazz rap & boom bap.
For anyone who came away from Enigmatic Society enjoying it less than Dinner Party’s debut album, you’re probably gonna prefer Whatchu Bringing? like myself because I’d have to put their most playful statement right behind self-titled for my 2nd favorite entry in their discography so far. The primary neo-soul sound remains in tact, incorporating secondary influences of jazz fusion & instrumental hip hop for the course of a half hour.
Los Angeles, California deejay/producer DJ Rhettmatic teaming up with Brooklyn, New York emcee, singer & producer Q-Unique for his 4th studio LP. Emerging as 1/4 of the Arsonists & the lead singer of the 3-man hard rock outfit Stillwill, he’s also built up impressive solo discography for himself since the Uncle Howie Records-backed Vengeance is Mine nearly 2 decades back at this point. He would follow it up the previous decade with Between Heaven & Hell alongside BlaQ Coffee and The Mechanic before Stillwill bassist Fieldy of KoЯn fame produced the Pound for Pound EP. Coming off the Royal Blood EP produced by Jake Palumbo however, Rhettmatic’s handling The QR Code.
After the intro, “Cypha Up” aggressively opens up encouraging people to study with him & make some bread whereas “It Only Leads the Way” ruggedly describes an identity crisis some artists may experience after being deluded by materialism. “Fire Vision” featuring LMNO finds the pair linking up to flex their lyrical proficiencies over a raw beat just before “Suckess” talks about their experiences of people becoming unrecognizable after achieving success.
“The Good Life” encourages all shine their light through changes they make prior to “All in the Mind” featuring Ras Kass aggressively kicking off the 2nd leg teaming up to talk about the dangers of overthinking. “The Meltdown” featuring Esoteric joins forces for a cutthroat battle rap cut while “Comic Con Nerd Shit” featuring Pharoahe Monch pits the rebels against the stars. “Let’s Rock” embraces a rap rock vibe for a mosh anthem & the outro “Faith” talks about his everlasting future.
Excluding both Pound for Pound & Royal Blood because those were EPs, I might have to put The QR Code above Between Heaven & Hell & The Mechanic as Q-Unique’s 2nd best full-length rivaling his debut Vengeance is Mine to become the finest collection of material he’s made on his own. DJ Rhettmatic’s production paired with the concept of being original, staying authentic, respecting hip hop culture & never following the crowd sets the standard instead of chasing trends.
Here we have the 5th solo LP from Staten Island, New York lyricist & producer Inspectah Deck. A member of the almighty Wu-Tang Clan as well as 1/3 of CZARFACEwith 7L & Esoteric, he would eventually drop his solo debut Uncontrolled Substance in the fall of 1999 under Loud Records & Relativity Records. Which I found myself enjoying more than the MNRK Music Group-backed The Movement as well as Manifesto & Chamber #9, although The Resident Patient marking the launch of Deck’s own label Urban Icons Records & Cynthia’s Son both came pretty close for their own separate reasons. I was nonetheless intrigued by P.A. Dre being brought in to fully produce Dragon’s Breath.
“Never Fold” featuring Raekwon, Sauce Money & Skyzoo after the “Dragon’s Intro” finds the quartet over a murderous boom bap instrumental talking about their refusal of backing down whereas “H.E.C.T.O.R. (Hustle Everyday Can’t Trust Or Rely)” discussing the daily grind & trusting nobody. “Lighter Fluid” featuring Eto, Mickey Factz & RJ Payne links up over a venomous boom bap beat continuing to spit hardcore lyricism just before “Shaolin Rebel 2” hits us with a soulful sequel to the Chamber #9 joint.
Ankhlejohn & Brizz Rawsteen both pop out for “Between the Lines” soulfully talking about seeing the signs God’s trying to send you although Ankhlejohn had my favorite guest appearance of the 2 personally leading into “The System” taking a more intricately conscious approach topically. “Up At Night” featuring Peedi Crakk switches it up by showing a more sensual side to both of them which is alright, but “Day in the Life” soulfully talks about being thankful for every day because it’s a dream to him.
“1 of 1” featuring G4 Jag, KXNG CROOKED & M.A.V. comes together for an eerie boom bap cut filled with all 4 artists detailing their unique skills while “Flight School” reaches the halfway point talking about grinding for his own shine. “Burgundy” kicks off the 2nd leg of Dragon’s Breath incorporating guitars to not let Satan steal his joy while “Cold Case” featuring Gripz & Ransom jazzily yet dustily puts us inside the shoes of detectives.
Che Noir & Sa-Roc teaming up during “Divine Protection” was an exciting moment talking about aiming the firearm & blasting to protect what’s theirs while “Solitude” featuring BVNGS, Flee Lord & Hus Kingpin coldly flexes that they be rollin’ around the parts muhfuckas can’t even hit up. “Anointed” featuring 40 B.A.R.R.S., Bahamadia & 7xvethegenius fiercely demands everyone honors them like the royalty they are while “Possession” featuring Cappadonna & Hell Fire would’ve been more enjoyable without the latter.
“Funny Style” symphonically talks about muhfuckas acting weird hoping to catch him down & out while “Czariana Grande” by CZARFACE produced by none other than 7L boasts of taking over car speakers whenever INS Ya Highness & 7LES unite. The closing track “Explicit Material” also by CZARFACE officially sends off Dragon’s Breath spending the remaining 3 minutes having Esoteric accompanying Deck going full battle rap mode ahead of their upcoming collab album with Tom Hardy at the end of the month.
Exhibiting the razor-lyricism that’s made Inspectah Deck a cornerstone of the Clan’s entire 36 Chambers mythology, Dragon’s Breath acknowledges the connecting theme of his storied career from his Shaolin foundations to the comic-book-noir world of CZARFACE & back again. Excluding a select handful of mediocre features, I can appreciate one of the most technically gifted & underappreciated MCs in all of hip hop doing his thing over P.A. Dre production for this full-circle moment.
This could potentially be the only studio album from Memphis, Tennessee rapper & songwriter Pooh Shiesty. Signing to Gucci Mane’s historic 1017 Global in tandem with Atlantic Records in April 2020 off the single “Main Slime”, he would later drop the Shiesty Season mixtape merely 10 months afterwards until serving a 3 year prison sentence. However, he’s dropping All Eyes on Shiest under 1017/Atlantic ahead of his upcoming trial for armed robbery & conspiracy to kidnap.
2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair gets referenced during the intro “I’m Back” talking about his return whereas “Federal Reality” ironically flexes burning his prison uniform when he’s likely spending the rest of his life back behind bars for being stupid.
“Reap What You Sow” talks about laying low & playing slow being the motto around his parts of town leading into “Last Man Breathin’” containing one of my favorite instrumentals from Mike & Keys despite him discussing the struggle of rapping & being caught up in the streets. “Collecting Tears” talks about stealing hoes & putting them up on game just before “Still on Timing” featuring Big30 speaks of stealing 2 different souls together.
Sexyy Red appears for the raunchy strip club anthem “Booty Club” produced by the late Tay Keith delivering another standout beat leading into “Reckless Living” wrapping up the 1st act of All Eyes on Shiest talking about him making his lifestyle vivid for people. “CMO” featuring Baby Slime, Big30 & K Carbon finds the quartet uniting for an underwhelming freestyle until “McLaren Truck” talks about him sticking up Gucci.
“Trip” hits us with more mediocre gangsta raps on top of a bland piano-driven trap instrumental but after “JPay & CorrLinks” talks about him not understanding why other artists be movin’ lame when he made a stupid move himself at the beginning of the year that could cost him his eternal freedom, “New One” featuring K Carbon reunites so they can declare themselves smackers who happen to rap over more hi-hats & keys.
The song “Bigger Than the Program” winds down All Eyes on Shiest’s final moments hoping to explain the difference between him & most other rappers being bitches while “F.D.O. (First Day Out)” talks about staying true to himself upon coming home although it quickly aged like milk 4 weeks later when he got arrested again. “Mane” featuring Glorilla sends off the album having both of ‘em poppin’ out with that dog shit because that’s the way both of them stunt.
I can’t even begin to express the disappointment I have for Pooh Shiesty holding Gucci at gunpoint in an attempt to get out of his deal only for All Eyes on Shiest to still come out under said labels like a dumbass, which makes the full-length even less enjoyable than the final product already is because he pretty much threw himself beck behind bars for the rest of his life over nothing. I truly did believe he had the most potential out of everyone on 1017’s revamped roster despite the features & production becoming less enjoyable than Shiesty Season.
Kurupt is a 53 year old MC, songwriter, actor & occasional producer from Philadelphia, Pennsylvania who relocated to Hawthorne, California to comprise 1/2 of Tha Dogg Pound with Daz Dillinger. He eventually made his double solo debut Kuruption! under A&M Records almost 3 decades earlier, following it up with a widely praised sophomore effort Tha Streetz Iz a Mutha & Space Boogie: Smoke Oddessey until dropping Against tha Grain through Death Row Records in tandem with MNRK Music Group to mixed reception. Same Day, Different Shit produced by Daz & his previous full-length Streetlights each left audiences further divided even if the latter helped launch Young Gotti’s own imprint Penagon Records, remaining on Tha Row now distributed by gamma. following Daz’s departure to have DJ Battlecat solely produce his 7th studio LP.
After the intro, Sneacc Attacc” featuring Charlie Bereal & WWE Hall of Famer Snoop Dogg begins spitting that gangsta shit over a g-funk instrumental whereas “Me N the Boyz” samples “Mothership Connection (Star Child)” by Parliament to talk about getting money. “Special” featuring Jane Handcock finds the pair getting romantic over a smooth beat while the summery “Mystic River” represents the D.P.G.C. even after Daz & Snoop fell out.
D Smoke & Snoop Dogg appear on “Wat U Do to Me” bringing back the g-funk vibes instrumentally to kick off the 2nd half of the album talking about him & his Death Row inmate being unable to fake how they do things but after “Love Letter” featuring Jane Handcock soulfully addresses the people in their lives who were made for them, “West Coast Muzik” once again shifts towards a g-funk direction representing the west coast hip hop scene altogether.
“Mindstate” featuring Ill Camille gets the Tales from My Hood’s final act going embracing a jazzier sound & some grown man subject matter Tha Kingpin’s delivering while “I Don’t Luv Her” featuring Akeem Ali & Soopafly brings the trio together so they can promise their soulmates that they’re not in love with anyone else over a g-funk beat. The closing track “Gunna” sends it all off suggesting for people to duck whenever he’s out in public.
Considering how much of a superiorly skilled performer Kurupt has always been on the microphone, I found myself being more excited for Tales from My Hood than I have been with Daz’s last few solo efforts & it sure enough makes up for Against tha Grain’s mediocrity by surpassing Tha Streetz Iz a Mutha to become Young Gotti’s finest hour by himself. DJ Battlecat’s g-funk production paired with one of the most underrated lyricists of all-time who also became 1/2 of the Gotti Mob & 1/4 of The HRSMN makes for possibly the strongest album Death Row’s dropped this year.
Atlanta, Georgia producer & rapper Hariroc dropping his 3rd studio LP merely days after announcing it. Known for being an extensive collaborator of Lil Tony, he would go on to fully produce the Troc & Swaggbaggs extended plays for Tony in their entireties preceding a full-length debut of his own Indalment in 2024 even if the reception was generally lukewarm. The Squidfather last summer despite being overloaded had some incredible songs on it & the sequel retains that same length although I should note there being guests who weren’t on the predecessor appearing for The Squidfather 2.
“Red” by Hardrock was actually an impressive opener & amongst the latter’s better songs I’ve heard in a bit regardless of it only being less than a minute & a half until “Sold Not Told” by Lil Tony talks about the way the game goes over a plugg instrumental. “Donald Trump” by Double XL & Ealuhri finds the pair wasting another plugg beat likening their black truck to a pedophilic fascist just before “Greed” by B6 vents about everyone yapping their needs to him & turning to Jesus for help finding peace.
RRoxket gets a joint of his own with “Johnny Depp” & I like more than the last couple, talking about snorting as much coke as the iconic actor himself just before another favorite of mine “Long Live Virgil” by Pradabagshawty pays tribute to the late Off-White founder of the same name. “Røck Øut” by Tezzus fresh off the disappointing controversy between him, ilykimchi & Oogie Mane talks about standing on business leading into “Murder He Wrote” by Doowopgz & Rx Yp discussing seeing hate from a mile away.
“3 Man Drill” by Stikkhead takes over the mic to air out the kind of people who ain’t on shit like they claim to be despite the instrumental sticking out more while “Radioactive Rage” by Teflon Zay embraces a hypertrap sound talking about carrying guns whenever they’re riding through the ATL & laying their opps out. “Free Twin” by Babystaydown was another moment I enjoyed calling for his incarcerated homie to come home while “Chess Game” by BabyDrill airily speaks of living a double life with the blick.
Chuckyy makes a 98 second statement telling everyone to “Stop Pouring Lean” & I agree with because I’ve never done that shit nor am I a fan of it personally, preceding “Illegal Money” by Zone1eriic assuring that he can get in a scuffle at this very moment since he got sticks in his ride. “Switch My Move” by Yksteexy ends the 1st leg of The Squidfather 2 with a monotonous performance like he barely has a pulse while “Mufasa” by RW 5 kicks off the 2nd act talking about his mom wanting him to be better than his father.
“Suck Yuh Mada” by 1900Rugrat annoyingly rambles on regarding people who hate him now that he’s been making money while the standout “Dirty Bird” by ApolloRed1 talks about having a favorite trapper instead of having a favorite rapper growing up. “Split the Tab” by tana continues with another highlight addressing a see-through bitch who he hasn’t seen in some time while “Dreams I Can’t Reach Yet” by PCF ManMan talks about his brother being locked up for some dumb shit.
I’d say Pradabagshawty outrapped Ealuhri during “Typo” texting freak hoes wanting to fuck them high off percocets while “Geeked Up” by Bby Kellwoozily elaborates more about being under the influence of drugs. “Beaver” by Zukenee entertainingly references the Comcast Corporation subsidiary NBCUniversal owned sitcom Leave It to Beaver while “Free RRed” by IsoBkae & 4E_Redd averagely trades verses over some pianos & 808s
“Purple Heart” by Babytron was a delightful surprise to me talking about receiving the titular military decoration after the tragic death of his Dog $hit Militia brethren $camaurion back in October of 2022 & after “Free Roc (Rox)” by Luhtrentt flexes that he plays the game of truth instead of pleading the 5th amendment, “Puppet” by GetRichZay confronts someone flexing who claims to be about that life wanting him to take the test to see whether he’s telling the truth or cappin’.
Famous Dex unexpectedly makes “Don’t Touch My Cup” one of the most interesting tracks he’s done this decade along with “Lex Meet Dex”, cautioning not to test him because of the real possibility of him spazzing out while “Emo Ho” by B6 provides a lukewarm anthem dedicated to anyone who’s been stacking up bread. “Fake Thuggin’” by Lil Tony wraps up The Squidfather 2 in the form of this plugg outro becoming a soldier if his opposition’s brought around him.
I would’ve enjoyed The Squidfather a lot more than I did when it came out last August if Hariroc shaved off the half of it that I could’ve done without & unfortunately, The Squidfather 2 suffers from the very same problems it’s predecessor except I might like it a little less than the original. There’s no issue with his production varying between trap & cloud rap to plugg & rage since I do respect his artistry, but the guest list leaves me more torn than the previous one.
Buffalo, New York rapper & singer/songwriter Goosebytheway making his full-length studio debut. Signing to Drumwork Music Group back in 2022, he would make a handful of guest appearances across several Conway the Machine projects preceding his debut mixtape By the Way a year afterwards. But the time has come for him to drop his very own LP Nature Boy named after 2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair following The Demand ending The Conglomeration’s reign as AEW World Trios Champions.
“203” featuring Conway the Machine finds the pair talking about where they come from over an opulent beat whereas “Rivi” takes the boom bap route instrumentally asking whether anyone’s hearing him or if they’ve heard of him yet. “Pesto Margarita” maintains the more kicks & snares keeping a gun on him in case anyone acts out leading into “Walk Ups” featuring Conway the Machine & Fuego Base seeing the trio ripping up a drumless loop from Bozack Morris.
K’mani & Spark Houston’s contributions to “Pedigree” weren’t that great despite the reference to 2-time WWE Hall of Famer, 14-time WWE world champion, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & the WME Group-owned TKO Group Holdings division’s CCO Triple H while “Nowhere to Be Found” featuring Jottibee after a skit continues the 2nd act of Nature Boy talking about being prepared for war since they’ve hit rock bottom.
“Selfish” featuring Jae Skeese makes up for the mediocre guest verses having both Drumwork labelmates getting stingy as fuck together while “Heisenberg” featuring Conway the Machine & SK da King includes a reference to the main character of my all-time favorite show: Breaking Bad. The closing track “I Ain’t Did Enough” spends the album’s final minutes with 1 last boom bap cut feeling like he should’ve done more since he has 2 kids to raise.
Regardless of former NWA World’s Heavyweight Champion as well as WWE Hall of Famer & the inaugural WWE Champion Buddy Rogers originally earning the Nature Boy nickname, I typically see people caring less for the features Goosebytheway has been doing for Conway in recent memory & I’ve been giving him the benefit of the doubt since he got his label deal because I felt there was room for him to grow. The production has improved since his last tape so have the performances from both Goose & the guests.
Legends Will Never Die 