Juicy J – “Live & in Color” review

This is the 9th studio LP from Memphis, Tennessee rapper, songwriter, producer & record executive Juicy J. Rising to stardom in the 90s as the co-founder of the seminal Three 6 Mafia alongside his Tear Da Club Up Thugs cohorts DJ Paul & the late Lord Infamous, he’s also had the most successful solo career out of everyone in the Mafia whether it be the Taylor Gang Entertainment/Columbia Records-backed Stay Trippy & Rubba Band Business: The Album or more recently Crypto Business & Mental Trillness. The latter & it’s sequel noticeably taking on a more serious tone than some of Juicy’s latest material, taking a good chunk of it’s time coping with Gangsta Boo’s untimely passing. Coming off the mature Ravenite Social Club, he’s having Logic fully produce Live & in Color.

The title track sets it off with a boom bap instrumental asking if you understand getting money with the rest of the hood whereas “Get Right” featuring Project Pat works in a psychedelic sample keeping his back against the wall. After the first of many “Discussion” interludes, “Big Bag Talk” finds himself back in the basement to show off his riches just before “The Problem” featuring Logic himself after the “Discussion 2” interlude soulfully brings the pair together to discuss coming from nothing.

“Shame” featuring Logic once again brings a trap vibe to the beat from Bobby Boy Records in-house producer 6 suggesting you watch them kick their feet up after rolling their weed up & after the “Discussion 3” interlude, “We Live” returns to the boom bap talking about striving for something better. After the “Discussion 4” interlude, “Kill For” heads for a dustily exuberant approach flexing that he’s lived a life many wish they had leading into the 2-parter “& Did” immediately following the Discussion 5” interlude focusing on motion instead of pussy.

Chipmunk soul & boom bap collide with each other during “Flowers” talking about the samples getting his daughters through college but after the “Discussion 6” interlude, “20 Years Later” featuring Logic & Project Pat swaps out the boom bap elements in favor of trap sticking to the codes to this very day like they did 2 decades prior while “Fame” suggests to not let the internet mislead you & allow him to do all the guiding since Juicy’s a product of his people.

After the “Discussion 7” interlude, “Black Rothstein” featuring Wiz Khalifa likens themselves to Arnold Rothstein of the Jewish Mob over an instrumental meshing soul & trap with each other 1 last time until the final song “I Need a Hug” ahead of the “Discussion 8” outro properly ending Live & in Color by telling his late mother to take a good look at him because he’s genuinely trying figuring out if she can even hear him from the pearly gates.

Saving only 3 verses, Logic takes a backseat on the mic for a good portion of Live & in Color in favor of opting to focus more on the production side of things & that to me is actually a great call because this is almost on the same enjoyability level as Juicy’s jazz rap album 10 months ago. Bobby’s production in spite of the ridiculous amount of “Discussion” interludes tightly balances boom bap, trap & chipmunk soul during the course of 13 tracks displaying both sides of the Three 6 co-founder whether it’s the maturity of his recent output for fun trap joints to play when you’re out having fun.

Score: 4/5

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6 – “Homebody” review

6 is a 34 year old producer from Bowie, Maryland notable for being the longtime in-house producer for Logic & his independent label Bobby Boy Records. They’ve known each other at least since 2009, putting out a debut mixtape of his own called the 6ixtape celebrating its 2-year anniversary this spring. Taking himself to the next level though, he’s bringing a whole list of performers on board to compile an official full-length studio debut album peaking interest for any Logic fans who love the work they’ve done with each other up until this point.

The first song “Why Should I?” by Guapdad 4000 & Juicy J after the intro was my favorite single of the 3 asking why should they give a fuck over a vibrant trap instrumental whereas “Roundabout” by Pardyalone & Phil Adé spaciously talks about being sick of these bitches in their living room. “Firmament” by Buddy, Blu & KYLE finds the trio suggesting that everyone listening to continue balling leading into “293” by D.R.A.M. & Guapdad showing a romantic side to them.

“WMD” by Logic heads for a jazzy boom bap direction with the beat getting in his shit-talking bag for a bit & after the interlude, the title track finishes the first leg of Homebody with a nearly 2-minute instrumental cut. “A Lot Like” by Bobby Boy Records artist Travis Stacey stylistically departs from hip hop in favor of rock music & pulling it off better than I would’ve expected, but then “Messi” by Jazz Cartier & TOBi keeps it on lock with a spacey trap heater.

Cousin Stizz & Felix team up on “Foreign” kinda throwing it back to The Neptunes in the early 2000s sonically while “What Do You Say?” by ChloTheGod heads for more of a neo-soul direction. “Raw” by Buddy, Blu, Joey Valence & Brae and KYLE fully embraces the boom bap sound to bring it hardcore while “Palace” by AQ & TK Rhodes smoothly gets back on the melodic tip. “Bright Lights” by KYLE & Skizzy Mars ahead of the outro finishes 6’s debut with a decently stripped back closer.

Meant to push himself out of his comfort zone, Logic’s longtime collaborator truly is a homebody by nature & the urge to step out & show the world more to who who he is finally reveals itself with a debut album that I personally find myself a little mixed on his. The versatile production revolving around trap, jazz rap, boom bap, R&B, rock is very tasteful since his talents behind the boards have always been there. My biggest complaint about it though is the inconsistency amongst the guests.

Score: 2.5/5

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Logic – “Aquarius III” review

Maryland rapper, singer/songwriter, producer, author & Twitch streamer Logic preluding Phonkadelic with a new EP. Emerging just over a decade ago off the strength of the first 3 installments of the Young Sinatra mixtape series. His potential would continually be shown on his first 2 albums Under Pressure & The Incredible True Story. However, it’s no secret that the quality of his music took a nosedive from Bobby Tarantino to Supermarket or the unlikeable bitterness of Confessions of a Dangerous Mind. No Pressure however was a mature sequel to his full-length debut & I also thought the Doc D concept mixtape Planetory Destruction was decent too, but Bobby Tarantino III was pretty underwhelming. His final offering for Def Jam Recordings that dropped couple summers ago Vinyl Days happened to be his most artistically definitive yet. College Park & Ultra 85 was his strongest since Vinyl Days, but is compiling leftovers from that recent LP onto Aquarius III.

“This is the Way” samples ”Sittin’ Sidewayz” by Paul Wall thanks to Bobby Boy Records in-house producer 6 talking about rappin’ until he’s dead & gone whereas the self-produced “French Dispatch” takes a groovier route instrumentally explaining that music, family & movies are his 3 favorite things. “Not a Game” playfully suggests a change in the rap game while “Universe” nocturnally talks getting paper courtesy of Soundtrakk & the weight off his shoulders. “A Message From My Younger Self” rounds out the EP with a spoken word piece that was recorded in the summer of 2011.

Phonkadelic is said to be a huge stylistic departure for Logic since Juicy J will be executive producing it & the overall sound will be influenced by the phonk subgenre of trap artists like the $uicideboy$ & more recently Ouija Macc have become known for, so for Bobby to drop off an EP’s worth of Ultra 85 outtakes will do fine until then. The production continues to be more interesting now that he’s been off a major label for a few years at this point & the themes of these tracks would’ve fit in with the rest of his previous album without any objection.

Score: 3.5/5

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Logic – “Ultra 85” review

Maryland rapper, singer/songwriter, producer, author & Twitch streamer Logic releasing his long-awaited 10th & final LP that he’s been working on since 2018. Emerging just over a decade ago off the strength of the first 3 installments of the Young Sinatra mixtape series. His potential would continually be shown on his first 2 albums Under Pressure & The Incredible True Story. However, it’s no secret that the quality of his music took a nosedive from Bobby Tarantino to Supermarket or the unlikeable bitterness of Confessions of a Dangerous Mind. No Pressure however was a mature sequel to his full-length debut & I also thought the Doc D concept mixtape Planetory Destruction was decent too, but Bobby Tarantino III was pretty underwhelming. His final offering for Def Jam Recordings that dropped couple summers ago Vinyl Days happened to be his most artistically definitive yet & College Park was just ok, so hearing Ultra 85 finally coming out had me hoping it’d be his best in a couple years.

“Paul Rodriguez” is a 9 minute, jazzy boom bap opener produced by Logic himself alongside Bobby Boy Records in-house producer 6 & Beat Butcha sampling “Love So Fine” by Roger Nichols including standout wordplay mentioning the Comcast Corporation subsidiary NBCUniversal owned DreamWorks Animation Studios along with The Walt Disney Company owned Pixar Animation Studios whereas “Mission Control” puts a dusty flip on the iconic Gucci Mane single “Lemonade” cooking without even being in the kitchen at all. “Deja Vu” has a predominantly conscious, east coast tone serving as a sequel to “Fade Away” off The Incredible True Story & after the “Glorious Ultra Panavision” skit, “Fear” blends pop rap & hip house with neo-soul & conscious jazz rap shedding fears of judgement from others & becoming the person he truly wants to be.

The cloudier boom bap aesthetics of “Favela” are a nice touch tryna challenge anyone who wants to step up to him on the mic referencing Tesla CEO, SpaceX founder, Neuralink founder & Twitter owner Elon Musk while “Gardens III” hooks up some kicks & snares with an alluring vocal sample going off the grid. “Ghost in the Machine” featuring ADÉ & Robert Ivory samples “Going in Circles” by The Friends of Distinction takes it back to the basement still representing the Ratt Pack, but then “Interstellar” returns to the jazzy boom bap tip talking about those who never understood what Bobby’s been through.

“In Retrospect”’s instrumental kinda radiates a jangly boom bap energy to end Ultra 85’s first half refusing to come down from where is at life currently while “44ever” was a decent continuation of “44 Bars” & “44 More” off the first 2 installments of the Bobby Tarantino trilogy. “Love Me” flips “Amen, Brother” by The Winstons wanting the light to be given to him so he can shine & after the “Planet Death” skit, “Teleport” spaciously shows off speedier flows reflecting on many memories & harsh moments in his life.

After the “Chess” skit, “Antidote” featuring ZeelooperZ goes head-on trap flexing that the art they make goes over people’s heads while the boom bap heavy “Once Upon a Time in Hollywood” recognizes Quentin Tarantino’s latest movie to date as the best of his career although I’d say Pulp Fiction. “Peace, Love & Positivity” richly advising that listeners never give up their dreams. “City in the Stars” by Robert Ivory is a sequel to “City of Stars” & “Thank You for Believing in Me” ends singing over a guitar dedicating it to his fans.

Regardless if I still have Vinyl Days as my favorite album of Logic’s career, Ultra 85 takes a step above College Park as the best one Logic has done since leaving Def Jam to go independent & it’s certainly an incredible way for him to go out so he can focus on producing full-time. The production goes from boom bap to jazz rap, trap, cloud rap, pop rap, hip house, conscious hip hop & neo-soul showing how much he’s grown in nearly 2 decades with performances as consistent as they were couple years back feeling reminiscent to Cowboy Bebop.

Score: 4/5

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halfBREED – “3P” review

halfBREED is an east coast hip hop duo consisting of Virginia rapper C Dot Castro as well as Maryland rapper, singer/songwriter, producer, author & Twitch streamer Logic. These guys have been longtime collaborators & friends dating back to the Young Sinatra days, but reunited last summer on Vinyl Days & even a couple months ago on Bobby’s latest album College Park. So considering their decade plus history of working with one another, they’re now announcing the formation of halfBREED & releasing a 3-track debut EP.

“Vroom Vroom” sets it all off with a booming trap instrumental from Bobby Boy Records in-house producer 6 & Logic even giving own producer tag at the beginning even though it’s a blatant ripoff of Tay Keith’s as the duo warn any crew who wants to step up to them of their impending doom whereas “That’s What She Said” is a horrid indie pop ballad throwing it back to Supermarket about being fools for love. “Game 6” however closes the EP with a decent boom bap jam getting over the sickness like they MJ & Pippen.

The first thing that came to mind to me personally when C Dot & Logic announced the formation of halfBREED was actually the now-disbanded Detroit duo HaLFBrEED consisting of The R.O.C. & Skrapz since their 2nd & final album kontamiNATION is such a horrorcore classic, but what a mediocre debut EP from the new halfBREED here. The production is ok as is Bobby Boy’s performances for the most part, but C Dot Castro’s were pretty average.

Score: 2.5/5

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Logic – “College Park” review

This is the 9th full-length album from Maryland rapper, singer/songwriter, producer, author & Twitch streamer Logic. Emerging just over a decade ago off the strength of the first 3 installments of the Young Sinatra mixtape series. His potential would continually be shown on his first 2 albums Under Pressure & The Incredible True Story. However, it’s no secret that the quality of his music took a nosedive from Bobby Tarantino to Supermarket or the unlikeable bitterness of Confessions of a Dangerous Mind. No Pressure however was a mature sequel to his full-length debut & I also thought the Doc D concept mixtape Planetory Destruction was decent too, but Bobby Tarantino III was pretty underwhelming. His final offering for Def Jam Recordings that dropped last summer Vinyl Days happened to be his most artistically definitive yet, already cementing my excitement for College Park.

“Cruisin’ Thru the Universe” starts off the album with some acoustics & a futuristic boom bap instrumental as Logic & RZA speak on riding through in their spaceships whereas “Wake Up” takes a more vibrant route with some kicks & snares detailing his journey. C Dot Castro tags along for the 2-part “Lightsabers” with a jazzy opener & a delicate switch-up calling out those who did this music shit for the money leading into the dusty “Clone Wars III” letting y’all know what this culture really about.

Moving on to “Redpill VI”, we have Bobby over some spacious boom bap production calling his flow non-binary & boasting that he never misses just before “Playwright” has a more drumless approach talking about balancing the life as a recording artist & a father. C Dot Castro returns alongside ADÉ, Big Lenbo & Fat Trel for the trap posse cut “Gaithersburg Freestyle” repping the titular city, but then “Insipio” has a more moodier tone to it talking about true wealth being measured in experience as opposed to gold.

Redman joins Logic on the Statik Selektah-produced “Self Medication” working in some kicks, snares & strings as the pair informing those who don’t know that now they do with Family Guy/American Dad! creator Seth MacFarlane singing the outro while “Shimmy” with Joey Bada$$ pays homage to the late Ol’ Dirty Bastard over an atmospheric beat with some piano chords resembling the ones used during “Shimmy Shimmy Ya”, which the song is of course named after & is interpolated during the hook. “Paradise II” is a jazzy/neo-soul crossover picking up where the original “Paradise” left off while “Come Down” is a triumphant trap hit expressing his desire to have it all.

Meanwhile on “Village Slum”, things returns to the boom bap with a melodic vocal loop discussing alcoholism while “Highlife” goes into more pop rap territory talking about how he feels whenever getting blowed on a daily basis. The song “38.9897 °N, 76.9378 °W” with Big Lenbo & C Dot Castro finds the trio paying homage to the place where it all began over a piano instrumental while the jazzy penultimate track “Ayo” with Bun B & Lil Keke samples “Knockin’ Down Doorz” by the late Pimp C as they talk about laying low. “Lightyear” though is an 8 & a half minute closer flipping one of my favorite Kendrick joints “Rigamortis” promising to never change.

Although I still think Vinyl Days stands as Logic’s finest body of work to date, I still think College Park is still worth the listen for anyone who wants to hear him take it back to his roots. Some lackluster feature performances here & there, but the production is on par with that of his Def Jam coda & the whole concept of taking us through a day of his life with his friends back in 2011 actually comes from a heartfelt place.

Score: 3.5/5

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Logic – “Vinyl Days” review

Logic is a 32 year old rapper, singer/songwriter, producer, author & Twitch streamer from Rockville, Maryland who came up just about a decade ago off the strength of the first 3 installments of the Young Sinatra mixtape series. His potential would continually be shown on his first 2 albums Under Pressure & The Incredible True Story but it’s no secret that since the release of Bobby Tarantino in 2016, the dude’s discography has become a definition of inconsistent. ΞVERYBODY, Bobby Tarantino II & Young Sinatra IV were all mid at best, but who can forget the embarrassing attempt at going indie rock on Supermarket or the unlikeable bitterness of Confessions of a Dangerous Mind? No Pressure however was a mature sequel to his full-length debut & I also thought the Doc D concept mixtape Planetory Destruction was decent too, but Bobby Tarantino III was pretty underwhelming. That being said, almost every single he dropped leading up to this 8th album of his albeit his last with Def Jam Recordings has been incredible & had me very excited going into it.

After the “Danger” intro, “Tetris” kicks off the album with a soulful boom bap note spitting some braggadocio whereas “In My Lifetime” with Action Bronson has a more energetic tone to it warning their competition to be concerned. “Decades” flips “Oh How You Hurt Me” by The Fabulous Performers talking about how money isn’t everything & after the “J.J. Abrahams” skit, “BLACKWHITEBOY” comes through with a visceral shot at everyone who’s ever doubted him.

Meanwhile on “Quasi”, we have Logic asking Madlib to start rapping again with an instrumental that’s clearly influenced by The Beat Konducta just before “Bleed It” heavily samples the Beastie Boys looking back on his childhood. “LaDonda” has a bit of a J Dilla influence to the production with Logic looking back on his career up to this point & after the “Aaron Judge” skit, “Clouds” with Langston Bristol serves as a decent prelude to College Park with the beat-switching up during the last minute so Curren$y can steal the show.

After the “Michael Rap” skit, “Therapy Music” was the only single that I didn’t like prior to the album’s release due to how similar Russ & Logic both sound. However, I do like the jazzy instrumental & the reference Russ had to Game of Thrones on the Warner Bros.-owned HBO. After the “Tony Revolori” skit, “Rogue 1” works in some dusty drums & a whistling teapot kettle to talk about how he had to take a step back leading into “Breath Control” sampling “I Really Really Love You” by Father’s Children as he & Wiz Khalifa tell anyone who wants to set up to them not to try them.

After the “NEMS” skit, “Nardwuar” marks the return of Logic’s alter-ego Doc D accompanied by a fuzzy boom bap beat while “Kickstyle” is just a decent Ratt Pack reunion & I’m disappointed that Bobby doesn’t have a verse on here at all because Big Lenbo & IamJMARS’ are both just mid. After the “EarlyBird” skit, Royce da 5’9” tags along for the raw “10 Years” to celebrate their accomplishments in the previous decade while RZA comes into the picture for the basement-sounding “Porta 1” to spit some hardcore bars.

After the “NeedleDrop” skit, “Introducing Nezi” is basically Logic’s way of showing Nezi Momodu to a wider audience with a siren-laced instrumental while “Orville” with Blu & Exile and Like has a chipmunk soul flare to it letting y’all know how they get down. “Carnival” with AZ finds the 2 over some horns to creep up on them lyrically referencing 10-time WWE world champion, 2-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion & $7 Productions co-founder The Rock while the title track after the “Lena’s Insight” skit goes into a more symphonic direction talking about wanting the ESPN division of The Walt Disney Company to get their shit right.

The penultimate track “I Guess I Love It” with The Game brings back the jazz to admit that it’s funny how their feet been on the beach lookin’ at the sky & the stars above with “Sayonara” ending the album with a 10-minute open letter to Def Jam since Vinyl Days fulfills his contract with the label after being signed to them for the past decade.

Going into this, I had a strong feeling that this would be the best album of Logic’s career given how much I loved almost every single that he put out prior & that ended up being the case here. Granted there are WAY too many skits & some of the “mumble rap” lines are outdated as Hell but once you get past that, the actual music on here is actually his most artistically definitive yet.

Score: 4/5

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Logic – “Bobby Tarantino III” review

This is the 8th mixtape from Maryland rapper, singer/songwriter, producer, author & Twitch streamer Logic. Coming up just about a decade ago off the strength of the Young Sinatra mixtapes, he potential would continually be shown on his first 2 albums Under Pressure & The Incredible True Story. But it’s no secret that since the release of Bobby Tarantino in 2016, the dude’s discography has become a definition of inconsistent. ΞVERYBODY, Bobby Tarantino II & Young Sinatra IV were all mid at best, but who can forget the embarrassing attempt at going indie rock on Supermarket or the unlikeable bitterness of Confessions of a Dangerous Mind? Then he bounced back with No Pressure last summer, which was a mature sequel to his full-length debut. I also thought the Doc D concept mixtape Planetory Destruction was decent too, but now Logic is looking to close out the Bobby Tarantino trilogy with Bobby Tarantino III.

The intro is just him jumping on top of a self-produced boom bap instrumental admitting that his retirement didn’t last very long whereas “Vaccine” is a mediocre attempt at a vibrant trap anthem about going hard all year. “Get Up” takes a more melodic turn trying way too hard to get motivational, but then “My Way” is a HIDEOUS contemporary R&B/pop crossover despite the decent synth instrumental.

Meanwhile on “Call Me”, we get a moody sequel to “1-800-273-8255” just before the flute-tinged “Inside” that FNZ & of course Bobby Boy Records in-house producer 6 laced opens up about his depression. “Flawless” is forced sex song that’s really anything & after the admirably self-aware “Stupid Skit”, he addresses to the new generation on the short yet smoky boom bap-tinged “Theme for the People” except this time he isn’t dissing them like he & Eminem did a couple years back with “Homicide”.

The song “God Might Judge” sounds a lot more sincere than “Get Up” down to the instrumental being inspired by College Dropout-era Kanye like he says at the start while the penultimate track “See You Space Cowboy…” is a bassy trap cut about putting his city on the map. Finally there’s “Untitled”, which works in some vocal harmonies hanging in the background for him talking about being blessed.

Although this is a step down from No Pressure, I’m not saying it’s as unlistenable as Supermarket & Confessions of a Dangerous Mind were either if that makes any sense. Like half of these sound like they actually come from the heart, but then the other just seems as if he’s trying too hard to appeal to a mainstream audience.

Score: 2.5/5

Doc D – “Planetory Destruction” review

Doc D is a new pitch-voiced alter ego of Maryland rapper, singer/songwriter, producer & author Logic. The character was announced a little over a week ago & to celebrate Bobby’s 31st birthday this weekend, we’re already being treated to it’s debut mixtape.

After the intro, the title track with Big Lenbo sees the 2 talking about how they ain’t playing this year over a dust boom bap beat whereas the next song “Better Text Back” talks about having nuclear codes over an tranquil instrumental. The track “Green Juices” flexes his lyrical prowess over a hypnotic beat & after the first “Cosmos 105.7” skit, the “Double Sample” interlude heavily revolves around a sample of the classic Gil-Scott Heron joint “We Almost Lost Detroit”.

The song “Backstory” talks about doing this rap shit differently over an instrumental that I can’t help Joey Bada$$ rapping on top of on 1999 & after the second “Cosmos 105.7” skit, the track “Back to the Basement” with Silas, Tony Tone, Big Lenbo & Castro finds the quintent rapping about returning to their roots over a boom bap beat with a weepy loop. The song “Outer Space Gang” with J Mars & Like sees the 3 talking shit over a luxurious instrumental while the track “Butt Ass Naked” with Marc Rebillet & Black_Chocolate finds the trio talking about sex over a funky beat.

The song “Ready Player Gun” with Buddy & Like sees the 3 talking about smoking weed over a dreamy instrumental & after the third “Cosmos 105.7” skit, the track “20,000,000 Woolongs” is a solo Punch joint a introducing the listener to a bounty hunter over a jazzy beat. The penultimate song “Bounty Law” with Del the Funky Homosapien & Ghostface Killah finds the trio talking about being villains over an old school instrumental & after the final “Cosmos 105.7” skit, the closer “Death of Destruction” is a spoken word bit where the DJ tells the listener that the album is over.

From start to finish, it’s a decent tape. The features don’t really do much for me other then Del & Ghostface, but the sci-fi themed story is told well & the production on here is some of Logic’s best yet.

Score: 3/5

Logic – “No Pressure” review

Logic is a 30 year old rapper, singer/songwriter, producer & author from Rockville, Maryland who showed quite a bit of potential in the early 2010s with his Young Sinatra mixtape series. His first 2 full-lengths Under Pressure & The Incredible True Story were both solid as well but beginning with the Bobby Tarantino tape in 2016, his discography has been VERY rocky. Mostly because his lyrical topics got trite & he drowned deeper in his influences to the point where it’s distracting. Case in point: His 3rd album ΞVERYBODY in 2017 was pretty much a Dollar Store version of Kendrick Lamar’s To Pimp a Butterfly & then Bobby Tarantino II almost a year after sounded like a poor man’s Travis Scott album. However, I thought Young Sinatra IV was decent at best & MAYBE he would bounce back going forward. But somehow someway, Logic was able to drop 2 of the worst albums of last year in the span of 6 weeks with Supermarket & Confessions of a Dangerous Mind. Of course the backlash both those records justifiably received resulted in him going AWOL & since then, he’s started his own family with a second-wife & conceiving a child together. To focus on that, he’s giving us a sequel to Under Pressure as a parting gift from the music industry.

The album kicks off with the title track, where Logic gets reflective over some old school production. The next song “Hit My Line” talks about hoping God fixes all the bad stuff in the world today over a boom bap beat from longtime collaborator 6ix with some joyous keyboard melodies while the track “GP4” is a lame bastardization of OutKast’s “Elevators (Me & You)”. The song “Celebration” is an ode to his time in the music industry over a soulful No I.D. instrumental & while I like the beat switch on “Aquarius III”, the lyrics are an odd mash-up of “OCD” & “I’m Gone”.

The song “Soul Food II” is a dope revamp of the original “Soul Food” down to the beat while the track “Perfect” talks his shit over a vibrant FNZ instrumental. The song “man i is” talks about being happy with the person he’s become over a sample of Erykah Badu’s “Didn’t Cha Know?”. The song “DadBod” of course speaks on his newfound fatherhood over a delicate instrumental while the track “5 Hooks” charismatically boasts over a dynamic instrumental from Toro y Moi.

The song “Dark Place” talks about his anxiety & depression over a moody beat while the track “A2Z” is a modern take on Blackalicious’ “Alphabet Aerobics” backed by a punchy beat with some haunting keyboards. The song “Heard ‘Em Say” is a motivational anthem that actually goes over & before the spoken word outro “Obediently Yours”, the track “Amen” talks about how grateful he is for everything over a gospel-like boom bap beat.

In the past, a lot of rappers have said they’re gonna retire from making music & almost none of them actually do. But if this truly is the last Logic album, then I’m not mad at all. Easily his best since The Incredible True Story in my opinion. It’s well produced & Logic actually sounds focused this time around. Thank you, Bobby!

Score: 3.5/5