Big Sean – “Better Me Than You” review

Detroit, Michigan rapper & singer/songwriter Big Sean returning after 3 years to release his 7th LP. Coming up as a protege of Chicago icon Kanye West & signing to his Def Jam Recordings imprint G.O.O.D. Music, he generated some buzz in the late 2000s by dropping the Finally Famous mixtape trilogy, but it wouldn’t be until 2011 when his profile significantly increased when Sean dropped a 4th installment as his full-length debut. This was followed up the next year with the highly acclaimed Detroit mixtape & then a sophomore album the year after that entitled Hall of Fame. However, his next 2 full-lengths Dark Sky Paradise & I Decided. were both mediocre in comparison to all those past efforts. Now the last time Big Sean dropped a project was in late 2017 with Double or Nothing which had INCREDIBLE production from Metro Boomin’ top to bottom, but Sean himself was SEVERELY lacking. His G.O.O.D. Music contract was fulfilled with the surprisingly mature Detroit II & the Hit-Boy produced What You Expect? was better, but is coming back addressing some leaks over a month ago brushing off that it’s Better You Than Me.

After the “Pressure” intro, the first song “Iconic” that by BNYX of Working on Dying alongside Hit-Boy, Rogét Chahayed & Tom Levesque of Vanguard Music Group cooked up together starts us off on some trap rock shit flexing his icon status whereas “Typecast” takes the cloudy trap route instrumentally showing off the pimpin’ in his blood feelin’ like Jerry Buss in the arena. “Break the Cycle” featuring Uncle Charlie Wilson of the Gap Band on the hook has a funky boom bap flare that Leon Thomas III provides callin’ out those who believe more than what actually happened, but then “Who You Are (Superstar)” brings a triumphant trap vibe to the table calling his #1.

“Yes” was an mediocre 2-part trap single that FNZ helped put together with an annoying ass hook telling us the way he responds when muhfuckas say no just before “It Is What It Is” featuring Gunna picks things back up from the synth-trap beat from Turbo to the lyrics about how this is only as big as it gets. “Apologize” is a self-produced drumless open letter to Sean’s mentor Ye which isn’t surprising since Kanye talked mad shit about him in that 2021 Drink Champs interview & after the “Clarity” skit, “On Up” has an old school west coast sound that FF for Def Entertainment in-house producer KeY Wane brings to the table dedicated to his son Noah.

Meanwhile on “Something”, we have Syd of The Internet & originally Odd Future joining the Sean Don for a subdued trap/pop rap joint reminding the listeners that we all have our different bullshit that we’re each going through in our lives until Thundercat provides a psychedelic tone for “Black Void” being done with the disrespect. “This n That” featuring Bryson Tiller & Kodak Black ruins a heavenly Hit-Boy instrumental talking about taking psychedelic mushrooms & 1,000,000 Pieces” featuring Larry June likens their lives to a puzzle broken down to so many pieces over a mellowly dusty instrumental.

“Get You Back” featuring Cash Cobain gets into the sexy drill style that the latter sample drill pioneer has become known for in regards to his solo work with the help of WondaGurl talking about ex while “Certified” featuring the late D12 leader Proof’s son Nasaan vibrantly boasts their certifications in the rap game. After the “Focus” skit, “Boundaries” points out that time ain’t running out when it’s really life running its course while “Precision” was a decent trap/chipmunk soul hybrid.

As we approach the final moments of Sean’s first full-length outing since leaving G.O.O.D. Music, the official closer “My Life” finds KAYTRANADA backing Sean with synths & an outro skit “Happiness” that really should’ve been separated into a track of it’s own telling us he had to boss up & the bonus cut “Together Forever” makes me want The Alchemist to do an entire project for Sean in the future whether it be the gospel flip or the Detroit star saving some of the best lyrics for last.

Better Me Than You surges beyond the sentimental to embody something altogether more meaningful regarding the man behind the mic & I respect that he’s at a point in his life where he lets things happen when they’re supposed to happen, yet I didn’t enjoy it as much as Hall of Fame or Detroit or even the sequel & What You Expect?. All 4 of which are my favorites in his discography. Even if some of the production & guests falter, I can’t dismiss the newfound perspective.

Score: 3/5

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Tanna Leone – “Mixtape” review

Here we have the debut mixtape from Los Angeles, California up-&-comer Tanna Leone. Emerging under the original moniker Noviiimber & later Baby Santana ahead of settling down with his current name, he first made his footing in the late 2010s by releasing a total of 5 EPs until Kendrick Lamar signed him to a joint deal with pgLang & Def Jam Recordings. Tanna’s debut album Sleepy Soldier was released to mixed reception & his set during the Mr. Morale Tour was certainly captivating, so I was interested in hearing Mixtape ahead of upcoming sophomore effort Beware the Giant Killers.

“Role Model” is a psychedelic opener to the tape explaining that he ain’t the type of person others should be looking up to whereas “Psychosurf” takes the synth-trap route instrumentally getting on his emo alien shit. “Beloved” blends trap, a hint of rock & pop rap addressing a woman that he needs every day of his life prior to “Drop Dead Gorgeous” turning the psychedelia up addressing a woman he knows to follow his voice & block out the noises.

The woozy trap vibes on “Sound of Pain” are nice talking about the difficulty of being excited when that’s not how he feels at all thinking the world wanted a new artist that kept it real when he signed to pgLang just before the dejecting “Mr. Melancholy” discusses the incapability of feeling what he does. “Romanticize” has to be one of the weaker moments here once again rehashing the themes of love over a spacious trap beat, but then “Situationship” cloudily discusses smoking & drinking.

“Oh Shit” get on the boom bap tip coming to the realization that he’s human after all while “Bus Fare” has a slower trap flare to the instrumental dedicating this one for all the people that save money so they can hitch a bus ride. “555” nears the conclusion of the tape with a soul sample passionately going off the top for 101 seconds & “Warning Signs” officially closes the shop with an empowering ballad showing off his singing chops.

Sleepy Soldier gave Kendrick’s audience a glimpse of what Tanna can offer in the realms of west coast trap, alternative R&B & pop rap despite it‘s weak spots and Mixtape returns to every single one of those styles refining them ahead of Beware the Giant Killers other than additionally incorporating elements of boom bap as well as cloud rap & psychedelia.

Score: 3.5/5

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Vince Staples – “Dark Times” review

Compton, California rapper, singer/songwriter & actor Vince Staples is back with his 5th LP. Emerging as a close affiliate of the now defunct Odd Future collective, he would go on to release 4 mixtapes before signing a joint deal with Blacksmith Records & even No I.D.’s very own Def Jam Recordings imprint ARTium Recordings. My personal favorite of which being Stolen Youth, which was entirely produced by the late Mac Miller. His first major label outing Hell Can Wait was a dope little EP preluding the full-length debut Summertime ‘06, which became one of the best double disc albums of the previous decade. Vince later detailed the pitfalls that came with his success on the next EP Prima Donna & the dude’s sophomore effort Big Fish Theory was unquestionably his most experimental work yet. He later teamed up with Kenny Beats for his 3rd EP FM! & his eponymous 3rd album but coming off Ramona Park Broke My Heart from a couple years ago, Vince is fulfilling his Def James contract on Dark Times.

After the “Close Your Eyes & Swing” intro, the first song “Black&Blue” is this vigorous kickstarter talking about still being on some n***a shit whereas the boom bap driven “Government Cheese” encourages the listeners to smile & not to lose their inner child. “Children’s Song” goes for a twangier trap vibe instrumentally telling y’all to stop playing with his crib & play with your kids instead ahead of “Shame on the Devil” going for a conscious west coast hip hop vibe talking about God making him special.

Jay Versace‘s production on “Étouffée” takes the atmospheric route & Vince paying homage to the New Orleans hip hop scene during the hook & after the “Liars” skit, “Justin” returns to the boom bap telling the story of a woman who’s already in a relationship. “Radio” gives off a solemn trap flare to the beat from Cardo so he can turn up his hustle while “Nothing Matters” brings back the kicks & snares asking why she told him that she loves him when she doesn’t.

“Little Homies” begins the encore of Dark Times by hopping over a funky instrumental telling all his lil homies out there listening to be blessed & keep their heads on a swivel when they stop while the last song “Freeman” prior to the “Why Won’t the Sun Come Out?” outro fulfills Vince’s contract with Def Jam talks about everything being all good.

Even I thought that Vince had already left Def Jam since he’s been releasing his last couple projects through Motown Records, but at least he officially went out by finding the clarity that he was looking for when he initially signed his first major label deal over a decade ago. It has a prominently conscious west coast hip hop sound to it with additional neo-soul, neo-psychedelia, jazz rap & experimental hip hop undertones sprinkled in & you can truly hear his growth after all this time.

Score: 4.5/5

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Lyrical Lemonade – “All is Yellow” review

Lyrical Lemonade is a multimedia company founded by Illinois music video director, videographer, businessman & music promoter Cole Bennett. For over a decade now, he has directed visuals for some of the biggest names in hip hop from the late Juice WRLD to even Eminem & Drake. I’ve even experienced a couple people likening me to Bennett at least a few times over the years along with Anthony Fantano & I’ve never spoken about it publicly, but since I might as well since here we are. The Needle Drop, I can see 110% & I’ve stated numerous times that he’s the reason why I started writing reviews myself. Lyrical Lemonade on the other hand, no I never understood that. Primarily because I write music reviews as opposed to directing music videos for other artists & the fact that every video Lyrical Lemonade puts out always gets 1M views within the first 24 hours. No disrespect intended whatsoever because I’m actually a fan of Cole’s videography myself, otherwise I wouldn’t be writing this. Anyway as for the very debut compilation in front of our very eyes that’s been in the making for 5 years, Def Jam Recordings is helping back All is Yellow.

“Fly Away” by J.I.D, Sheck Wes & Ski Mask the Slump God starts the comp with a thunderous trap instrumental expressing their desire to grow wings sometimes so they can do simply that whereas “Guitar in My Room” by KiD CuDi & Lil Durk shoots for a more stripped-back vibe trying to tell everyone who they really are. “Say Ya Grace” by Chief Keef & Lil Yachty mixes a crooning soul sample with hi-hats referencing to the Superman franchise owned by the Warner Bros. subsidiary DC Entertainment just before “This My Life” by The Kid LAROI, Lil Skies & Lil Tecca experiments with drill music talking about how it’s all timing.

Cochise, Denzel Curry, Juicy J, Lil B & Teezo Touchdown all join forces on “First Night” showing off multiple beat-switches admitting that they just wanna fuck that is until “Special” by Aminé, Latto & Swae Lee talks about wishing they could un-love someone on top of this crooning trap beat. “With the Fish” by $not & the late 6 Dogs tells y’all to meet them at the mountain top over a cloudy instrumental, but then “Doomsday” by Cordae & the late Juice WRLD goes back & forth with one another sampling “Role Model” by Eminem

It only makes sense for Em to do “Doomsday, Pt. 2” as the sample from the predecessor is slowed down & he makes it clear he’s been at J. Cole’s current level for quite some time & asking who had the 2nd best verse in “Forever” when I can answer that by saying Lil Wayne prior to “Fallout” by Gus Dapperton, Joey Bada$$ & Lil Yachty shifting gears into indie/alt-pop turf with additional elements of pop rap & synthpop describing a love that’s death row while “Equilibrium” by Babytron & G Herbo brings this luscious trap beat into the fold chilling with their millions waitin’ ’til the billions come.

“Hello There” by Black Kray, Corbin & Lil Tracy is this underwhelming emo rap/alternative R&B talking about being ghosts inside their exes’ beds interpolating “I Miss You” by blink-182 while “Hummingbird” by SahBabii, Teezo Touchdown & UMI taking a settler approach promising to wait by the door telling you all their stories facing the sun. “Stop Giving Me Advice” by Dave & Jack Harlow acoustically ends the compilation on a self-explanatory note & of course Dave outrapping Harlow.

When it comes to curating albums, Westside Gunn & Metro Boomin’ been doing what DJ Khaled thinks he’s been doing this whole time & the one that Cole Bennett gives us here as much as I enjoy his music videos myself is just okay as a full-listening experience. The production is fine as far as mainstream pop rap goes, it’s that the performances from the guests themselves are hit or miss. Another compilation in the future was hinted at & hopefully it’ll be a cut above, but I’ll take the highlights until then.

Score: 3/5

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Benny the Butcher – “Everybody Can’t Go” review

Buffalo emcee Benny the Butcher ending the first month of 2024 by releasing his 4th full-length LP & major label debut under Def Jam Recordings. Being in the game for 2 decades already, it wouldn’t be until 2016 where he alongside his cousins Westside Gunn & Conway the Machine would take the culture by storm off projects like Tana Talk 3 & The Plugs I Met. Harry Fraud came in for a sequel to the latter following the mature Burden of Proof & finally, Tana Talk 4 took it back to the basement a couple years back. But for the butcher’s Def Jam opus, he’s having Hit-Boy produce half of it & leaving the other half to The Alchemist.

“Jermaine’s Graduation” sets the tone of what’s to come with a luxurious instrumental explaining that he doesn’t need a trophy because he is the trophy whereas “Bron” goes into a triumphant boom bap direction likening himself as the LeBron James of this rap shit. “Big Dog” featuring Lil Wayne works in this reversed loop talking about being too dogs, but then the title track featuring Kyle Banks on the hook giving back to the game accompanied by a soul sample & some kicks & snares.

Meanwhile, “T.M.V.T.L. (Trust More Valuable Than Love)” has some dynamic production throughout expressing the importance of trust over love just before “Back Again” returns to the boom bap with additional vocals from WWE Hall of Famer Snoop Dogg talking about being gangstas. “1 Foot In” featuring Stove God Cook$ starts the 2nd leg of the album admitting he was a foot out the game after that freestyle with Funkmaster Flex over a hard-hitting beat leading into “Buffalo Kitchen Club” featuring Armani Caesar blending these piano chords & hi-hats together reminding that nobody fucking with them.

“Pillow Talk & Slander” featuring Babyface Ray & Jadakiss sees the trio telling their older selves to watch out for these hoes over a rich trap instrumental while “How to Rap” takes it back to the basement showing everyone how it’s done. “Griselda Express” featuring Conway the Machine & Rick Hyde begins the encore of the LP by saying they ain’t stopping on top of a solemn beat & “Big Tymers” featuring Peezy ties things up with 1-last trap cut boasting their current statuses.

A lot people who started with Benny or played a part ain’t make it since some are no longer with us, in prison, taking other paths or others that just weren’t built for it. With the help of Hit-Boy & Uncle Al, he puts the biggest lesson he took from that on full display for his major label debut. The production is versatile, the guests match his intensity & the Butcher inviting y’all to his world.

Score: 4.5/5

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ColleGrove – “Welcome 2 ColleGrove” review

ColleGrove is a southern hip hop duo consisting of Atlanta, Georgia rapper & songwriter 2 Chainz as well as New Orleans, Louisiana emcee, singer/songwriter, record executive & entrepreneur Lil Wayne. Both of whom have known each other since Tity Boi was Weezy’s weedman, which lead to Wayne appearing on the Playaz Circle’s debut album Supply & Demand and the rest is history. They eventually formed ColleGrove in 2016 & put out a decent eponymous debut album that same year, but was credited as a 2 Chainz solo effort due to Tunechi’s issues with Cash Money Records at the time. So it makes absolute sense to me for ColleGrove to put out a sophomore effort & be properly credited as a duo.

After the titular intro, the first song “G6” starts off the 2nd LP with an underwhelming trap instrumental despite the lyrics justifiably boasting themselves as the realest ones here whereas “Big Diamonds” featuring 21 Savage picks things up from the ratchet Mannie Fresh beat to the subject matter about being big dogs. “Presha” works in some whistling & hi-hats courtesy of Bangladesh looking to apply pressure of course, but then “Long Story Short” has a more soulful flare thanks to Big K.R.I.T. admitting this life they live are gonna be the death of them.

After the “Duffel Bag Boys” interlude, the horns from Apex Martin & Mike Dean on the official theme song for the Endeavor-owned TKO Group Holdings division WWE’s developmental NXT brand “Millions from Now” are pretty fun talking about not remembering certain people once they become rich leading into the mediocre “Crazy Thick” jumping over a bass-heavy instrumental talking about thick women. “Transparency” strips the drums completely in favor of synths provided by Hitmaka seeking clarity just before “Significant Other” produced by Honorable C.N.O.T.E. & 30 Roc is a 2-parter that’s pretty much ColleGrove’s equivalent to “Life is Good” by Future & Drake except better.

After the “Ladies Man” interlude, “P.P.A. (Pretty Pussy Award)” featuring Fabolous has this sweet vocal sample chop throughout as the trio tell the special women in their life exactly what they deserve while “Oprah & Gayle” featuring Benny the Butcher moves on from the romantic themes in favor of dropping nothing but bars for 5 minutes over an exuberant DJ Toomp beat. Havoc’s sampling throughout “Shame” is absolutely crazy promising to leave your homies’ brains on you that is until “Bars” ruggedly talks about the disease they have.

After the “No Fent” interlude, “Godzilla” featuring Vory asks what’s a gorilla to the titular kaiju with the hi-hats being added after Vory’s sung-verse while “Crown Snatcher” talks about being exactly that over an explosive Murda Beatz instrumental. “Can’t Believe You featuring Rick Ross tackles the theme of untrustworthiness on top of a soulful STREETRUNNER beat & after the “Never Was Lost” interlude, the Dem Jointz-lazed closer “Moonlight” profoundly asks why we don’t run away referencing Mayweather Promotions founder Floyd Mayweather.

Truthfully: I had put ColleGrove eponymous debut on one my top 10 worst albums of 2016 list and it hasn’t grown on me a little bit over the course of the past 7 years since, but Welcome 2 ColleGrove is way more cohesive than the predecessor. The production’s tighter, you get a better look at their chemistry since the original had 2 Chainz solo joints on there & the features all give solid performances along the way.

Score: 4/5

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Dave East – “Fortune Favors the Bold” review

Dave East is a 35 year old MC from Harlem, New York breaking out in 2014 off his 8th mixtape Black Rose. This resulted in the man signing a joint deal with Def Jam Recordings & even Nas’ independently owned Mass Appeal Records as well as a spot in the iconic 2016 XXL Freshman Class. However, his full-length debut Survival wouldn’t come out until 3 years later & was very disappointing in the sense that he tried appealing to a more mainstream audience that just didn’t exist. But as the 2 year anniversary of the superior Harry Fraud-produced sophomore effort Hoffa approaches at the end of the month, Dave’s dropping off his 3rd album.

After the “Here I Go” intro, the first song “Come 2 Far” is a soulful trap opener produced by Cool & Drealongside 808-Ray asking why he would turn around & walk away from the rap game at this point whereas “Still Here” after the “Pops” interlude gives off a wavier boom bap feeling this time making it known that he ain’t going nowhere anytime soon. “Long Way” featuring Cordae reflects on how far they’ve both come over a bassy, sample-based instrumental just before “DAMN” takes a smoother route thanks to DJ Khalil with co-production from Mike & Keys talking about eating as of late.

“Sex So Good” featuring Coi Leray goes into a more pop rap direction courtesy of Don Cannon going back & forth with one another about how great the intercourse is leading into “Good Good Good” featuring Ghostface Killah finding themselves diving into spacious trap territory with the help of Scram Jones as they find their way out. After the 2nd & final “Pops” interlude, Tyga spits one of the weaker features on “Hustlers” despite the fun beat that the Cannon laced & the lyrics about staying on the grind.

The G-Eazy feature on “WDGAF” is no better although I appreciate the eerie trap instrumental from Mike WiLL Made-It & certainly the whole theme of giving 0 fucks but after the “Kairi” interlude, the mellowly produced “Can’t Make This Up” reflects on when he started with a nickel bag of regular green that is until “Dope Boy” right after the “Still Outside” interlude pays homage to the Brooklyn drill scene a bit talking about of course slanging drugs.

“$1M Off Rap” almost gives off a west coast-flavored groove to the beat boasting that he’s young & fly while the tranquil trap joint “Good Things” with additional vocals performed by Ty$ gets on some Bonnie & Clyde shit for a couple minutes. “Rich Problems” turns into more lavish territory instrumentally venting about the cons of wealth prior to araabMUZIK returning it to the boom bap for “Weirdos” featuring Jadakiss so both N.Y. lyricists can come through by dissing those who be on some weird shit in a cutthroat fashion.

Getting to the final leg of the album, “From the Mud” gives off a morbid tone sonically telling those who want his life to take it from him while Sap makes “It’s a Lot” more piano-driven so Dave can vent about everything that’s been going on. “Like a Rose” is a warmer ballad produced by 1500 or Nothin’promising to grow while “Letter 2 Kobi” sends a profound message to his toughest daughter of the same name. The bonus cut “Hallway Piss” though truly ends the album by saving the best for last from the solemn RZA beat to concept that shit’s bigger than rap.

Despite the fact that I thought Dave’s last EP H.D.I.G.H. (How Did I Get Here?) & even the DJ Drama-hosted Book of David mixtape were both pretty average, I can’t deny that Fortune Favors the Bold surpassed my expectations a bit. Somewhat too long & a couple stale feature performances, but the production’s mostly tight & I do enjoy the concept of recognizing the hustle to stay in real time. If he condensed the tracklist down to half, I’d most likely give it the same rating I gave Hoffa.

Score: 3.5/5

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Navy Blue – “Ways of Knowing” review

Navy Blue is a 26 year old skateboarder, MC, producer, songwriter, visual artist & model from Brooklyn, New York who came up in 2015 off his debut EP According to the Waterbearer. He has since continued to turn heads in the underground scene by dropping 9 more EPs & 6 full-lengths before signing to Def Jam Recordings about a month ago. With that in mind, it was only a matter of time until he dropped his 7th album albeit major label debut fully produced by Budgie.

“The Medium” is a drumless opener with some pianos & choir vocals as Navy admitting that learning patience has made sense for him as of late whereas “Chosen” has a more abstract, jazzy approach to it talking about being a prodigy. “The One” seeks eternal love with a silky yet sensual beat until “To Fall in Love” takes a more tropical route instrumentally talking about fucking up a real blessing like his significant other.

Zeroh comes into the picture on “Life’s Terms” to let it be known that all it takes for them just to be in love & that simply being the way it goes just before “Phases” dives into more soulful turf talking about being unable to stay the same with gratitude & living day to day. “Kill Switch” has a more dejecting sound to it as Navy acknowledges that he ain’t self righteous leading into the Kelly Moonstone-assisted “Window to the Soul” declaring themselves as ballroom stars returning to the boom bap.

“Freehold” opens up about despising his opponents & being unable to do this shit by his lonely on top of a slow yet syrupy beat while “Embers” with Liv.e delivers some jazzy piano chords as they talk about where they wanna be in life. The song “Pillars” is wavy ode to his family while the groovy penultimate track “Look in My Eyes” talks about seeing the pain he’s lived through. “Shadow’s Shield” however comes through with a drumless closer being unable to complain & thinking that everything will be straight in the end.

Between this & Maxo’s latest Def Jam debut Even God Has a Sense of Humor that just came out last month, it seems as if one of the most iconic labels in the history of our culture is continuing to help bring the underground to the mainstream by giving these artists the push they deserve. The lyrics are more personal which is great for those who’re new to him with the batch of instrumentals that Budgie whips up being amongst his strongest to date pulling from jazz rap, drumless & chipmunk soul.

Score: 4/5

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Jeezy – “Snofall” review

Jeezy is a 45 year old rapper, songwriter & actor from Atlanta, Georgia who came up in the early 2000s off his full-length debut T.U.I. (Thuggin’ Under the Influence) & the sophomore effort Come Shop wit Me. Both of which were mediocre, but his biggest breakthrough wouldn’t come until 2004 where he began a partnership with Def Jam Recordings that’s going on strong to this very day & dropped the classic Thug Motivation 101: Let’s Get It the following summer. Subsequent discography highlights would include Thug Motivation 102: The Inspiration, The Recession, Thug Motivation 103: Hustler’z Ambition, Seen It All: The Autobiography & even The Recession 2 that came out the day after his Verzuz battle against longtime rival Gucci Mane during the COVID-19 pandemic. So when Jeezy announced that he was linking back up with DJ Drama & Don Cannon for his 14th mixtape right here, anticipation was pretty high from me.

The title track sets things off with a drumless yet triumphant instrumental from Cool & Dre as Jeezy talks about being in a billionaire’s mindset whereas “Bruh” takes a more horn-laced trap route talking about how we already know the deal. Lil Durk tags along for the boisterous “Most Hated” produced by the J.U.S.T.I.C.E. League (who did nearly half the album) to call out those who despise them prior to “Street Cred” blends some keys & hi-hats thanks to Don Cannon talking about the credibility that the Snowman has in the streets.

Meanwhile on “Kolors”, we have Jeezy returning to a more victorious sound to brag his riches to everyone that’s listening just before “MJ Jeezy” dives into cloudier territory courtesy of FNZ talking about handling his business & speaking that fluent trap shit. “Plug on ‘Em” has a more vibrant tone to it boasting that he does it best leading into the lead single “I Ain’t Gon’ Hold Ya” jumps on top of a rubbery trap instrumental from Helluva reminding us of his rightful place in this culture as one of what I like to call “the big 3” trap pioneers.

42 Dugg comes into the picture for “Put the Minks Down” to deliver a ratchet summer anthem while “King’s Crown” shoots for a more ghostly aesthetic paying tribute to all the fallen soldiers who couldn’t be here with us today. “Still Havin’” weaves some synthesizers into the fold talking about living right while “Scarface” with EST. G luxuriously finds the 2 watching the titular movie with the sound off, being bosses & showing off their girls being stronger than WWE Hall of Famer & 7-time women’s champion Trish Stratus.

Continuing from there, the vocal sample on “How Deep” was flipped very well if you ask me with Jeezy continuing to brag lyrically while “Grammy” fuses more horns & hi-hats together to talk about how he deserves the titular award at this point even though it’s the most rigged popularity contest ever. The song “My Accountant” cinematically rubs his wealth into everyone’s faces while the penultimate track “Big Sno” hooks up a high-pitched loop talking about his status. “100” though ends the tape with a victory lap encouraging to stay true.

If you’re of the few heads that I know who were disappointed with The Recession 2 even though I personally thought it was his best in a while, then I think you’re gonna like Snofall just as much if not better because Jeezy went back to back with it. He & Drama pretty much return to basics in an entertaining fashion from the production being as equally consistent to the return of the Snowman persona.

Score: 3.5/5

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YG – “I Got Issues” review

YG is a 32 year old MC from Compton, California who came up in 2009 off his debut mixtape 4Fingaz. This was followed up with 4 more tapes prior to Jeezy discovering him in 2013 & landing him a deal with his Def Jam Recordings imprint CTE World. YG’s potential would begin to show in the form of his full-length debut My Krazy Life & came into his own on the sophomore effort Still Brazy launching his own label 400 Records around that same time period, but the next 3 albums Stay Dangerous as well as 4Real 4Real & My Life 400 all received mixed to poor responses to the point where even YG himself has publicly acknowledged I Got Issues to be his official 3rd album & that increased the optimism I already had going into it considering how much I enjoyed “Sign Language” even though it was only a loosie & even “Alone”.

“Issues” is a glossy yet bassy opener to the album with YG boasting whereas “Baby Momma” is a bitter ex-boyfriend temper tantrum with a piano instrumental. “Toxic” samples the Mary J. Blige joint “Be Happy” talking about that’s all they wants in life prior to the deranging “Maniac” produced by Hit-Boy calling out those who say he lost his mind. Meanwhile on “How to Rob a Rapper”, we have Mozzy & D3SZN coming into the picture over some g-funk production that Terrace Martin helped put together teaching y’all the titular subject leading into the reggaeton/rap fusion “I Dance” with Duki talking about dancing. J. Cole & Moneybagg Yo tag along for the mediocre trap cut “Scared Money” flexing their wealth, but then “Go Dumb” is a decent R&B durt with H.E.R..

“No Love” returns to the g-funk interpolating “Ain’t No Love in the Heart of the City” by Bobby Bland & some fresh spoken word pieces from Suga Free while “Sober” with Post Malone & Roddy Ricch feels like an uninspired rap anthem. “Drink to This” reps the westside over a smooth beat while the song “No Weapon” with Nas finds the 2 over some horns talking about how the streets don’t love nobody. The penultimate track “Alone” was a thoughtful, ghostly-produced, conscious-laced choice for the 2nd to final single prior to the album & “Killa Cali” ends the album with a chill ode to the titular state.

As underwhelming as his material post-Still Brazy has been, I think that I Got Issues is a pretty decent listen from start to finish & a step in the right direction for him. Some of the more mainstream cuts don’t really do it for me, but the g-funk/gangsta rap joints á la Still Brazy are more up my alley.

Score: 2.5/5

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