DJ Quik & Jason Martin – “Chupacabra” review

Compton, California producer/emcee DJ Quik reuniting with German-American emcee Jason Martin formerly known as Problem for their 2nd collaborative LP. One is amongst THE most underappreciated producers of all-time who I consider to be on the same level as the Quincy Jones of hip hop himself Dr. Dre behind the boards & the other started out in the mid-2000s crossing paths with QDT during the sessions for WWE Hall of Famer Snoop Dogg’s 9th album Ego Trippin’. 9 years later, they linked up for the first time on Rosecrans in the spring of 2017 to significant acclaim & are reuniting 7 years later to put out Chupacabra.

The title track featuring The Game starts with pianos, kicks & snares stellarly portraying themselves as 2 versions of the monster even though I respectfully think Game is corny for dissing Rick Ross & siding with Drake in his beef with Kendrick Lamar on “Freeway’s Revenge” to spite Dr. Dre for not letting him perform the Super Bowl LVI halftime show exactly like he did when he made “The Black Slim Shady” off his last album Drillmatic: Heart vs. Mind whereas “Dern & Spruce” uses the same sample Madlib did on “No More Parties in L.A.” by Ye formerly known as Kanye West featuring Kendrick talking about being back in this bitch.

“Eazy Call” by DJ Quik himself & Big Hit finds the 2 flipping “Heartz of Men” by 2Pac for an Eazy-E tribute while “Cold Ass 2 Step” works in these carefree horns & claps so Suga Free the pimp himself can handle the verses. Jay Worthy’s crew Meet the Whoops get their very own title track on Chupacabra with the quintet flowing over a boom bap beat for 2 & a half minutes approximately that is until we get a soulful sequel to “She’s Not Around” solely performed by The Game which is as solid as the titular intro & certainly better than the STB Entertainment compilation Time that he hosted last weekend.

Jason returns to the mic with Jay Worthy himself & Larry June for “Gurbs & Youngs” for a smooth ass dedication to both of those types of people while “Workout” heavily samples “U Don’t Hear Me Tho” by Rodney O & Joe Cooley so Jason can talk about expressing yourself by doing your thing in the mirror reminding that we all make mistakes. “Chupa’s Groove” serves as a this funky instrumental intermission that Quik & Thundercat cooked up together in the lab closing out the album’s first half until “Two Hi (Waves)” by Quik featuring Channel Tres & Wiz Khalifa is this fun summertime jam to start the other.

“Fresh White T” featuring D. Blake & Shiro prior to the “Quik Message” interlude from DJ Drama hooks up a guitar & hi-hats boasting that there ain’t too many like them while “Since I Was Lil” featuring Bun B, Curren$y & Jay Worthy kinda gives off a g-funk vibe talking about how long they’ve been doing this shit. Dom Kennedy lands a solo cut in the form of the bass guitar-infused “Money, Cars & Guns” speaking those 3 things & Jason returns again accompanied by Barney Bones on “AYO” for a KAYTRANADA joint that’ll rock the dance floors. “DITTO” by CeeLo Green, Shiro & Gwen Bunn finds the pair rapping & singing about needing time ahead of “Soul Circus” by Ab-Soul ends on a drumless note.

What Jason & Quik gave us on Chupacabra achieves the goal that both artists & its curator Jay Worthy had set out to do from the start restoring a feeling that’s been missing from California music as a whole. Just like they did on Rosecrans about 7 years ago, you have both Compton powerhouses joining forces 1 more time for the city showcasing their musical talents including a creative chemistry that date back over 15 years & how far they’ve come since ‘08. Just when one of the greatest west coast producers of all-time was gonna hang it up, Jason helped Quik find his passion in the process.

Score: 4.5/5

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Lucki – “Gemini” review

Chicago, Illinois rapper & occasional producer Lucki coming off his birthday from a couple weeks ago to release his 3rd LP. Beginning to turn heads in the summer of 2013 when he released his debut mixtape Alternative Trap to critical acclaim, he would later go on to give his fans 6 more tapes & a dozen EPs with the last one being the F1LTHY-produced Wake Up Lucki a week before my 25th birthday in December 2021. The full-length debut Flawless Like Me saw Lucki finding his style & the sophomore effort s*x mon*y dr*gs was the most I enjoyed Tune’s music in a while, so maintained optimism that Gemini would continue to make those improvements.

To start us off, “On They Way” works in synths & hi-hats from Vanguard Music Group & Internet Money Records in-house producer Cxdy to talk about money turning him into a villain whereas “Courtesy Of” takes the luxurious trap route instrumentally boasting that you can’t play it the way he does out here. “CTA 2 Bach” brings a psychedelic flare to the table talking about cash making everything go his way just before the upbeat “All Love” asks why wouldn’t he bring his gun to the function since he don’t like nobody.

Lil Yachty slides through for the Rio Leyva-produced “Biggavel” so he & Lucki Eck$ can discuss undebatably being on a high right now leading into the atmospheric “Gerskiway” featuring CBFW Records artists Rylo Rodriguez & Veeze going back & forth about their lifestyles. “BRAZY4real” continues to shoot for synth-trap vibe generally calling out those who ain’t letting loose as much as they say they do “Exotic” jumps over pianos & hi-hats living like John Gotti.

“BBY GOAT” featuring Future hooks the synthesizers back up talking about both of them being on a new level while “KYLIE!!!” ends the first half of Gemini by bragging that he’s bigger than Kylie Jenner over rage beats, which personally I would have to agree with since I’m more of a fan of Tuneski than Kylie anyway. “Dotted Line” has more of a futuristic trap approach generally in comparison starring the 2nd leg of the LP killing opponents out here & “Signed Up” atmospherically accepting that whatever comes & is.

Veeze pops back up for the lavish trap banger “Twin Flow” for a cut that I happen to find myself catering towards more than “Gerskiway” treating the paper like friends, but Rylo Rodriguez funny enough returns on “3 SMRS STR8” this time joined by CBFW labelmate 42 Dugg to get on some Detroit trap shit. “X6” defends that you can’t complain because they’re the same ones who made him the way he is continuing to build further upon the Motor City’s unique take on trap while “Hustler Muzik” takes aim at Lucki’s critics towards his newer material.

The song “Heavy on My Heart” samples “Do You Really Mean It?” by Jerry Knight thanks to Coupe suggesting Bossy Simpson made shit look simple when everybody knew that shit get hard while “Ski What It Be” throws the synths & hi-hats back in the picture leaving more than he came with. “RIP” has a chill ass beat that Bhristo cooked up leaving it up to the Deadboy to turn a straight-up hoe into pack & the 2-part outro featuring aadditional Veeze vocals officially closes up shop talking about how he ain’t got nobody.

Although I’d have to still say s*x m*ney dr*gs is be my favorite full-length of the 3 that LUCKI has already offered, Gemini for sure happens to be a solid offering from the influential underground Chi-Town artist either way you put it. He still maintains the cloudy trap production that the predecessor last summer except he’s swapping out the Chicago drill influences in favor of pulling from the Detroit trap scene representing the Midwest even further.

Score: 3.5/5

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Big Hit – “Blacks & Whites” review

This is the sophomore full-length LP from Los Angeles rapper Big Hit. The father of Hit-Boy, he was found guilty & convicted of a hit & run resulting in great bodily injury almost a decade ago & unlawfully being sentenced to 12 years & 4 months in prison including a 5-year GBI enhancement connected to Count 1. Last February, his petition for a writ of habeas corpus was granted & became a free man on his son’s 36th birthday. Hit would have his father join forces by making Surf or Drown 2 a collab effort tailored for Father’s Day Weekend & put out a debut album of his own The Truth’s in My Eyes only 6 months later. Blacks & Whites here raised my expectations after learning Hit-Boy was producing half of it & most importantly, The Alchemist doing the other.

“Drug Tzar” is this murky boom bap opener to the album talking about being a drug star as opposed to a rap star whereas “Only Weight I Feel” works in more kicks & snares reminding that he’s the one who sold these cats the news & gave them the rules. “Godfather, Pt. 2” featuring Boldy James is this piano-boom bap hybrid with both of them calling out the cross-artists out here just before “Heartless” goes drumless revealing that he’s suited up ready for y’all.

Moving on from there, “Foreclosure” takes the heinous route instrumentally cautioning that you better count your fingers when you shake his hand while “Temperature Check” kinda has an atmospheric flare to the beat talking about being ready for war. The title track featuring The Alchemist & Hit-Boy themselves finds the trio lavishly keeping everything black & white prior to “Champion” coming through with a warmer vibe talking about being a winner.

“Count Your Blessings” featuring Figg Rarri, Killa Twan & LongBodyy brings the quartet over more keys as they discuss keeping track of one’s blessings while “Sly, Slick & Wicked” featuring Hit-Boy’s son & Big Hit’s grandson C3 soulfully talks about disliking these n****s. “Dirtball” nears the conclusion eerily explaining that everyone else can’t keep up with him while “Gank Move” featuring Hit-Boy’s sister & Big Hit’s daughter HitgirlLena cloudily samples “Murderer” by the titular Detroit duo to end the LP detailing the gangsta lifestyle.

Big Hit’s been steadily getting his name back out there ever since coming home from the pen, but Blacks & Whites as I had anticipated takes himself to a whole new level & dethrones The Truth’s in My Eyes as the best album of his discography thus far. Hit-Boy & Uncle Al’s production are like yin & yang with their own distinctive styles, complimenting Big Hit’s gangsta lyricism stronger than the debut we got last winter.

Score: 4.5/5

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Payroll Giovanni – “Have Money, Have Heart” review

This is the very first EP from Detroit, Michigan rapper Payroll Giovanni. Notable for being a part of the Doughboyz Cashout collective, he also released a dozen solo albums with the most notable being Big Bossin’ as well as Big Bossin’ 2 & Another Day, Another Dollar all fully produced by Cardo. I was however interested in learning that Have Money, Have Heart would be entirely self-produced & felt like it could be his strongest material since Giovanni’s Way.

“Rose Annivesary” is a piano-driven Detroit trap opener encouraging to get the ball again if you fumbled it the first time prior to “Any Kit” taking the spacious route instrumentally talking about getting their shit together, huddling up & stacking their chips as a unit. “600 Benz” works in more keys & 808s flexing that his money stay hustling while “Holding Up My Line” to say fuck the attention unless it leads to business. “$10M Cribs” hooks up some synths cautioning that you’ll go too far to quit once you see his other side, but then “Cashout” ends the EP brings the synthesizers back advising that they’ll hate seeing you ball & laugh if you fall.

Living in Michigan my entire life, I’ve been following Payroll since the Doughboyz Cashout days & further exemplified himself as a legend in the Detroit trap scene ever since branching off from the crew in favor of a solo career. Have Money, Have Heart however lived up to my expectations in becoming his most consistent body of work in a few years joining the Big Bossin’ series & Another Day, Another Dollar as his most essential solo material. His production is still very much centered around the Motor City’s distinctive trap sound working out in the lab rapping without overthinking.

Score: 4/5

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Rio da Yung O.G. – “Rio Circa 2020” review

Flint, Michigan rapper Rio da Yung O.G. celebrating his 30th born day by releasing his 10th EP. Breaking through the local trap scene during the latter portion of the previous decade under the mentorship of Peezy, he has since put out his last 9 EPs as well as a full-length debut album & a handful of collaborative projects under his belt all over the duration of 6 years. Rio’s previous EP The F Tape celebrated its 1-year anniversary several days ago, I can totally see why his estate unearthed Rio Circa 2020.

“Warm Up” has a rubbery, atmospheric Detroit trap flare instrumentally to get us started thanking God for allowing this rap shit to change his life whereas “Grease” bouncily talks about having the grease as opposed to the fire. “Grizzly Flow” pays homage to fellow Detroit artist Tee Grizzley over pianos & fingersnaps detailing the gangsta lifestyle prior to “Me & Mike” featuring follow M.I.N.E. Entertainment/#Boyz Entertainment artist RMC Mike demonstrating a back & forth chemistry between the 2 that gave us the Dumb & Dumber trilogy.

Mike sticks around for “Mike Voice” bringing a Bay Area vibe to the beat referencing former 11-time WWE Tag Team Champions, 2-time TNA World Tag Team Champions, ROH World Tag Team Champions, HOG World Tag Team Champions, ΩCW Tag Team Champions & The Crash Mundial Parejas Campeons The Hardy Boyz that is until Louie Ray joins Rio & Mike on “Flint Boyz” representing Vehicle City over a bell-laced instrumental. “Brother Flow” featuring Louie Ray brings in more bells, keys, strings & 808s laying out braggadocio for a few minutes preferring to shoot people than watching the WWE division of the Endeavor-owned TKO Group Holdings just before “Primo Beat” keeps the bells in tact throwing the hi-hats into the fold once again continues to flex dissing those who ain’t doing shit.

“Collective Nights” produced by Danny G nears the EP’s final moments calling himself Dr. Seuss since he sold a green egg to a ham on top of having a money fight & doing a drive-by in the Hellcat coming out from up the roof of the demon over a grisly Detroit trap beat that is until the closer “DD4” finishes Rio Circa 2020 teaming up with RMC Mike for 1 more time so they can prelude an upcoming 4th installment of their standout Dumb & Dumb3r trilogy.

Rio been incarcerated for 3 years already & although only has 2 more until he finally comes home, he’s still been able to keep the streets hot in the form of both Fiend Lives Matter & The F Tape. And nevertheless of the material on this new EP being made during the COVID-19 pandemic, I happen to enjoy it more than the last one The F Tape from over a year ago. The guest are boiled down to a couple & his status in the 313 is firmly reminded.

Score: 3.5/5

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Conway the Machine – “S.F.K. (Slant Face Killah)” review

Buffalo, New York emcee Conway the Machine is back with his 4th LP. Blowing up in late 2015 as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher, the trio have had hip hop in a headlock ever since their arrival by their constant work ethic balancing quality & quality as well as vividly detailing their lives in the streets. Con’s full-length debut From King to a Godwas my Album of the Year for 2020 & the Shady Records-backed sophomore effort God Don’t Make Mistakes is the most personal he’s ever been. Won’t He Do It just celebrated it’s 1-year anniversary last weekend & coming fresh off the Conductor Williams-produced Conductor Machine from last winter, Won’t He Do It 2 is now being scrapped in favor of S.F.K. (Slant Face Killah).

After the “Despertar” intro, the first song “Mutty” featuring Stove God Cook$ is a dusty boom bap opener produced by Conductor Williams explaining that those who fucked with them ain’t here to talk about it whereas “Give & Give” takes the soulful route instrumentally thanks to Cool & Dre needing something to hold on to. “Milano Nights, Pt. 1” works in some pianos, kicks & snares to break down overcoming all trials & tribulations just before “Kin Xpress” featuring Larry June psychedelically strips the drums talking about being unfuckwitable.

“Meth Back!” featuring Flee Lord, Method Man & SK da King brings the quartet together returns to the boom bap thanks to Daringer talking about this being a stickup leading into “Ninja Man” going into a luxurious direction courtesy of Swizz Beatz addressing those out here who stay talking. Joey Bada$$ joins Conway for the grimy 2nd single “Vertino” with Camoflauge Monk & Sadhugold behind the boards boasting how raw they are, but then “10 / Rya” featuring Key Glock is this 2-part trap joint that Don Cannon laced talking about being on 10.

“Dasani” throws these pianos & hi-hats into the picture talking about having this bitch running while “Raw!” featuring Tech N9ne finds Cardo pulling inspiration from the Memphis scene boasting their lyrical ferocity. “Surf & Turf” featuring Ab-Soul, Jay Worthy, T.F & 2-11 brings everyone together for some jazzy gangsta shit referencing WWE Hall of Famer, former 6-time WWE Champion, 2-time WWE Intercontinental Champion, 2-time WWE United States Champion, 5-time WWE Tag Team Champion & NWA World Tag Team Champion Stone Cold Steve Austin while “Karimi” comes with a hazy boom bap flare talking about wanting the bread. “The Red Moon in 大阪” ends the album with climactic closer produced by The Alchemist including a bar referring to the Los Angeles Dodgers’ designated hitter/pitcher 大谷翔平.

Won’t He Do It had its high points despite not being one of my favorite projects in Con’s discography, but what was supposed to a sequel tot get previous LP we got from La Maquina over a year ago makes improvements in the departments where it was lacking. The production is a mix of boom bap & trap generally, we have an interestingly versatile guest-list & the Drumwork founder passionately explains why they call him the S.F.K. (Slant Face Killah).

Score: 4/5

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Stanwill – “4ever $hittin’” review

This is the 3rd proper solo album from Detroit, Michigan rapper Stanwill. Coming up as 1/3 of the ShittyBoyz with Babytron & TR Dee signing to Lando Bando’s own The Hip Hop Lab Records, he eventually branched out on his own during the COVID-19 pandemic off the debut EP $camwill as well as it’s successor Gifted & the debut mixtape Van Gundy. He also went Full Auto for his 3rd EP making his full-length debut with Big $hitter followed by the 4th EP Big $hitter: Lost Files & of course the sophomore Still $hittin’ celebrating it’s 1-year anniversary last weekend, it makes sense for him to clarify that he’s 4ever $hittin’.

“Neverland” start off with a bit of a psychedelic plugg vibe talking about being the weatherman whereas “Paramount” named after the Paramount Skydance Corporation works in some pianos to discuss the only thing that he’s really concerned of is the paper. “Standing Ovation” takes the spacious trap route instrumentally thanks to Danny G & Jakesand talking about playing the dirtiest game while the synthesizer infused “Live & Learn” humorously boasting that his wrist 41 & the cougar bitch he bagged being 42 providing the clique scoring 2 pointer.

Tay B joins Stan for “Be Fr” gives off a suspense-raising Detroit trap flare to the beat talking about both of them always keepin’ it 100 leading into “Cockadoodledoo” mixing 808s & pianos flexing that he can do this shit in sleep every single day of the week. “Smithereens” brings back the plugg influences that we heard at the very beginning so he can talk about those laughing at his losses cheering for his victories, but then “Sexyy Red” featuring T Bone go back on forth on a Detroit trap instrumental wanting bitches similar to the rising St. Louis trap star.

“Whack-a-Hoe” hooks up these orchestral elements with 808s saying that if the money makes the world go round, then he’s the reason that Earth’s spinning prior to Certified Trapper dropping off the worst feature throughout the entire album on “Brothers” despite the synth-trap beat & the lyricism talking about riding & dying for their brothers. “Make It Last” going for more of an electronic trap approach with the instrumental likening his squad to a marching band with the AR drum attachments while “AR in My Goose” returns to the Detroit trap sound cautioning to duck before he taps you in the head.

My favorite feature on 4ever $hittin’ is easily TR Dee on the luxurious “Simple” talking about how simple this shit really is to them prior to “Bases Loaded” in actually serves as a solid freestyle over the “They Losing Me” by Big Homie Dre Cash beat. “Chop Suey” featuring Drego contains the LP’s 2nd best guest appearance eerily talking about the barking gonna be dead if they end up biting that is until “Ahh Haa” gets back in his Detroit trap shit laughing at one of his brodies shooting an opp.

“Nonstop” kinda has this chill mood to the instrumental refusing to stop since time is money after while the west coast flavored “Los Santos Customs” makes reference of the Grand Theft Auto V & Grand Theft Auto Online vehicle customization & repair shop of the same name. “Crunch Time” couldn’t of been a better choice of a climactic closing track to the album talking about chillin’ with a bitch that don’t know English for so long to the point now where he speaks in Spanish to the plug.

This last handful of solo projects we’ve gotten from Stanwill over the course of these past 3 years have been more moderate compared to Van Gundy, but there’s no debate from my point of view that 4ever $hittin’ is the most that I’ve enjoyed a solo project from him since $camwill when the world was on lockdown. Although only a couple features stood out, I love that he tries out some new sounds albeit primarily sticking to the Detroit trap wheelhouse.

Score: 4/5

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$weet-T – “$weet & Silent Dan” review

Michigan rapper $weet-T locking in with Danny G for his 3rd studio LP. Introducing himself alongside $kid for the collaborative EPs Monkey Business & Fancy Off Fiends respectively, it wasn’t too long thereafter when Lando Bando signed him to The Hip Hop Lab Records & properly introduced himself with the debut Sweet Talk. The sophomore effort Sweeten the Pot quickly became the finest body of work we’ve hears from him by himself, with $weet & Silent Dan looking to rival it.

“Jay & Silent Bob” featuring Danny G begins by likening themselves to the popular View Askewniverse characters of the same name whereas “Proceed with Caution” featuring J1Hunnit talks about the way both of them be living over a Detroit trap beat. “Big League Pitchin’” featuring $kid finds the pair trading verses with one another for old time’s sake recapturing the vibes of their early EPs, but “Moby Dick” featuring 1Up Tee merely doesn’t entertain me as much.

Brezden joins $weet-T for “Malcolm in the Middle” referencing the Fox Corporation’s flagship property’s early 2000s sitcom ahead of the upcoming Life’s Still Unfair miniseries premiering on The Walt Disney Company-owned Disney+ next Christmas while “Shakesphere” talks about his words rattling the globe as he keeps getting his stack on. “Ludacris Pape” takes 2 & a half minutes to flex his wealth leading into “Fishbones” talking about making it rain.

“Salt Water Taffy” featuring DJ Lucas links up over a piano instrumental co-produced by Jakesand to advise that it wouldn’t be wise to be hatin’ on their respective movements while “Big $weet” talks about doing shit that nobody else in his field could possibly do. “How Many Times” cautions of crews winding up chalked fucking with THHL & once “Tilapia” featuring Babytron references Canelo Álvarez, the closer “Chris Hansen” finishes with $weet talking about being in the deep end.

Nearly 8 months since he had to Sweeten the Pot a little, $weet & Silent Dan once again makes another example as to why $weet-T’s one of the most overlooked artists on The Hip Hop Lab’s roster. Danny G’s production here a lot like what we’ve heard from in the past cohesively sticks to the Detroit sound, bringing a stronger guest list to the table than last time to compliment Big $weet.

Score: 4/5

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Mozzy – “Children of the Slums” review

Sacramento, California emcee Mozzy is back with the 8th full-length studio LP in his discography & his Collective Music Group/Interscope Records sophomore effort. I became a fan of in the summer of 2017 off his debut 1 Up Top Akh & he went on to be featured on the soundtrack for the incredible Marvel blockbuster Black Panther only 6 months later & drop 6 more albums through his EMPIRE-backed Mozzy Records prior to Memphis veteran Yo Gotti landing him a CMG contract. Mozzy’s major label debut Survivor’s Guilt in 2022 was more poignant than what he’s done previously & that alone raised my stakes for Children of the Slums.

“Damn” starts us off by calling out someone who ran when they got on the homie line over a mellow beat whereas “Still Hurt” works in a soul sample with hi-hats admitting the pain he still feels over Diaonds’ death & the love he had for Sauce on top of it. The title track comes through with this piano talking about the fact that he did so much for his hood prior to “Red Nose Bully” reminding everyone that he’s still that guy from the middle over exuberant pianos & hi-hats.

Fridayy joins Mozzy on “Lost It All” for an R&B/pop rap/trap crossover asking their lovers if they would still care about them even if everything was suddenly taken away from just before the 3rd single “Miss Big Bruh” showing genuine heartbreak over his big brody who’s no longer here in the flesh. “Ebony from 12th” gives me this mafiosi trap vibe instrumentally talking about being tired of death after seeing one too many coffins, but then “Miss You Blood” brings this angelic/hyphy fusion to the table addressing one that he often thinks of.

“Jaded” goes into a cloudier direction to discuss angels callin’ them on top of their demons still creepin’ up behind them as well prior to the soulful “Living Proof” featuring E Mozzy finding the 2 talking about being breathing examples of that your dreams can come true. “Traumatized” has this melodic vocals in the background throughout to break down an individual he once knew receiving a traumatizing sentence in court with his momma crying in court while “Lost in My Thoughts” jumps over pianos & hi-hats talking about not needing any validation.

The lead single “Free JuJu” pays tribute to someone he wanted to guide & set on the right path from Oak Park that he couldn’t save while the violin, hyphy flavored “Act a Fool” featuring Celly Ru & E Mozzy finds the trio talking about actin’ reckless. “I Can’t Go Out” passionately draws near Children of the Slums’ conclusion by refusing to go out for nothing when it’s all said & done while the atmospheric “If I Die Right Now” asking if his so-called brothers would miss him as much as the fans. “Better Without You” finishes the LP with a gloomy sample drowning behind him tired of seeing one suffer & struggle.

Much like Survivor’s Guilt, this could be considered one of Mozzy’s most personal projects to date & I certainly like it more than Glorilla’s latest tape EhhThang EhhThang from earlier this morning. He shines light on life growing up in the Sacramento community, the trials of being raised in survival & the complex lifestyle that comes with it. It further exemplifies the growth of Mozzy’s rap career & personal life, serving as an inspiration to fans that even the titular type of people can also make it out like anyone else.

Score: 3.5/5

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Drego & Beno – “True Story” review

This is the sophomore full-length studio LP from Detroit trap duo Drego & Beno. Blowing up in the summer of 2018 off their debut mixtape Sorry for the Get Off followed by both Meet Us Outer Space & Sorry for the Auto-Tune after signing to EMPIRE Distribution, they would eventually take a 3-year break from making music before returning a year & a half ago on Sorry We Was Trapping. True Story however made me curious as to whether or not they could outdo themselves compared to the debut.

The title track produced by Helluva comes straight out the gate with a 2-minute Detroit trap banger talking about being in the hood if they ain’t trappin’ whereas “Boobie Trap” brings a menacing atmosphere instrumentally referring to themselves as big tippers. “On My Momma Ass” works in these ominous piano chords from Drego himself interestingly enough talking about bitches that don’t follow instructions bringing great destruction just before “Slimed Out 2” serves as a fun sequel to their biggest song.

“I Don’t Even Rap” has this bouncy, futuristic approach to the beat to talk about wettin’ up opps if they so happen to run into each other in the club while “MPR” once again brings a grisling vibe to the table discussing the gangsta lifestyles that they’ve experienced. “Ignorance” has this suspenseful trap groove to it admitting they could be tied in with the cartel, but then “Sheed” goes for a shimmery Detroit trap approach making it in & out the bank like Lloyd.

The rubbery “Get Me Going” asks if you want a tour of their house while the last cut together “Ball” fuses elements of orchestral & Detroit trap looking to hit the mall & spend it all shopping. The bells throughout Beno’s solo cut “Habit” are a unique touch saying that ballin’ is a habitual occurrence for him & fittingly, Drego’s solo joint “S.M.M.O. (Show Me My Opponent)” ends the duo’s 2nd album with Helluva throwing a hint of a west coast influence in his signature production style asking who his opponent is.

If Sorry for the Get Off is Drego & Beno’s best mixtape of the 3 they put out up until EMPIRE signed them, then True Story has to be the best LP of the 2 they’ve given us in nearly 2 years & the strongest they’ve sounded since the very mixtape that put them on the map. It’s significantly well-produced than a lot of their previous material & they pretty much make the case that they don’t need features to hold down the fort.

Score: 4/5

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