070 Shake – “Petrichor” review

070 Shake is a 27 year old rapper & singer/songwriter from North Bergen, New Jersey who started out as a member of the 070 collective. She later caught the attention of one of my top 10 producers of all-time Ye formerly known as Kanye West, who signed her to a joint deal with G.O.O.D. Music & Def Jam Recordings in 2016. Her debut EP Glitter saw a release in the spring of 2018 a couple months ahead of her mentor’s historic Wyoming sessions & it showed her artistic potential, which the full-length debut Modus Vivendi & the sophomore effort You Can’t Kill Me both expanded on. Def Jam would sever all ties with G.O.O.D. Music a few months after the latter due to Ye’s antisemitic meltdown forever altering his public appearance after calling himself a Nazi & later starting YZY SND, resulting in people questioning G.O.O.D. Music’s future. Over 2 years later, Shake’s returning for her 3rd album & presumably the last under the G.O.O.D./Def Jam tandem.

“Sin” works in some pianos & guitars to get us started singing about being awake & in a dream state simultaneously whereas “Elephant” keeps the guitars in tact addressing an individual that she doesn’t even recognize anymore & vice versa. “Pieces of You” brings the pianos back in the fold swapping out the guitars for strings asking what to do with the pieces of this person in her head, but then the standout “Vagabond” was originally conceived during the Vultures 2 sessions never loving anyone else than Johnny Depp & Vanessa Paradis’ daughter Lily-Rose Depp.

Moving on from there, the minute long “Lungs” wants to know if Lily-Rose would come with her to go find another one when the sun explodes & there’s nowhere to run kinda giving me a Yeezus vibe instrumentally just before “Into Your Garden” featuring JT brings the pair together over more keys being under the impression that all good things come to an end. “Battlefield” has these prominent organs throughout asking to come & give it up on top of restoring her faith, but then “Winter Baby / New Jersey Blues” is a drumless 2-parter paying her dues & doing her time.

“Song to the Siren” featuring Courtney Love asks if they should stand amid the breakers or lie with death while the synth-driven “What’s Wrong with Me?” sings about feeling as if a virus took control of her body with a new host. The crescendoing “Blood on Your Hands” finds her being unable to begin untangling herself from Lily-Rose while the song “Never Let Us Fade” repetitively sings about if she had her way. “Love” ties up Petrichor professing her love for her partner.

Taking it’s name from a term used to describe the smell of rain on arid soil after a long period of dry weather, what’s likely the end of G.O.O.D. Music’s partnership with Def Jam gives 1 final look at 070 Shake’s genre-bending style & a glimpse into her fatal vision of desire. The musical palate consists of acoustic guitars, ornate piano passages, ominous synths, dembow & hip-hop rhythms with a dash of psychedelia leveling up her maturity.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Pusha T – “It’s Almost Dry” review

This is the 4th full-length album from Virginia Beach, Virginia emcee, songwriter & record executive Pusha T. Coming up as 1/2 of the duo Clipse alongside his older brother No Malice about 3 decades ago, their debut Lord Willin’ & their sophomore effort Hell Hath No Fury would go on to become some of the best of the 2000s & essentials in the coke rap scene. But following the brothers’ final album together ‘Til the Casket Drops, they would disband after No Malice became a born again Christian & resulted in Push signing to Kanye West’s very own Def Jam Recordings imprint G.O.O.D. Music as a solo act. He has since made himself home under Ye’s wing by dropping 3 solo efforts, with the last one being the Kanye-produced DAYTONA in the spring of 2018 & one of the greatest diss tracks of all-time “The Story of Adidon” merely days later. But after 4 long years, Push is returning with It’s Almost Dry.

“Brambleton” opens up the album with a cloudy yet rubbery instrumental from longtime collaborator Pharrell & lyrics addressing Pusha’s relationship with his former manager Geesy whereas “Let the Smokers Shine the Coups” has a more triumphant tone to it saying he’s just here to find the truth. Kanye tags along for “Dreamin’ of the Past” sampling “Jealous Guy” by Donny Hathaway to belittle their competition referencing Amblin Partners which the Comcast Corporation subsidiary NBCUniversal has a minority stake in, but then JAY-Z comes into the picture for “Neck & Wrist” working in some experimental undertones talking about the rapstar life.

Meanwhile on “Just So You Remember”, we have Push reminding the whole world who they’re fucking with over a sample of “6 Day War” by Colonel Bagshot that Ye alongside BoogzDaBeast & FNZ bring to the table just before “Diet Coke” flips “Take the Time to Tell Her” by Jerry Butler taking jabs at those who be selling impure shit. KIDS SEE GHOSTS reunite 1 last time for “Rock n Roll” due to KiD CuDi & Kanye’s falling out talking about how this is their story over a sample of “1+1” by Beyoncé leading into the eerie “Call My Bluff” telling listeners that everything don’t need to be addressed.

“Scrape It Off the Top” has a more playful sound to it as Lil Uzi Vert helps Push spit them coke bars & “Hear Me Clearly” was one of my favorites off Nigo’s recent solo debut I Know Nigo, so I’m happy he put it on here. The penultimate track “Open Air” incorporates some flutes talking about slanging powder in an unenclosed space outdoors & “Labyrinth” ends the album with an organ-heavy Clipse reunion talking about all the people they pray for.

This has been one of my most anticipated albums of 2022 for a minute now & boy it did not disappoint. He continues to spit the gangsta rap we all know & love, except Kanye & Pharrell’s production is like yin & yang with the Chicago genius’ signature chipmunk soul sound that he came up on or the some of the pop rap undertones coming from some of the cuts that the Virginia visionary has to offer.

Score: 4.5/5

Kanye West – “DONDA” review

This is the 10th full-length album from Chicago, Illinois rapper, singer/songwriter, one of my top 10 producers of all-time, businessman, fashion designer & supposed politician Kanye West. What can be said now about this man that hasn’t been said already? Regardless of how you feel about his public image, you can’t deny his creativity nor the impact his discography has had on hip hop over the last 17 years. More specifically The College Dropout & My Beautiful Dark Twisted Fantasy. The last time we heard him in secular form was back in 2018 with ye, which in my opinion doesn’t get enough appreciation for detailing his struggles with bipolar disorder even to this day. Kanye later became a born-again Christian & went into gospel rap territory for his previous album Jesus is King in which the music was fine, but the mix was absolutely horrendous. But now after a embarrassing attempt at becoming president of the United States last fall & divorcing his Hobbit ex-wife, one can only go into DONDA expecting Ye to get a lot off his chest.

After the tedious “Donda Chant” intro, the first song “Jail” is a rock-tinged kickstarter with The Throne returning saying God’s gonna post their bail with co-production from Mike Dean alongside Dem Jointz & 88-Keys whereas “God Breathed” featuring E*Vax helping behind the boards with some choir vocals hanging in the back encouraging the listener to put their faith in the higher power. Playboi Carti & Fivio Foreign tag along for the trap-tinged “Off the Grid” co-produced by with 30 Roc proclaiming they did everything for the crib just before the Lil Baby-assisted “Hurricane” brings in some organs & snares with co-production from DJ Khalil & Ronny J to tell God to hold them close.

Meanwhile on “Praise God”, we have Baby Keem & Travis Scott joining forces to say they’re gonna praise their way out the grave helping work in an organ & choir vocals leading into “Jonah” with Lil Durk & Vory having some hypnotizing production as well as lyrics about loneliness. “Ok Ok” is an atmospheric cut co-produced with Boi-1da linking up with Lil Yachty & Rooga to call out those who’ve betrayed them, but then ¥$ & Carti pay homage to Junya Watanabe on the organ-bass infused “Junya” assisted by Digital Nas.

“Believe What I Say” does a fine job at sampling the iconic Lauryn Hill joint “Doo-Wop (That Thing)” telling the listener not to let the lifestyle drag you down whereas “24” brings back in some organs to say God’s not finished. “Remote Control” with Young Thug satirizes society these days with an ambient backdrop & snares whereas “Moon” is the greatest interlude of the year hands down, with Don Toliver & KiD CuDi hitting every note perfectly as the guitars that’re wailing behind them.

The way “Heaven & Hell” samples Drum Broker’s “Arena” is really cool with Ye standing up to to the system & after the titular interlude co-produced by BoogzDaBeast, another standout “Keep My Spirit Alive” with Hall ‘N Nash finds the trio saying “you can take it all with the Lord on my side” over a cloudy instrumental & Ye should’ve NEVER fucked with KayCyy’s hook to begin with. Jay Electronica & The LOX come in for the gorgeous “Jesus Lord” co-produced by Swizz Beatz & Gesaffelstein wanting to know someone who needs God, but then “New Again” sounds like a throwback to the Graduation days production-wise talking about being born again.

“Tell the Vision” from the latest posthumous Pop Smoke album Faith feels out of place given that Ye has no presence on this version, but “Lord I Need You” makes up for it with it’s pillowy beat co-produced by FNZ & Wheezy as Ye asks God to wrap his arms around him whereas the Roddy Ricch-assisted “Pure Souls” fuses organs with bass & handclaps to say “The truth is only what you get away with”.

The penultimate track “Come to Life” with Jeff Bhasker is an luxurious ballad pondering if you’ve ever wished you had another life & finally, “No Child Left Behind” ends the album with a straight up gospel ballad saying God has done miracles on him. We are then treated to alternate versions of “Jail”, “Ok Ok”, “Junya” & “Jesus Lord” as bonus cuts.

It should really go without saying that DONDA is what Jesus is King should’ve been & it’s a respectable tribute to Ye’s mom. There are a tad bit of filler cuts running at 27 joints & nearly 2 hours, but the mix sounds so much better in comparison to the last album.

Score: 4/5

Big Sean – “Detroit 2” review

Big Sean is a 32 year old rapper & singer/songwriter from Detroit, Michigan 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. But after a couple years of speculation, he’s returning with a sequel to Detroit as his 6th full-length album.

The opener “Why Would I Stop?” speaks on where he is now come over an abrasive instrumental from Hit-Boy & Rogét Chahayed, who had a huge hand in overseeing the whole album. The next song “Lucky Me” opens up on things he’s never talked about over a relaxing beat before a dope switch-up during the 2nd half referencing the inaugural IWGPヘビー級王座, former 12-time WWE world champion, WWE tag team champion & 2-time WWE Hall of Famer Hulk Hogan while the track “Deep Reverence” with Nipsey Hu$$le sees the 2 talking about being legends in the streets over a spacious beat. The song “Wolves” with Post Malone finds the 2 looking back on how they grew up over a cavernous instrumental while the track “Body Language” is a TWENTY88 reunion about lust over a moody KeY Wane beat.

After the Dave Chappelle story, the track “Harder Than My Demons” talks about how Sean thanks God for everything over a Mike WiLL Made-It & DJ Khalil instrumental sampling the classic Michael Jackson joint “Human Nature” while the song “Everything That’s Missing” talks about heartbreak over a bare piano instrumental. The track “Z.T.F.O. (Zen The Fuck Out)” talks about canceling bad energy over an ghostly Cool & Dre instrumental with co-production from No I.D. while the song “Guard Your Heart” with Wale & Anderson .Paak finds the 3 getting on the conscious side of things over a luxurious boom bap beat.

The track “Respect It” with Young Thug sees the 2 talking about how no one will do them dirty over a vibrant instrumental while the song “Lithuania” with Travis Scott finds 2 boasting over a psychedelic trap beat. The track “Full Circle” with KeY Wane sees the 2 about how everything in their lives/careers have come together over an uplifting instrumental while the song “Time In” by TWENTY88 gets back on the romantic tip over a wavy beat & with what is EASILY the worst hook on the entire album. After the Erykah Badu story, the track “FEED” talks about time moving fast over a murky beat from Boi-1da while “The Baddest” tells his significant other she’s just that over a heavy instrumental with some menacing horns.

The track “Don Life” with Lil Wayne finds the 2 talking about being top dogs over a futuristic instrumental whereas the Friday Night Cypher” is an epic posse cut with constant, perfectly transitioned beat changes featuring a handful of Detroit spitters ranging from Sada Baby & Tee Grizzley to Boldy James & even Bad Meets Ǝvil. Then after the Stevie Wonder story, the closer “Still I Rise” gets on the motivational side of things over a victorious instrumental co-produced by DJ Camper.

The singles leading up had me excited & as for the final product, this album definitely Big Sean’s best work in a while. Not only has the production improved compared to Dark Sky Paradise & I Decided., but you can definitely hear how much he’s matured in the past 13 years & it does a good job of recapturing the essence of that original Detroit tape.

Score: 3.5/5

Sunday Service – “Jesus is Born” review

Sunday Service is a gospel outfit lead by Chicago, Illinois’ very own Kanye West. The group was put together earlier this year when the latter became a born-again Christian & he has been going all around the world with them for his weekend live performances of the same name. Kanye just released his gospel debut Jesus is King exactly 2 months ago to polarizing reception & even I myself felt like it was his 2nd weakest album thus far, right behind Yeezus. Reason being because the music on that album was fine, but the mixing was just so horrendous. And just when we thought he wouldn’t drop Jesus is Born over here when it was announced the day before Jesus is King came out, Ye actually stood by his word this time around.

The album starts off with “Count Your Blessings”, where a choir sings about being more positive in your life. The song right after “Excellent” is about how great God is over an organ while the track “Revelations 19:1” is a musical version of the titular Bible passage over some settle piano passages. The song “Rain” completely ruins the SWV joint of the same name & while the track “Balm in Gilead” has a calming instrumental, it sounds like Kanye & company wrote it in less than a minute.

The next 3 songs are all redundant Christianized versions of “Father Stretch My Hands”, “Fade” & “Ultralight Beam” off of Kanye’s 2016 album The Life of Pablo whereas the track “Lift Up Your Voices” talks about giving praises over some low-pitched keyboards as well as handclaps. The song “More Than Anything” speaks on how the only person they love most in life is God & I actually love how the instrumental gets more layered as it progresses.

The track “Weak” talks about how strong their love for God is over some horns later transitioning into an smooth instrumental while the song “That’s How the Good Lord Works” touches down on not questioning God over a beautiful piano instrumental. The track “Sunshine” is all about how Jesus makes their day over some plinky piano chords & intense live drumming & despite the song “Back to Life” having an upbeat instrumental & that I actually like, there’s not much for me to write home about lyrically.

The track “Souls Anchored” talks about being set free over a skeletal instrumental while the song “Sweet Grace” talks about how great His glory is over a more lush instrumental. The track “Paradise” is a ballad about how accepting God will make you at peace while the song “Satan, We’re Gonna Tear Your Kingdom Down” is a decent anti-Hell anthem. The album finally ends with “Total Praise”, where the choir predominantly sings the word “Amen” for 3 & a half minutes.

I was really hoping that Kanye would refine what he did on Jesus is King for this new album, but boy I was wrong. In fact, I’d argue that this actually worse than his last album was. I have nothing against gospel music whatsoever & I’m happy that Ye is at peace with himself, but it just seems rushed & that everyone involved threw in as many tracks as they could.

Score: 2/5

Kanye West – “Jesus is King” review

1280x1280 (1).jpg

Kanye West is a Chicago, Illinois icon that really needs no introduction at this point. From his polarizing public image to his damn near flawless discography, the man has really made a continuous & undeniable impact on hip hop within the past 15 years. However throughout 2019, Kanye has been going around the world with his newly formed gospel-rap outfit Sunday Service performing gospel songs & covers of his discography for an hour. But after teasing fans with listening parties for his 9th full-length album for the past month, he’s actually dropping it worldwide.

The album begins with “Every Hour”, where the Sunday Service choir sing about how we always need God over a bare piano instrumental. The next song the track “Selah” talks about looking back & reflecting upon over an organ while the track Follow God” finds Ye encouraging the listener to find a higher power over a College Dropout-esque instrumental.

“Closed on Sunday” makes painfully corny references to Chick-fil-A over a Timbaland instrumental starting off with an acoustic guitar & later switching up into something more minimalist & ominous while the track “On God” uses the titular expression to address his current well-being along with his past comments on the 13th amendment over a Graduation-inspired instrumental from Pi’erre Bourne.

The song “Everything We Need” by ¥$ & Ant Clemons sees the 3 talking about switching their attitudes over an trap beat co-produced by FNZ, Ronny J & Mike Dean with an organ in the background while the track “Water” with Ant finds the 2 talking about purity over a somewhat funky instrumental co-produced by Timbaland. The song “God Is” sings about how the Lord is victorious & gives him power over a soulful instrumental while the track “Hands On” talks about religion being more prominent in Ye’s life over an intoxicating instrumental.

“Use This Gospel” is pretty much a full blown Clipse reunion as Kanye only does the hook, but I’ll take it. Pusha T & No Malice both talk about seeking forgiveness like they never left over some plinky keys, but the sax solo from Kenny G was unexpectedly good. The album then finishes off with “Jesus is Lord”, where Kanye of course sings about his newfound love for Christ himself over some horns.

While I myself am not the biggest fan of gospel music, this is an underwhelming experience. Kanye truly sounds like he’s legitimately happy & finally at peace with himself in comparison to his last 3 albums, but the mixing is absolutely terrible. The closest he did to patching it up like he did with The Life of Pablo back in 2016 was the Dr. Dre remix of the album & that’s significantly better.

Score: 2/5

Sheck Wes – “MUDBOY” review

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

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

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

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

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

Score: 3.5/5

Teyana Taylor – “K.T.S.E. (Keep That Same Energy)” review

With the release of her average debut VII in 2014 & the birth of her daughter the year after, Harlem recording artist Teyana Taylor is returning with her sophomore album & she has enlisted GOOD Music founder Kanye West to produce it in it’s entirety.

The album starts off with “No Manners”, where she sings about her husband Iman Shumpert over some strings & piano chords. The next song “Gonna Love Me” gets romantic over an acoustic instrumental & a beautiful soul sample during the hook while the track “Issues / Hold On”. vents about fighting to keep Iman with her over a mellow guitar. The song “Hurry” with Kanye sees the 2 getting playful over a funky beat with my favorite hook on the entire album while the track “3Way” is about Teyana bringing in another woman for Iman so they can have a threesome over a moody instrumental & the Ty$ verse compliments it so perfectly. The song “Rose in Harlem” talks about being betrayed over some horns & a fitting soul sample while the track “Never Would’ve Made It” is a heartwarming tribute to her daughter over some stuttering drums & piano keys. Unfortunately, the worst song on the entire album would pop up with the closer: W.T.P. (Work This Pussy). The house production is ok, but it’s structured poorly & the vocal sample is annoying as fuck.

Other than that, this is the album that I’ve been waiting Teyana to make (even back in her Star Trak days). It’s passionate, the vocals are a lot stronger as is the songwriting & it’s WAY better produced than her debut. If she & Kanye are gonna work with each other in the future, than I’m all for it

Score: 4/5

KIDS SEE GHOSTS – Self-titled review

KIDS SEE GHOSTS is a midwest hip hop duo consisting of the renown yet polarizing Chicago, Illinois legend Kanye West & Cleveland, Ohio recording artist KiD CuDi. The 2 have worked with each other numerous times dating back to when Yeezy signed CuDi to his G.O.O.D. Music record label in 2008 & let him co-write 4 songs on 808s & Heartbreak later that same year. KiD CuDi has contributed to every Kanye album since then. More recently the song “Ghost Town” on his latest album ye, which is a prelude track to this album over here. CuDi even released his first 3 albums with G.O.O.D. Music before he left on amicable terms in 2013 to form his Republic Records imprint Wicked Awesome Records. The duo would later have a brief falling out in the fall of 2016, but they would eventually reconcile after the St. Pablo Tour was cancelled due to Kanye‘s hospitalization for stress & exhaustion.

The album opens with “Feel the Love”, which is pretty much being dominated by Pusha T. He definitely goes in, but the gunshot adlibs from Kanye were annoying on first listen as it grew on me over time. I also like the spacey keyboards & the later added drums that come through in the instrumental. The next track “Fire” actually sees the 2 getting together & responding to everyone who criticize them for their failures in the past over some militant drums & an eerie guitar in the background. The song “4th Dimension” has a prominent Louis Prima sample tackling sex in addition to referencing 2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair either. The track “Freee (Ghost Town, Pt. 2)” with a brief Ty$ appearance tells the audience that that’s exactly how they feel right now over a killer guitar, but the way the say the titular word does get old after a while.

The song “Reborn” is easily my favorite one on the entire album. The lyrics are all about moving forward from their pasts & the uplifting instrumental is a serious throwback to CuDi’s 2009 debut album Man on the Moon: The End of Day. The self-produced title track has a surprising yet solid Yasiin Bey hook & the instrumental has an intergalactic atmosphere to it that’s very pretty. Lyrically, KiD CuDi‘s verse about how he can’t be stopped & that he’ll be finding heaven in a matter of time while Kanye’s talks about fame. The album then finishes with “CuDi Montage”, where CuDi tells God to save him & Kanye gets insightfully conscious over a fitting sample of “Burn the Rain” by the late Nirvana frontman Kurt Cobain.

As a whole, I think it’s on the same enjoyability level as ye. The pop rap production is a lot more refined & given the recent hospitalizations of both members, the chemistry between KiD CuDi & Kanye West is stronger than it ever was before.

Score: 4/5

Kanye West – “ye” review

After going A.W.O.L. ever since his hospitalization in late 2016, the ever so polarizing Kanye West is finally coming out of the shadows to release his 8th full-length album. The opener “I Thought About Killing You” has a beautiful spoken word piece at the beginning about depression & then we get a confident verse over a moody beat, but then it switches into a more trap-like sound as he responds to his haters near the end. The next track “Yikes” talks about drugs over a hard hitting beat Ye made with Mike Dean, Pi’erre Bourne & Apex Martin with a humorous outro about being a bipolar superhero while the song “All Mine” talks about a supermodel thick woman over a bouncy beat. Also, I found the hook on here to be somewhat hilarious.

The track “Wouldn’t Leave” talks about his sensitivity over a beautiful gospel-like beat from ¥$ & I love how he starts it off by responding to his infamous TMZ appearance a couple months ago. The song “No Mistakes” is a response to Drake’s Duppy freestyle with a beautiful sample of the classic Slick Rick jam “Hey Young World” & while the penultimate track “Ghost Town” talks about being loved over a rap rock beat, I wish it was structured better. Then we have the closer “Violent Crimes”, where he talks about his kids over an atmospheric beat. Also, the I like the references to Nicki Minaj & “Monster” halfway through the verse. It makes even more sense that Nicki pops up at the end via cell phone saying the line & that she wants everyone to hear it, but I don’t know about ending the album that way.

Regardless, this is still a fantastic. While he did say it would be only 7 tracks, it’s mostly focused & consistent with vibrant production & honest lyrics

Score: 4/5