Quavo – “Qrömelife” review

Here is the long-awaited 3rd studio LP from Atlanta, Georgia rapper, singer/songwriter & producer Quavo. Rising to prominence in 2013 as 1/3 of the Migos with his nephew Takeoff & Offset, he would also form the duo Huncho Jack in late 2016 with Travis Scott & drop their only album thus far Huncho Jack, Jack Huncho to mixed reception. Quavo Huncho left audiences divided even I still enjoy “Workin’ Me” although Rocket Power remembered his fallen Unc & Phew cohort Takeoff following his tragic murder few weeks after the release of their only album Only Built for Infinity Links. Virginia producer, singer/songwriter, rapper, fashion designer, film composer, entrepreneur, Billionaire Boys Club/Icecream founder & Louis Vuitton’s creative director for men’s fashion Pharrell fully producing Qrömelife however had me hoping it would surpass the 2023 predecessor.

“Backward$” featuring T.I. premiering a week prior to Sami Zayn becoming a 2-time WWE Champion begins hopping over a trap instrumental with some heavy 808s for a “Welcome to Atlanta” sequel whereas “B.A. (Bernard Arnault)” featuring Future works in some synthesizers to talk about their wealth. “Hit-A-Lik” brings in the horns so he can discuss making it out of the streets while “Away” featuring Offset comes through with a spiritual successor to “Stir Fry” talking about escapism & each of them being far away from the ghetto these days.

Pharrell & WANG$AP appear for “Baby Breath” so they can get boastful even if Tyler, The Creator was clearly trolling in terms of his verse being the best of his career while the club-catered pop rap/trap 2nd single “Trance (Walk It Down)” talks about Huncho’s luxurious ways of living channeling the 80s freestyle era. “Factory Trim” reaches the halfway point flipping the bird at everyone who doubted him & yearning to crowd-surf while “Sweep” kicks off the 2nd leg talking about making money.

“Ball My Love” featuring Lil Baby finds both artists telling their lovers that time seems to always speed up whenever they’re spending time with them & after “Hayou Dewdat” featuring Yung Miami interpolates “How You Do Dat?” by the late Young Bleed featuring C-Loc & Master P for a braggadocious anthem over an Atlanta bass beat, the 4th & final single “House Music” featuring Justin Timberlake however throws it back to the days of synthwave for a pop/hip hop duet providing a soundtrack for those looking to purchase a home.

The song “Thick in the Mirror” continues the album’s final moments talking about the way his girl’s built & promising her entire life will change if she goes out for the evening but once the lead single “HAAVIN’” experiments with rage for a look back at all the success he’s experience whether it’s with the Migos or his individual output, “Destined” wraps up a look at the Qrömelife refusing to apologize for any more blessings that come his way past this point & confidently talking about his fame all being apart of his plan.

Honoring the healing process of Takeoff’s death, Pharrell still manages to produce the best Quavo solo album of the 3 he’s dropped in nearly a decade taking a more experimentally upbeat approach than either of Qrömelife’s predecessors. Although I wouldn’t put it on the same pedestal as Clipse’s comeback Let God Sort ‘Em Out the previous summer in absolutely no way shape or form, I still appreciate Skateboard P bridging the gap between the dirty south & funk music along with the consistent peeformances Huncho & company mostly deliver.

Score: 4/5

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

Kiefer Shackleford – “Memory Bomb” review

Kiefer Shackleford is a 34 year old pianist & producer from Los Angeles, California who properly introduced himself nearly a decade earlier off his full-length studio debut Kickin’ It Alone & the sophomore effort Happysad respectively. When There’s Love Around as well as It’s Ok, B U & Something Real would all follow to similar reception but coming off FATHERS’ eponymous debut a couple months ago, Kiefer’s signing to the great jazz label of all-time Blue Note Records for his 6th studio LP.

“Daydreaming” by Cisco Swank & Relyae opens up with both of them lusciously singing about a romantic fantasy with CARRTOONS playing bass & Luke Titus handling drums whereas “Nowhere Fast” by Rae Khalil takes a funkier approach refusing to give up her heart that she’s keeping safe. “Overture” hits us with the first actual compositional piece playing keys with Nate Smith on the drums & Shibo on bass giving heavy instrumental hip hop vibes for a few minutes until “NewLevels NewDevils” by Erick the Architect & Tony Stone goes full-blown jazz rap.

Relyae takes the microphone once again during “Get to the Moon” except Amber Navran’s accompanying her for this glamorous R&B duet letting CARRTOONS play bass once more leading into the title track enlisting tenor saxophonist Walter Smith III, guitarist Flanafi & bassist Shibo to make the core of Memory Bomb amongst it’s most exquisite moments. “Entr’acte” feels like more of an 89 second interlude to end the 1st half that could play in the middle of an [adult swim] bumper while “BusyForYa” by Planet Giza sings about not having time for this individual.

“Won’t Be Long” by Amber Navran & Phil Beaudreau with Shibo playing the synthesizers & bass depicting a couple assuring each other that none of them are ungrateful for the lessons learned preceding a breakup while “Don’t Fail Me Now” pulls inspiration from instrumental hip hop again, letting CARRTOONS program the drums behind these synths. “Can’t Let a Good Thing Go” by Gareth Donkin sings about refusing to move past something in life going correctly & after the exuberant “As She Was”, the closing track “I Let My Hair Grow” ends Memory Bomb handling all the instruments by himself.

Known for honing his own style that he refers to as “Over the Breaks”, the FATHERS album made me even more interested in what Kiefer Shackleford was artistically capable of doing from an individual standpoint & would say Memory Bomb joins DOMi & JD Beck’s recent sophomore effort WHO ASKED? in being one of Blue Note’s more average releases on 2026. His distinctive blend of jazz improvisation & hip hop production more richly textured than his earlier output regardless of the guest vocalists being a mixed bag.

Score: 3/5

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

Beck – “Ride Lonesome” review

Beck is a 56 year old musician, singer/songwriter & producer from Los Angeles, California who released his full-length studio debut Golden Feelings & Stereopathetic Soulmanure independently until signing to DGC Records for his most celebrated opus Mellow Gold preceding 1 Foot in the Grave. Odelay, Mutations, Midnite Vultures, the Geffen Records-backed Sea Change, his Interscope Records debut Guero, The Information & the Danger Mouse-produced Modern Guilt were all equally praised although his ongoing Capitol Records tenure has been hit or miss. Coming off Morning Phase as well as Colors & the Pharrell-produced ハイパースペース, the Fonograf Records founder’s back for a self-produced 15th studio LP.

The title track combines singer/songwriter, contemporary folk, Americana & alt-country for a melancholic take on loneliness whereas “Run Away” pleads for this individual not to leave, assuring there won’t be anything left to say whenever the apocalypse comes. “In the Night” explores chamber folk, singer/songwriter, art pop, Americana, chamber pop & folk rock so he can sing about lost love while “Failed Words” yearns to turn the world back to be with this individual 1 last time.

“Disappearing Act” blends singer/songwriter, chamber folk & art pop for the 3rd & final single tackling the unknown just before “For Your Love” kicks off the 2nd half of the album incorporating some strings to sing about wandering ruins only because of the affection Beck has for this person waiting down in the lowlands. “Slow Canyon” acoustically continues from there yearning to meet his lover inside a hurricane while “It Ends Right Here” sings about putting a stop to the search for this person he’s addressing.

Winding down the last leg of Ride Lonesome, the song “Falling Through My Hands” gently describes this lover who Beck met at a point in his life where he felt like he was sinking considering her a martyr of the battle while the piano-driven “If You Don’t Know What Love Is” sings about not knowing anything at all in response to the idea of not understanding the concept of love itself. The closer “Beyond the Light” spends the last 5 & a half minutes taking inspiration from Americana again asking if his partner remembers the dying of the light when the sun set on their love.

Some people didn’t think Beck would make anything as great as Modern Guilt ever again considering the mixed reception of his output in the last 2 decades, but he finally did it with Ride Lonesome. His production ditches the synthpop, alt-pop, dream pop, neo-psychedelia & electropop experimentations of it’s predecessor in favor of embracing the sounds of alt-country, singer/songwriter, art pop, chamber folk, contemporary folk, Americana, chamber pop & folk rock reminiscent of Morning Phase & Sea Change’s rich atmospherics for a reflective return.

Score: 4.5/5

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

Yeat – “Cocoon” review

Portland, Oregon rapper Yeat dropping off his 8th extended play. Emerging in 2018 off his debut EP Deep Blue $trips, he’s been dominating the mainstream since 2021 whether it be him dropping a plethora of projects or receiving cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë few years ago & its companionable deluxe EP Gëek Pack shortly after. Lyfë, Aftërlyfe, the experimental Capitol Records debut 2093, Lyfestylë, Dangerous Summer and A Dangerous Lyfë & A Dangerous Love all followed except Cocoon looks to make up for the latter’s disappointing reception.

“Earnëd It” kicks things off with this decent intro talking about buying his girl a Birkin bag & living like royalty whereas “In2That” flexes to find him where all the bitches are. “Miss My Dawg” was better than I had anticipated it being hopping over a Noel Cadastre instrumental calling for everyone who misses anyone in their lives that’ve passed away just before a favorite of mine “Luh Burk” produced by Trgc talks about giving this person a taste of fame since they’re never having it.

The song “Holy Watër” reunites with Internet Money Records in-house producer Synthetic so he can discuss splitting lids right when he pulls up to the spot leading into Trgc getting behind the boards for the title track talking about poppin’ out wearing all white when he began touring a month ago. “Tënnis” spends the remaining minutes of Cocoon going back-&-forth with this woman assuring her it ain’t as much of a game as she’d initially thought.

Yeat preludes his upcoming 7th album Reborn next year with an EP he made on the road that debunking the washed claims that were emerging when A Dangerous Lyfë & A Dangerous Love came out roughly 5 months earlier, which has me hoping this step in the right direction. It feels more aggressive & less commercial than the last full-length, revisiting his artistic origins rather than trying to make something that appealed more to the masses than his earlier stuff.

Score: 3.5/5

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

Jhené Aiko – “Westside Whimsy” review

Jhené Aiko is a 38 year old singer/songwriter, musician & producer from Los Angeles, California who was supposed to debut in the early 2000s until Epic Records shelved her. She would eventually return in 2011 when I was in 8th grade for her debut mixtape Sailing Soul(s), which resulted in No I.D. signing her to his Def Jam Recordings imprint ARTium Recordings. She has since become the label’s most prominent artist following her debut extended play Sail Out, her full-length debut Souled Out, the sophomore effort Trip & lastly Chilombo only a week prior to the 2020 COVID-19 pandemic taking full effect.

After the “Wild Cat(s)” intro, “Ghost” opens up with this moody instrumental singing about being in a loop whereas “Break” made for a decent alternative R&B single telling Big Sean to take his time upon their split after being together for a decade. I was disappointed Ab-Soul only did ad-libs instead of having a verse on “Love Bomb” although Jhené does holds it down well by herself singing about getting active until “Ceiling” freestyles over a summery boom bap beat cautioning she’s the bitch you shouldn’t do wrong.

“Nothing Nice to Say” explains the very reason she hasn’t been quiet in the midst of someone lying straight to her face just before “He Belongs” instrumentally brings a woodwind in the picture singing about a man who fits in with every woman he meets & everyone else except her. “Like, Whatever” featuring Tyga pretty much encapsulates my feelings towards the latter’s verse & the worst guest appearance here while “You” sings about having a million reasons why this dude isn’t the guy.

To bridge Westside Whimsy, we have Jhené advising “Don’t Be That Guy” taking it back to the boom bap vibes explored earlier leading into “Lullaby” going full alternative R&B again singing about how she’d rather close her eyes than leave his side. “Neighbors” featuring her new partner Larry June blends PBR&B with hip hop expressing the love at first sight they had for one another while “Mine” produced by Boi-1da & PARTYNEXTDOOR sings about feeling happy being with Larry.

“So Good” featuring Kendrick Lamar trades verses over one of the absolute smoothest beats Sounwave has ever made playing off each other perfectly while “Beach Boy” sings about needing a person who knows how to ride when the tide’s too high in the evening. “Unicorn” asks if it would be lovely if she & Larry had their own paradise likening their love to an island only they can go to while “I Don’t Mind” sings about feeling the envy of others whenever she steps inside the room.

The song “Nami’s Haiku” dedicates a brief collection of short form poetry to her daughter & eldest child Namiko Browner over a spacious alternative R&B beat while “A Living Light” takes some more stripped-back approach in terms of sound singing about dying at night only to be reborn in the morning right when the sun comes up. The closing track “Golden Coast” featuring nu jazz duo OHMA spends Westside Whimsy’s remaining minutes telling this individual shining through their darkest nights that they still have plenty of light left.

Confessing the reason it took so long for Jhené Aiko to come back was because life knocked her on her ass, Westside Whimsy still remains a solid comeback regardless of it not reaching the same pedestal Souled Out had when she has the capability of surpassing it. The neo-soul, alternative/contemporary R&B, pop rap & smooth soul production feels grounded in her west coast origins recapping everything that’s happened to her since COVID with a guest list who mostly deliver other than only 1 blatant exception.

Score: 3.5/5

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

KARRAHBOOO – “Not da 2” review

KARRAHBOOO is a 29 year old rapper from Atlanta, Georgia who blew up in 2023 after former TNA World Champion, NXT Champion, NXT North American Champion & WWE United States Champion Trick Williams’ manager Lil Yachty signed her to Concrete Rekordz. Not only would she depart the label the following summer, but she was most notably the only artist in its brief existence who was actually talented other than Yachty himself of course. However coming off a string of guest appearances, she’s ready to make a broader introduction to the world with her official debut extended play.

“Inside the Booth” produced by Coupe talks about needing space from her clingy partner because she’s too high whereas “Pull a Luh Band Out” boisterously looks to walk her opps like dogs over a bell-driven trap instrumental. The lead single “No Hook” talks about being ready to drop for a minute & her past issues with Concrete embracing the Detroit sound just before the 2nd single “WYD?” hops on top of this cloudy Take a Daytrip beat describing a guy who’s constantly hitting her up.

Monaleo appears for the off-kilter “W.Y.O. (Whatever You Want)” taking shots at their completion over some buzzing synthesizers & hi-hats just before “Patched It Up” featuring Lil Yachty gets more in detail about their beef being squashed. “Make Her Dance” featuring k3 hits us with my least favorite guest appearance of the 4 which sucks because I don’t mind the sinister atmosphere while the 3rd &!final single “Keep Up w Me” featuring Zukenee makes up for it talking about learning from their mistakes & needing no pity.

“Swerve” wraps up the final moments of Not da 2 cautioning that anyone who fucks with her will wind up dead in the ocean & not being shy whenever money’s involved while “Understand Me” discusses being misunderstood, blocking out all the hate from the type of individuals who envy her & chasing the bag for her family’s sake. “Do U 1 Better” spends the remaining 115 seconds of the EP talking about upstaging everyone with her mother providing a sweet spoken word bit during the outro.

I’m fairly certain Mercury Records & Republic Records will do much more for KARRAHBOOO’s career than Concrete Rekordz ever did in the short amount of time she was signed to Yachty, but Not da 2 fell somewhat short of my expectations & hope for her full-length studio debut to be much grander statement in her discography. She does her part telling the world where she’s at in her life right now bringing a few guests on board who mostly kill it except the production choices could’ve been better.

Score: 2.5/5

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

Mike D – “Thank You” review

Mike D is a 60 year old MC, musician, songwriter & producer from Manhattan, New York who blew up back in the 80s as 1/3 of the Beastie Boys alongside Ad-Rock & of course the late MCA. They would go on to drop 8 consistently praised full-lengths together preceding their disbandment towards the conclusion of my freshman year of high school following MCA’s death. Nobody in the group has ever put out any solo material until this point, so for Mike to recording a full-length studio debut under Capitol Records peaked my curiosity.

“Switch Up” combines breakbeat, experimental hip hop & experimental rock for a lead single talking about changing things every now & then whereas “What We Got” goes for a more standard east coast hip hop vibe speaking of self-doubt & having a backup plan once he retires from music. “True Colors” fuses breakbeat & neo-psychedelia for a reflection of when the Beastie Boys were younger just before “That’s Right” embraced an electro vibe talking about receiving confused looks regardless of what he does.

Continuing from there with “Secrets”, we have Mike D coming through with a 2-parter with a danceable opening & a lyrically repetitive counterpart revealing little to no secrets whatsoever leading into “I Don’t Care” taking a swampier approach instrumentally talking about being the guy to count on. “Make It Stop” speaks of our worlds being filled with drama because of everyone having their own traumatic experiences while the 4th & final single “Crypto” satirically pokes fun at greed.

“Here We Are” wraps up the final moments of Thank You talking about being lost in the dark looking for the door while “Back to Start” strips things back singing not to pass go if one’s looking to return to where they began. “It’s Time” talks about there being so much shit he wants to do despite all these things he needs to complete & the title track spends the remaining moments of Mike’s solo debut looking back at his youthful days 1 last time.

If anyone’s expecting Thank You to sound anything like what the Beastie Boys have done as a trio, then you’re probably not gonna get a kick outta this album so much but I applaud Mike D for trying something different with the help of his sons. The breakbeat, experimental hip hop, electronic dance music, experimental rock, neo-psychedelia, indietronica, electro & swamp rock production paired with his vulnerable lyrics feels like a bridge between the gap that was left when MCA passed & this new creative direction he’s following.

Score: 3.5/5

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

13° – “Ghetto Hipster” review

Brand new sophomore effort from Chicago, Illinois rapper 13°. Emerging only a few years ago off his first couple mixtapes Urban Junkie & Metropolitan respectively, he would go on to follow both of those up with Uptown Dropout as well as Clique City & it’s sequel. His debut EP Cyber Sundayz caught the attention of Island Records & they helped introduce him to a wider audience with the positively received full-length studio debut Black Fridayz, now declaring himself to be the Ghetto Hipster nearly 2 months since CM Punk became a 9-time WWE world champion.

“A Gloomy Morning” hops over a synth-driven boom bap beat produced by longtime collaborator Gyant to kick things off talking about being the king of his city & his life soarin’ past him whereas “Lordz Never Worry” gives off some Graduation vibes declaring himself to be a superstar. “White Sox Capz” psychedelically represents his hometown advising to get the fuck out his face unless one’s looking for him to put them to shame while the cloudily poppy “Pistolet” flexes of dating every model & comparing the head to blowing the smoke off a fired pistol.

We have some crazy sampling techniques being pulled off on “Membership” talking about not needing a patch because he’s already a gold member leading into “Ridiculouz” maintains the euphoria confessing he kinda digs people detracting him for being a golden ticket. “Poetry Jamz” stood out to me for it’s unignorable throwback to when The Neptunes dominated the airwaves in the early 2000s just before the poppy yet cloudy “Juene O.G.” poses the question of whether his not his name will be brought up in discussions a century from now.

“Northside Synonymz” begins the 2nd half likening life to another public assembly with the background vocals sticking out the most to me regarding the instrumental while the cloud rap/pop rap-infused 2nd single “Dwntwn Luv” intoxicatingly talks about trying to fuck a bouncer. “Lyricz” made for a solidly cloudy pop rap lead single making a cold reference to the late Juice WRLD at the end of the hook hoping this woman can heal his heart while the Ye-inspired “Brand New” talks about life giving him body shots.

Trippie Redd makes Ghetto Hipster’s sole guest appearance during the penultimate single “Emotionlezz” dedicating itself to all the weirdos & having apathetic pulling from future bass thoughts while the 3rd single “Hipster Encore” talks about his love of skinny Vogue models who do coke. “Microphone Fein” ironically lager includes a bar referring to 17-time WWE world champion, WWE Intercontinental Champion, 5-time WWE United States Champion & 4-time WWE tag team champion John Cena while “Journalistic” atmospherically concludes the album clapping back at the way fraudulent blogs be acting.

Black Fridayz was a solid farewell to the Clique City sounds 13° blew up off of & to begin this new chapter of his career, his 2nd major label offering initially stemming from a highlight off his debut last fall dethrones it’s predecessor & the Clique City mixtape series for the bragging rights of becoming his finest collection of material so far. The production’s significantly cloudier than the debut & he’s having more fun with his music taking inspiration from the likes of Nas, Westside Gunn, the late Capital STEEZ & A$AP Rocky.

Score: 4/5

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

benny blanco – “Hermoso” review

benny blanco is a 38 year old producer, songwriter, record executive & author from Reston, Virginia who made his debut in 2018 with Friends Keep Secrets under Interscope Records. He recently produced my favorite album Selena Gomez has ever made I Said I Love You First…& You Said It Back in the spring of last year preceding their marriage several months later, departing from A&M Records following a 10 month tenure on the label to drop his sophomore effort that I’m sure will have a 2nd disc much like the predecessor a week after Adam Page & Brodido ended The Demand’s week-long reign as AEW World Trios Champions at Grand Slam VIII in partnership with Consejo Mundial de Lucha Libre (CMLL) at Arena México.

“Un poco perdido” by Neton Vega opens up drunkenly admitting he’s lost whereas “Te Olvido (La La)” by Becky G & Selena Gomez blends Latin pop, reggaetón & cumbatión asking what their partners have that no one else does. “Joven y salvaje” by Bb trickz co-produced by Cashmere Cat wasn’t bad of a contemporary R&B, pop rap, bedroom pop, alt-pop, post-punk revival single talking about not wanting to pick up the phone while the dream pop-inspired “Memoria De Paz” by The Marías depicts 2 lovers holding the sound of their voices on the phone tightly.

After the “Te Amo” interlude, “Ay Bendito” by Mora featuring co-production from Ovy on the Drums takes a breezier approach instrumentally getting sexual with the songwriting & “Degenere” by Myke Towers succeeding the “Cinco” skit properly concludes Hermoso with a reggaetón closer fans of his already heard a couple years ago when his 5th album La Pantera Negra came out so it’s a bit unnecessary although I suppose it wouldn’t be a bad introduction for those who’ve never heard of him.

Part of me respects benny blanco for what he’s musically done with artists like Eminem & of course the late Juice WRLD in the past, but I do find it strange for him to go full Latin for a Friends Keep Secrets follow-up that I’d consider weaker than his debut. Hermoso’s production is more Latin-heavy experimenting with Latin pop, reggaetón, cumbatión, contemporary R&B, pop rap, bedroom pop, alt-pop, post-punk revival & dream pop except I feel like it doesn’t come from a sincere place like Cypress Hill’s latest full-length Dios Bendiga.

Score: 1.5/5

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

Internet Money Records – “We All We Needed” review

This is the sophomore effort from Los Angeles, California label & producer collective Internet Money Records founded by Taz Taylor. Releasing their full-length debut B4 the Storm to moderate reception in the summer of the 2020 COVID-19 pandemic, they would later drop an extended play a couple years later called We All We Got which I found myself enjoying more than majority of people generally did. BabyBartier, ladé, Sir Untre & unitus have all signed to Taz since & he’s having all 4 of them coming to they’re for We All We Needed under their new distribution deal with Mercury Records & Republic Records.

“Lambo, Maybach & Black Truck” by BabyBartier, Sir Untre & unitus produced by Nash opens up with the trio boasting the luxurious whips they’re hopping out of whereas “Helly” finds all 3 of them sticking together over a Cxdy instrumental dedicating this to all the rebels who’re staying down. “Flexed Up” by BabyBartier & Sir Untre combines some synthesizers & 808s so they can talk about being too geeked prior to BabyBartier getting a track of his own with “No Problems” clarifying that he doesn’t have any issues.

As for “Tellin’ Lies”, we have unitus talking about walking with the bag differently than everyone else while “Monster” by BabyBartier & Sir Untre impressively trades verses with one another on top of a rage beat. “Home” by Sir Untre gives the latter a chance to shine talking about not being broke anymore while “Medusa” by BabyBartier & Sir Untre runs it back over a PROJECT4PLAY instrumental so they can topically get some gangsta shit together.

“Yellow” by BabyBartier talks about being up in the club all night sippin’ lean while “Pop Tags” by BabyBartier & unitus reaches the midway point of We All We Needed explaining that they be fuckin’ so many bad hoes boiling down to them having that swag when walking around over synthesizers & hi-hats. “Ceiling” by BabyBartier hooks up some bells to talk about stacking money higher than it can go while “Steve Nash” by BabyBartier references the Phoenix Suns’ senior advisor of the same name.

Sir Untre joins Bartier for the only single “556” explaining their precise caliber over a Maaly Raw beat while “Do the Most” by unitus talks about the very reason his hoe loves him & putting her in Chanel. “Sing” by ladé marks one of the latter’s only 2 appearances & giving him a solo cut to spit that gangsta shit preceding “Down” by BabyBartier, Sir Untre & unitus was only right until the 3 talking about breaking it off with bitches who have no swag over a Zaan instrumental.

“Words Don’t Hurt, Bullets Do” by Sir Untre winds down We All We Needed’s final moments discussing his preference of letting the stick leave everyone in pain since he’s so pissed that he doesn’t even wanna talk while “Whole Lot” by BabyBartier talks about having so much product where he straight up asks what one would like to buy. “I Love” by Sir Untre expresses the gratification he gets outta hearing gunfire while “Mojo” by BabyBartier & ladé concludes the album talking about getting drugs off a boat.

To my knowledge: Rich Amiri has been primarily holding it down for Internet Money Records within the past couple years so it overdue for Taz to bring some fresh new faces on board & We All We Needed certainly offers a promising future for the imprint. BabyBartier, ladé, Sir Untre & unitus all deliver some of their hungriest performances on wax & I found myself enjoying more out of the production than I did when Bartier made his major label debut this spring.

Score: 3.5/5

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