Tag: Benny the Butcher

DJ Drama – I’m Really Like That: Review

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Synonymous through his voice, imprint, and relevance in Hip-Hop’s growth through varying cultural hurdles, DJ Drama will always stand tall amongst the varying legends in the genre, even when his albums aren’t as potent as the albums he hosts. For the east, whether it was DJ Clue or the late great DJ Kay Slay, these tapes have always been prevalent in breaking apart and delivering personifications of themselves musically, as they don’t host or co-produce to fit someone else’s style. Kay Slay showcased lyricism at its finest, Clue brought more club heaters, and Drama is that happy medium where you’ll know what you get based on the artists featured on each track. It’s a benefit for those with this love for Hip-Hop who will comprehend what they may or may not like ahead of time – it’s been that way through Drama’s Quality Control series, amongst others, and it continues with the slightly humbling I’m Really Like That. For all the positives come some stumbling negatives, specifically as Drama’s purview on choruses comes off a bit one note, and some rappers don’t bring that A+ flavor keeping the consistency rocky.

I’m Really Like That isn’t anything special like the many curated albums by DJs who work as the lead artist, but for those who have a fondness for hearing rappers work with each other where they wouldn’t otherwise on a solo project, it’s enough to push the intrigue level higher. You won’t feel your time fully wasted due to it since what gets heard are some amazing rap verses, above-average hip-hop production, and some repetitive melodic choruses that never have a lot of character. DJ Drama’s spoken word between verses and in the intro of certain tracks have more character than the choruses, which are there to showcase the singer’s strengths. Unfortunately, this doesn’t do that, even when you’re getting an angelic performance by Vory, but they tiptoe a balancing beam where their effectiveness can bridge verses. Still, they aren’t at the forefront as constantly – happening somewhat twice, with the second being “FMFU” but none of them are captivating, especially “HO4ME,” which delivers typicality from A Boogie With A Hoodie and Lil Baby. It’s more underwhelming as it comes after the excellent “Legendary” with Tyler, the Creator.

Fortunately, I’m Really Like That takes a more powerful pivot at track 5, where DJ Drama gives us one phenomenally high energy and frenetic moment with “Free Game,” which sees 42 Dugg & Lil Uzi Vert coming with pure ferocity. Matching that potency is many rappers: Benny the Butcher, Symba, Wiz Khalifa, Jim Jones, G Herbo, and Jeezy, to name a few, and it’s their potency that helps round out the tracks they get featured on since the choruses are repetitively simple. Some outshine others, like Symba and Wiz Khalifa on “No Weakness,” the latter snapping on the beat and making one wish they cut out the lackluster T.I. verse. It’s the only instance of this, but as these rappers come and deliver, what could be forgettable ends up less so, leaving you with some tracks to keep in rotation. It’s especially true for the songs “Andale,” “Been A While,” “I Ain’t Gonna Hold Ya,” “Free Game,” and “Raised Different.” Especially the latter that delivers two A+ verses from Jeezy and the late extraordinary Nipsey Hustle.

Like the quality from song to song, Drama shifts between delivering humbling motivational speeches and flexing his ego. It makes sense to hear him expand his ego because Drama’s history within the Underground scene, alongside Don Cannon, has been pivotal in elevating the pedigree of artists. He’s earned it as he’s opened the doors for many, but at the same time, not everyone becomes the next phenom, and one of his recent discoveries, Jack Harlow, went on to be that. He was right about Harlow’s gift and appeal for growth. Unfortunately, Harlow can’t boost that ego-flex as his verse isn’t that interesting, taking off-kilter directions with the metaphors and allusions on “Mockingbird Valley.” For example, when he rapped, “Spent my first advance in Lenox (Gangsta), haven’t been back in a minute/Love me ’cause I’m so authentic, Mitch McConnell still in Senate/Ocean risin’ by the minute, just like us, we came to win it.” For what it is, the bars are corny and offer little as he alludes to his authenticity by making parallels to a backward politician and talking about his consistent rises like global warming and the rising water levels in the oceans. It left me feeling numb and uninterested in returning to any of Harlow’s music for the immediate future.

Jack Harlow isn’t the only outlier with the verses of Gucci Mane and Lil Wayne on “FMFU,” which are below average, and “350” is more atypical for a slightly pushed add-on for a track that’s three years old. “HO4ME” neglects to bring a verse from Lil Baby, relegating him to this bland chorus to match the drab bars from A Boogie. It’s similarly the case with two of the last three tracks, “Iron Right” and “We Made It.” It further makes the insipid need to boast too many character dimensions, as the album reflects varying styles, from the more sing-songy melodic rap vibes to the more apropos New York tones on “Forever.” It becomes this one big roller coaster ride that’s reflective equally through varying channels, like Drama’s vocals and content. It’s an album where you can lower your standards and still be beyond satisfied with the quality of work you get, and you get left with a reminder that DJ Drama still has it.

Rating: 6 out of 10.

Conway the Machine – God Don’t Make Mistakes: Review

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Conway the Machine has organized rhyme schemes and potent lyricism while broadening the transitions from song to song. One of few technical talents that fit him, and his Griselda cohorts, except each, come with different perspectives for style. Conway has brought about greatness on every front, from his ear for production and his masterful writing skills. It’s been the case through his many projects, from album to mixtape, and delivering an innate and hypnotic consistency for fans of lyricism over the more radio-centric sounds. When attempting to bring bangers, he doesn’t stray far from his identity, lyricism; it continues to be a staple of his craft. There’s constant activity on God Don’t Make Mistakes, his major-label debut. There is crisp production from a range of producers, who provide tonal consistency, and there is Conway’s lyricism that never falters.

God Don’t Make Mistakes is like a sucker punch that stops you in your tracks and forces you to sit and listen to Conway the Machine’s verses. More of an introspective composition, we see Conway attacking layers of his person, from confidence to early self-doubt and success. Conway opens the album with visceral confidence on “Lock Load,” featuring Beanie Siegel. Trading bars, Conway and Beanie bring energy and emotional depth to the lyricism. Conway raps: “Momma start thinkin’ I’m crazy, baby mama think I’m nuts/Ever since them n****s shot me, I just stopped givin’ a fuck,” in the first verse, using people in his life to define his attitudes as he progresses to rap more poignantly violent bars. It’s a softer percussion-based production, focusing on the atmosphere as the two add weight with their delivery. 

Unfortunately, there is a minor drawback in “Lock Load” – it happens twice – the audio levels of some of the features drown them out. It may bother some, but returning to piece the bars together with the production is part of its greatness. Beanie Siegel’s verse is audible in decibels, and it’s the same with TI on “Wild Chapters.” There is some disappointment since there are other tracks that have a proper polish for every artist – whether they are heavyweights like Lil Wayne & Rick Ross or underground rappers like 7xvethegenius, everyone delivers and make these tracks well rounded. It feels like those verses lacked that second look, but they are just blemishes on an otherwise outstanding album. 

However, it’s more than just a collection of fantastic verses and performances from Conway and the features that buoy God Don’t Make Mistakes to greatness. The producers bring an individualized identity on each track while keeping you invested, even when some songs don’t always work, like “Wild Chapters” with TI. It has agency, but it doesn’t land as strong as the others, specifically “Tear Gas,” “Guilty,” “Piano Love,” and “Chanel Pearls.” “Guilty” and “Piano Love” stand out as Conway’s solo performances, with the latter seeing Conway flexing eloquently over a piano-laced production from The Alchemist. The former takes the piano keys and gospel backing vocals to complement Conway’s introspective rap about a shootout that left him with Bell’s Palsy. It’s a testament to Conway’s talent. He breaks down barriers, bypassing his swagger simply to keep it real within less loud drum-banging productions.

With “Chanel Pearls,” well, it is an essential favorite – it has one the better productions on the album; the subtle simplicity gives it a sticky drum line, a 1-2-3 punch that allows an uproot from other instruments to build upon it. Piano keys return with elegance, particularly boosting Jill Scott’s rap verse and chorus. It tells a remarkable story – storytelling being a key talent – between two lovers, making it feel unique compared to others that do similarly. It roots itself into the emotions of the two, taking it to a personal level, allowing us to visualize the musical back and forth in our minds. 

God Don’t Make Mistakes comes with surprises. We continue to hear Conway the Machine go toe-to-toe with rap’s heavyweights; we hear him adapting his technical and writing skills to the content he wants to reflect on the album. What Conway expresses is his true self, reaffirming the notion of God accepting the flawed like those deemed “clean.” The constant motion of the album allows it to have a steady run despite its minor issues.

Rating: 8.5 out of 10.

Benny the Butcher – Tana Talk 4: Review

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There isn’t a moment where a member of Griselda strives, each manifesting a hearty platter for hungry fans to indulge. Album to album, mixtape to mixtape, there have rarely been moments that see them dwindle toward the sometimes tried consistency of Curren$y, instead offering up something fresh on the lyrical side and the production side, as they embody a different approach to the music. Benny the Butcher is constantly mounting layers in his lyricism, even when he’s speaking about the trials and tribulations of the drug game, during and after one’s shift to a different career path – case in point, rap. On his third studio album, Tana Talk 4, Benny offers up that finely chopped lyricism and perfectly cooked sauce from Beat Butcha, The Alchemist, and Daringer. 

Benny the Butcher is keen. He knows what he wants and delivers translucent flows, immersing himself in the production. It makes his verses flourish through the different tempos, whether it goes on an uptick or downtick based on the content. He delivers with impact, along with sous chef J. Cole on “Johnny P’s Caddy,” trading verses detailing their rags to riches as an artist through the eyes of respect. It fits the mold of the Tana Talk series as it has been personal to Benny the Butcher, and it weaves a path that covers subjects like violence, drug use, and humbling yourself amongst your riches due to past reflections. On “Super Plug,” Benny starts laying it down and describing the differences between vague verbiage and detailed imagery when describing the horrors of dealing. It’s given a perspective that gets used to lure in those to the drug game: riches for the family and homies quicker than your 9-to-5. Benny isn’t just talking drugs to talk about drugs; he is rapping in-depth to his perspective – which can be akin to others. 

These sentiments get reestablished throughout Tana Talk 4, notably on “Bust A Brick Nick.” Benny the Butcher reminds rappers why they can’t talk shit on his level – it refers to the shit that Benny went through –for example: getting shot during an attempted robbery, he just happened to be there – it’s similar to 50 Cent as he kept mentioning his nine bullets wounds on Get Rich or Die Tryin’. Benny doesn’t sugarcoat why he puts himself on this upper echelon. On “Bust A Brick Nick” he raps: But it’s over, and that was my fourth felony, certainly/Got a warning, I’d be in Lewisburg right now if they search me/Locked in with plugs, so I know that shit y’all coppin’ no good/To get the drop (What’s that?), I’m the type to send fiends to shop in your hood,” boasting his status, while on the other end having perspective as evident with the line: “Blue steel knife for the jugg so don’t be that life that I took (N***a).” It’s a constant reminder that he keeps mentioning.

He is always looking to bring something creative into the fold, like on “10 More Commandments,” featuring Diddy. Many of us fans have gotten used to hearing his explicit and detailed talk about the drug game, reminding us as much with a follow-up to The Notorious B.I.G. song and showing us how things have changed over a decade. Opening with the lines: “Soon as they let me eat, knew the streets was my expertise (Uh-huh)/I kept discreet contacts with my connect, so they let me eat (Uh-huh)/A rapper, but I was a drug trafficker ‘fore I left the streets/These ten more crack commandments, Frank White, rest in peace.” Diddy comes in to talk about generational culture and how values transfer, despite the system faltering progressions in the community. 

But Benny the Butcher speaks more than just his time in the drug game – listen to The Plugs I Met 1 & 2 – it gets to other personal levels, ones where Benny senses self-doubt. The depth and quality of his lyricism hold no bounds, delivering a beautiful parallel with the production that shifts in tempo from the dreamy “Tyson vs. Ali” to the jazzy heavy “Thowny’s revenge,” there wasn’t a moment that I drew back due to quality. There is this effervescent charm and energy that derives from Benny’s demeanor and approach, you can’t help but feel entrenched by his words.

Unfortunately, the lows on Tana Talk 4 come from poorly timed lines, like on “Billy Joe” and slight redundancy on “Uncle Bun” and “Back 2x” with 38 Spesh and Stove God Cooks respectively. The latter two pass by quickly, one becoming forgettable as I listened on and the other just an oversaturation in concept without nuance. The former – though not “bad” – it feels poorly timed with the lines: “They give a dope boy life, say we destroyin’ communities/I let ’em make me out the villain, I stay poised as Putin be,” considering where we are. Hindsight being 20/20, there are other allusions one can make – though I don’t know how the process works, I don’t know if the track could have been removed prior.

Benny the Butcher continues to show up and deliver, even when the subject stays more consistent than manufactured beer. Tana Talk 4 lives up to the wait and delivers hard-hitting bars that shine brighter than its production, while still allowing it to thrive, especially during repetitive beats in content. As far as Hip-Hop projects, there has been a consistent uptick in Q1 of 2022 that brings glee to my ears – Benny is just one of many.

Rating: 8 out of 10.