Album Review — Benny The Butcher’s ‘Burden of Proof’

The quality of albums released in 2020 have been amazing. Across the board in every genre, there’s been a remarkable album to represent every genre. Except for hip hop, which saw a slow start to 2020 and raised concerns for me after a disappointing 2019. But hip hop has come on real strong in the second half of this year. All it’s been missing is a crown jewel release. Until now. Unsurprisingly it comes from one of the best up and comers in hip hop today in Griselda’s Benny The Butcher. After he delivered a top ten album in Country Perspective’s Top Albums of 2019 list, he’s delivering even more with his new record Burden of Proof.

The bouncing title track opens the album and right from the beginning Benny comes out firing with the bars. In this song goes into how him and Griselda did things differently and how now that they’re becoming more famous, more people are trying to copy their style. It also comes with more enemies. The line that best expresses this: “I know how it feels when they don’t like that you did it different/’Cause they dickridin’ trends just like them n***** you mimic.” It’s a great opener that tells you right away what you can expect from this project: hard-hitting bars with a message. The song ends with an entertaining skit too with Pain in Da Ass quoting The Sopranos and another quote from Carlito’s Way.

The spacey and smooth “Where Would I Go” has more fantastic bars from Benny as he reveals in this song his battle with asthma his entire life. Considering the circumstances of COVID-19 in the world right now and how especially important lung strength is in hip hop, this other side of Benny adds another compelling layer to his story and music. This song also has a really nice feature from Rick Ross and it’s a funny thing with Ross for me: I don’t think I’ve ever enjoyed an album all the way through from him, yet it feels like I enjoy every one of his features. It’s also a pretty big deal to hear the iconic Maybach Music tag next to the Griselda tag at the end, showing how far this scrappy group from Buffalo, New York has come and how they continue to rise.

“Sly Green” is fantastic, as the beat is classic east coast hip hop delivered from producer Hit-Boy. Benny tells stories of what he does best with his storytelling and that’s tales of the street. Like Pusha T and Freddie Gibbs, Benny does an excellent job of showing both sides of street life. While it’s easy from the outside to see the bad side with the obvious violence and dangers that come with it, there’s also the other side where this drug dealing and hustling feeds families. It’s a fascinating dichotomy. Speaking of Gibbs, he joins Benny on “One Way Flight.” These two were great together before on Gibbs’ “Frank Lucas” and they once again they deliver big together (when can we get an entire project with them together?). Butcher’s flow is flawless and at first you think Gibbs is only doing the hook, which sounds great from him, but you gotta have a Gibbs verse if you feature him. Thankfully he comes in at the end and it’s both equally great and hilarious, as he destroys the Los Angeles Clippers with this line: “Get fucked and sent home early just like the Clippers.”

“Famous” is another glimpse into the psyche of Benny The Butcher, as he goes into how he feels to be famous after spending years of hustling on the streets. His overall feeling seems to be a fish out of water and not really comfortable where he’s at now, as he feels caught between two different lives. Two brilliant lines that show this: “I chose money over fame, how I end up with ’em both?/I’m just a dealer to the judgе, and a sinner to the Pope” and “And I never thought I’d make it out the hood/And it don’t feel how I thought it should.” He then concludes the song proclaiming he’s made it, but also not forgetting his roots, as he shouts out the people who have stuck with him and those he’s lost.

“Timeless” is undoubtedly a play for mainstream appeal, as Benny is joined by big names in Lil Wayne and Big Sean. Despite the slicker production and features, it still feels like a Butcher song and something that fits on one of his albums. The production in particular manages to keep that grimy feel you’re used to hearing with Griselda while also having that mainstream polish. Both Wayne and Sean deliver solid features too. “New Streets” sees Benny breaking down how there’s two sides to the street life commonly rapped about in hip hop. As he explains in the song, there’s a lot more than the glamour and happy endings that many in hip hop only rap about and how at the end of the day there’s a lot more bad endings that go even beyond jail time. He also gets into how his mistakes and losses are what ultimately made him into who he is rather than the flashy wins.

It’s this realism and genuineness that shines through in Benny The Butcher’s work that’s quickly making him one of the best in the game, especially when so many in hip hop chase and promote the fake image he speaks out against throughout this album. Of course this isn’t an issue just in hip hop, as every genre struggles with the balance of reality and fantasy, as well as roots and tradition versus new school thoughts and ideas. If one becomes more lopsided, things go haywire. And Benny does such a good job of keeping this in mind with his music.

“Over The Limit” is about Benny getting out of the street game and how his past still haunts him, as federal authorities try to use the stories he raps about in songs against him to incriminate. While his past undoubtedly fuels his music and made him who he is with no regrets, he also doesn’t boast about this past, as he calls himself a survivor and he admits he got out as soon as he knew the consequences were too much as he was building his music career. Again the storytelling from him is excellent, Dom Kennedy is solid on the hook and the dramatic production really adds to the tension of the story being told.

Benny gets sentimental on “Trade It All,” as he gets into his relationships with his family. He raps about how important it is to him be a father to his daughter: “For the n***** in my position, take care of your daughters/No matter what they choose to do, they aware what you taught ’em/My kids took my advice ’cause I’m fair as a father.” This importance carries even more significance, as in the next song he reveals he was raised by a single mother, showing how he wants to be there for his kids like he didn’t have with his dad. Benny also goes into how the loss of his brother MachineGun Black shaped him and the cost he paid with this and how at the end of the day he would trade all of his fortune if he could get him back. It’s quite a deep moment from Benny, as it undoubtedly pulls at the heartstrings to hear such stirring reflection and sobering lessons learned from a hard life.

“Thank God I Made It” is more reflection and gratefulness from Benny, as he thanks his mother for all she did for him and making him the man he is today. He also goes into how the systemic racism in America combined with the broken households of many African American families across the country force so many into the dangers of street hustle, as it’s often the only option to provide for themselves and their families. Benny shouts out his brother again, as he says he feels his spirit as he writes this song. Every part of the lyricism throughout this song is just dripping with passion and impactful messages. Not to mention Queen Naija sounds fantastic on the hook and the soulful production is quite catchy.

“War Paint” is the traditional Griselda track with Westside Gunn and Conway the Machine. The production on this track feels like a final boss level, as it has a cinematic gravitas about it. And as usual this trio sounds fantastic together. Conway steals the song though with these lines, as he delivers with such confidence: “HOV said, “You that boy”, I get acknowledged by the GOAT (What up, HOV?)/Woo, even shook the hand of Beyoncé/That story brought tears to the eye of my fiancée/But I don’t know if it’s because my shorty such a fan/Or did she realize in that moment, I’m the motherfuckin’ man.”

The album closes out with “Legend” and Benny essentially wraps up everything he covers throughout the album: the fame, his friends, family and announcing his arrival to the rest of the world unaware of him before now. Once again so many bars you could choose from throughout this song, as Benny is absolutely relentless. But the following are some of the best on the album: “My team got a will strong enough to beat cancer/Master’s in dope, before that, I had a Bachelor’s in coke/I’m like Ali, I fight better with my back on the ropes/Labels, I passed ’em up, it’s like they after the flow/And my legacy, it’s like they want a fraction of both/Nah, I was good by myself, this how I’m bettin’ now.” I mean you don’t get wordplay better than this, as it not only flows so well, but says so many things in such a short span.

Benny The Butcher gives you everything you want out of an excellent album and then some with Burden of Proof. The lyricism, production, the features and the themes are all flawless. He delivered so many great albums before this, but with this record he reaches a whole new level of greatness in my mind. As he says in the final track on the album, he’s ready to be a legend now. This album more than proves this high claim.

Grade: 10/10

Album Review — Westside Gunn’s ‘WHO MADE THE SUNSHINE’

Out of the Big Three of Griselda, it feels like Westside Gunn is the least heralded. It’s not a big surprise, as his style isn’t as accessible as Benny the Butcher and nor as lyrically compelling as Conway the Machine. But with his major label debut album WHO MADE THE SUNSHINE, Gunn has delivered what I arguably believe to be his best project yet. It shows what he’s best at and that’s delivering exciting flash.

“Sunshine Intro” leads off the album and not only sets the tone of it well with the eery beats, but it also features AA Rashid explaining the duality of lightness and darkness. It’s an interesting introduction that gives way to one of my favorite songs of 2020, “The Butcher and The Blade.” Paying homage to the AEW tag team of the same name (who also originate from Buffalo, New York like Griselda), the beat of this song is downright nasty. The exasperated exclaim of “fuck” at the beginning of the song is such a nice summation of how great this song is. It’s the standard Griselda joint, as each of the big three absolutely split fire over a swirling and surrealistic piano-driven beat. Big props to producers Daringer and Beat Butcha. And while each rapper on this song sounds great, Conway’s verse is absolutely incredible and further shows why he’s the lyricist king of the trio.

Gunn is joined by the iconic Black Thought on “Ishkabibble’s” and as always Black Thought delivers excellent bars. Also I’m impressed as always by his flow, as it’s just so smooth and flawless. Gunn holds his own though too and it’s one of many examples on this album show how when Gunn focuses he can be just as great as his Griselda brothers and the high-profile guests on this album. Boldy James and Jadakiss join “All Praises.” This song took a few listens to grow on me, as it just didn’t feel as strong as other songs on the album. It also has the misfortune of following up two great songs. James’ delivery still isn’t the most compelling to me, as I find it to be a bit stilted and dry for me. Jadakiss though sounds great, as his grimy delivery and solid bars add some much needed grit to this more polished sounding track.

“Big Basha’s” is the only solo Gunn track on the album and I wish we would have gotten more of this on the album. While the guest features on this are excellent, they also overshadow Gunn many times and it feels like he’s lost in his own album. It doesn’t help either that this song is so short too. Despite this song’s shortness, Gunn demonstrates great storytelling on the song, describing a grizzly scene that is common when drug deals go bad. “Liz Loves Luger” is the most controversial track on the album and that’s because it’s about Gunn busting a nut. And we also get to graphically hear him receiving this. Yeah, not something most people want to hear. But props to Armani Caesar for delivering a great feature, as she flows so naturally over the beat.

“Ocean Prime” is so slick and we get to hear two amazing features on opposite ends of the spectrum in terms of delivery. First you have Busta Rhymes, who just goes absolutely ham over the beat. His crazy, frenetic, high energy he brings is so infectious. This is followed up by the legendary Slick Rick, who is the definition of cool, calm and collected with his delivery. I find it really cool to hear such differing deliveries in one song and how the versatility in styles in hip hop is what makes it so compelling. “Lessie” is one of my least favorite songs on the album, as it’s just not memorable lyrically and Keisha Plum’s spoken word features never really do anything for me.

“Frank Murphy” is a whopping eight minutes long and based on this runtime, your mileage will vary with this track. The production from Conductor Williams is without a doubt fantastic. It’s dirty, bleeding horns-driven beat is so much fun and it’s a sound you won’t forget after hearing it. It’s a long feature list on the track, but for me Stove God Cooks and Flee Lord deliver the best verses, as they bring the fire and intensity necessary for such a dominating beat. Gunn’s charisma shines well over the beat too. But I just don’t really see why this needed to be this long of a song. It’s not terrible, but it could have sounded just as great if not better at four minutes, as you run the risk of burning the listener out on such a long track with a beat, while compelling, that is also same-y sounding throughout.

“Good Night” features the best storytelling and lyrics on the album, as Gunn and Slick Rick tell an exciting story about a drug deal gone wrong between Gunn and a dealer and his cousin, who’s a rookie cop. The beginning of the song is from Gunn’s perspective and then later Rick comes in with the rookie cop’s side of the story. There’s so many twist and turns throughout the story, so be sure to listen to this until the end. And I’m glad to hear Slick Rick get an extended verse on this track, he once again delivers some cool, hard-hitting bars.

“98 Sabers” is the final track on the album and man does this record go out with an absolute bang. Just Blaze produces an absolute filthy, evil beat that shows why he’s one of the most respected producers in hip hop. Then Gunn, Caesar, Conway and Benny all sound their best, as it feels like each are trying to outdo the other. Everything about this song just feels epic, as it just keeps building and building, never letting up like “Monster” from Kanye’s My Beautiful, Dark Twisted Fantasy. It’s by far one of the best songs I’ve heard from Gunn.

WHO MADE THE SUNSHINE is a really fun album that’s enjoyable from front to back. Westside Gunn really steps up his game in his major label debut and shows why Griselda is the fastest rising group in hip hop. This album won’t compete for my top hip hop album of the year, but it’s definitely a record that is worthy of being in rotation for a long time and there are two songs on this album that absolutely belong on the best songs of the year list (“The Butcher and The Blade” and “98 Sabers”).

Grade: 8/10

Album Review — Conway the Machine’s ‘From King To A GOD’

While it feels like most of hip hop is going pop, the Griselda group is perfectly content doing what they do best and that’s delivering some of the grimiest beats and hardest hitting bars in the game. While all three of Benny The Butcher, Westside Gunn and Conway the Machine all bring something great to the table, it feels like Conway in particular has had a rapidly rising 2020. All of his features have been standouts and he delivered a really solid project in LULU with The Alchemist (I haven’t even got a chance to listen to No One Mourns the Wicked yet). So now he’s released what he’s dubbing his debut album in From King to a GOD and it’s without a doubt a fantastic debut from an artist who is quickly establishing himself as one of the best lyricists in hip hop.

The voice of zen writer and speaker Alan Watts greets you on opener “From King,” which is definitely a nice surprise. Conway then does his thing and that’s drop hard hitting bars that set the tone for the album well. And the song ends with a sample of a Kevin Nash promo/Tony Schiavone commentary in WCW because it’s a Griselda album of course. It’s a great opener because I’ll remember it and it makes me want to hear more. Next is “Fear of God,” where Conway has a great, smooth flow and the DeJ Loaf feature fits the song’s attitude, capping off the song with a nice touch.

I really enjoy the griminess of “Lemon,” although the hook is a bit weak. But the bars hit hard, Conway’s delivery is emphatically great and Method Man absolutely kills his verse. His weathered, deep voice matches perfectly with the dark beats. Any other album and this should be easily the best feature, but this album is loaded with amazing guest features. “Dough & Damani” is produced by The Alchemist and of course it’s smooth as hell. Conway and The Alchemist have such great chemistry. Conway also features his more humorous side on this song, which is enjoyable. I particularly enjoy the short kit around two guys arguing over who gets to hold the gun.

“Juvenile Hell” is not only my favorite song on the album, but maybe my favorite song I’ve ever heard from Conway. First the beat on this is absolutely filthy and does 90s boom bap absolutely proud. Then you have the features from Flee Lord, Havoc and Lloyd Banks. Each one of them bring absolute fire, but Banks steals the show with his appearance. His flow over the beat is absolutely flawless and the wordplay is brilliant. The line I really enjoy is “I’m on my rivals, embarrass ‘em with my calm bravado/My alma mater of smackin’ a n**** horizontal.”

Next is the first “Words of Shay” interlude and it’s cool to hear these words from Conway’s close friend DJ Shay, who is unfortunately revealed to be dead later in the album on Conway’s tribute to him on “Forever Droppin Tears.” And I should point out that the title is not just an expression of Conway’s sadness over the passing of his friend, but also a reference to Shay talking about in the interludes how Conway cries when recording songs. So it doubles as Conway’s showing of passion. The song itself is an absolutely beautiful tribute with lots of heartfelt lyrics and great storytelling of the relationship between Shay and Conway. It’s all set over a bouncy and classy beat from Hit-Boy and El Camino adds a lot with his feature. But I will say I don’t think the third interlude was really necessary, as I think the tribute was good as is with just two interludes. Still it doesn’t take away much from one of the highlights of this album.

“Front Lines” is Conway’s take on the civil unrest and Black Lives Matter movement that took place this past summer and the systemic racism that has been taking place for years. Conway does a fantastic job laying out all the issues and once again his storytelling lyricism really shines, particularly when he’s describing how routine police stops quickly turn to violence for many black Americans. The song ends with a clip of a news report of when protesters broke into the Minnesota police precinct this past summer and this definitely fits the song, but I feel it goes a bit too long and smaller clip would have been more effective.

“Anza” is the weakest song of the album, as it’s pop-ish flavor is such a stark contrast to the rest of the record’s sound and sticks out like a sore thumb. It just doesn’t fit and while Armani Caesar is a great MC, her feature is a bit boring. All around this song just doesn’t work within this album. “Seen Everything But Jesus” gets back on the right track though and grows on me more and more with each listen. Conway is joined by Freddie Gibbs and as always Gibbs delivers. A nice surprise we get from Gibbs though is some singing in addition to his always hard-hitting bars. While he seemed to always be joking when doing this earlier in his career, his singing is actually pretty good and I wouldn’t mind hearing him take on some R&B songs. Even his more humorous singing moments are fun (see “FLFM” off Freddie).

“Spurs 3” is the traditional Griselda joint on all Griselda albums and like a Gibbs feature, you can always count on this to be great. The dark and eccentric beat is lively and engaging, with each of Conway, Westside Gunn and Benny The Butcher flowing well over it. Although I am a bit surprised that Benny is weakest sounding on this track, as usually he’s the best technical rapper of the trio (Gunn is more about flash and Conway is the sharp lyricist). Nonetheless it’s a solid track.

“Jesus Khrysis” has a spacey, throwback beat that draws on boom bap again, something this album really does a great job with and it’s one of my favorite beats of the album. What makes it even better is the lyricism is top notch, with Conway delivering excellent verses like “N***** try blockin’ my goals, I’ma make it Messi” and “That’s the zone I’m in, I write with a golden pen/But lately, I ain’t even been writin’, I just been goin’ in.” Not only is the later a great bar, but also a possible glimpse into Conway’s approach to writing because apparently him and Benny both go into the studio and record without any lyrics written down. They do it all from the top of their head, which if true, makes the songwriting even more impressive.

“Nothin’ Less” is another banger that closes the album out strong. It has a surprise feature from DJ Premier, who fits yet another amazing boom bap inspired song. And some people may find the reliance on boom bap influences on this album to be lazy, but I completely disagree when so much of hip hop nowadays is filled with generic, pop radio chasing beats and trying so hard to sound like a Drake song. So I find throwback beats like this be quite refreshing because it pays homage to the roots of the genre and the producers on this album also bring a modern flavor to it, avoiding sounding dated too. And of course it helps to have a great lyricist like Conway to rap over it, as a lot of rappers would get eaten up by the sound.

From King to a GOD is a fantastic proper debut album from Conway The Machine, as he brings his signature sound and high quality lyricism that longtime fans have come to appreciate him for while also bringing a level of accessibility in the music that will surely attract new fans too.

Grade: 9/10

Spinning All The Records — April/May 2020

Hey all! So I wanted to give a quick update on the plans for the site moving forward and what’s been happening. First I wanted to address the abrupt stop in posts. The reason for this was due to a privacy issue that I would chalk more up to trolling than a legitimate concern. But at the time I wanted to be safe and closed the blog down temporarily. It’s now back of course, but I wanted to give you all an explanation, as I hated leaving you hanging without a reason. 

During this downtime I started to rethink of how I want to approach posting on the blog. And to be quite frank I was starting to fall into an old bad habit of mine of listening to post reviews, instead of listening and then posting a review when I’m ready. It’s so easy nowadays to fall into the trap of wanting to constantly keep up with every release and I find personally this ruins my own listening experience. So I realized I need to get away from my usual style and do something that fits me better. 

My first thought was a podcast and I even got to the point of test recording and a first episode written out. But unfortunately I’ve realized I simply just don’t have the proper amount of time to do one. As someone who has done a podcast before and felt I did it the right way, it takes A LOT of work and time to pull off, at least in the way I would want to do it. Just the recording and editing alone is arduous. So for now I’ve decided not to do a podcast. I’ve not ruled out doing one at another time, but for now it’s something that will be on the back burner. 

However, the tinkering with the podcast and the realization of the need to adapt my approach did lead me to an idea of how I want to approach writing moving forward. I look at the way reviews are approached nowadays, specifically by larger publications, and I see something that just isn’t natural in this constant rush to post reviews. Most people don’t listen to an album and form such an immediate judgement. And even after the initial judgement, that opinion can then shift even more with time. But reviews don’t reflect this; there’s a finiteness about them. You post the review, the grade and then the reviewer is put into a box of defending this take for…well forever it seems like. So I hope this new style and approach will be a better reflection of the way an average listener approaches music. Stay tuned!

For now I wanted to post all of the stuff I had written below for Spinning All The Records for April 2020. And thank you for reading!

Conway the Machine & The Alchemist – LULU

This is a really tight, short and cohesive album from start to finish. As always The Alchemist brings some really smooth beats, which fit the rapid fire delivery of Conway well. Not to mention the sampling used is great too, especially on “The Contract.” ScHoolboy Q delivers a solid feature on “Shoot Sideways,” but I especially enjoy Cormega’s feature on “They Got Sunny.” The veteran rapper spits absolute fire on his verses. If you enjoy coke bar rap and the work of the Griselda Records group (which I sang their praises of last year when I put Benny the Butcher on my album of the year list), you don’t want to miss this album. 8/10

Niall Horan – Heartbreak Weather

This is an enjoyable and solid album of soft rock meets pop love songs. Although I will say it’s not all straight-ahead love songs, as Horan weaves in themes throughout the album of insecurity, doubt and details of the hard road one can experience in finding love. The album has an overall sound of being bouncy, fun and upbeat, while Horan demonstrates himself to be a charismatic vocalist with range. And while there’s many fun moments like on “Everywhere,” there’s also some more serious and introspective moments that give this album a softness to balance it out (“Put a Little Love on Me” and “Still”). 7/10

Sam Hunt – SOUTHSIDE

I’m sure some of you wanted me to do a full review takedown of this album, but it’s just not worth it (and I don’t do rants anymore). The good of this album: opening track “2016” is by far the best song Hunt has ever done. It’s melodic, it has meaning and it has heart. While the Webb Pierce sample is just necessary, putting it aside, “Hard to Forget” is undeniably catchy. So is “Body Like a Backroad” (even though it feels completely shoehorned in the album). I still enjoy “Downtown’s Dead” as much as when I originally praised it on Fusion Country. And I appreciate the attempt at a bluegrass-influenced sound on “Let It Down.” I wish he would have explored this sound more.

Now to the bad and let’s just state the biggest issue. The ordering of the songs and overall theme of the story is a complete and disjointed mess. The overall flow of the album is like a zig zag, with no logical order whatsoever. “2016” should have been the closing song. “Kinfolks” is boring as hell and forgettable. “Young Once” is just absolutely stupid with it’s premise that dumb mistakes can be completely dismissed due to youth. “That Ain’t Beautiful” would be best described as having just a gross feel about it and features the worst side of Hunt and that is him wishing he was the Drake of country music.

“Breaking Up Was Easy in the 90s” has an annoying “I was born in le wrong generation” vibe. “Sinning With You” is the ultimate display of immaturity and also features nauseatingly cliche religious imagery that comes across so fake and insincere. “Drinkin’ Too Much” is best summed up as an abomination in every way, from his Drake impression to the lyrical content being disgusting and hypocritical. If Hunt ever indulged in his best tendencies, he could deliver a good album. But this is not it. 3/10

Western Centuries – Call the Captain

This band showed a lot of potential in their debut album. Their sophomore album was completely forgettable. And this album is very much along the same lines. There’s nothing inherently wrong with it, but it just doesn’t stand out in any way for me.

Jessi Alexander – Decatur County Red

I can essentially repeat the same for this album. That’s the double-edged sword of independent country, well at least from my perspective. On one hand, I’m much more inclined to listen to country music from the independent realm because I know how to find it. But that also means I listen to more of it and that kind of makes the bar higher too. It’s a brutally competitive space, so standing out is key. This is a decent album and Alexander has a nice voice, but after a few listens I just don’t feel like coming back to it.

Knxwledge – 1988

This is mostly an instrumental album, not surprising as Knxwledge is mostly known as a producer, most notably his collaboration with Anderson .Paak as NxWorries. So I only recommend this album if you’re a music nerd like me who can listen to a half-hour of random beats and sounds. And if you do listen you can get a great fill of pop, R&B, hip hop and even some gospel sounds. It’s quite a relaxing, chill listen I might add too. Knxwledge cements himself further as a standout producer on 1988. 8/10

Logan Ledger – Logan Ledger

All of this build up and an intriguing voice only for this to be another new act that leans hard on a nostalgic style and adds nothing fresh to it. So it just comes off as boring. I couldn’t even make it through one listen.

Maddie & Tae – The Way It Feels

I did not expect to be sticking this album here. But then again I didn’t expect this to be a giant disappointment and I didn’t feel like re-writing the Caitlyn Smith review. Just like Smith, Maddie & Tae throw away everything on this album that made their debut album great: warm melodies, sharp songwriting and harmonies that melt the ears. In their place is schlocky pop country, copy and paste songwriting, and little to no harmonies. I literally yawned several times going through this album because it’s so predictable in it’s approach. And there’s so many boring moments that the few standouts like “Die From A Broken Heart” just get lost in this mundane and drab collection of songs. It’s just another album in a sea of albums. What a damn shame for a promising duo. 5/10

Ruthie Collins – Cold Comfort

Honestly I just couldn’t engage with this album and I think a big reason why is the image and presentation is such a 180 from her “Ramblin’ Man” days that this just comes off as too calculated and insincere for me. Maybe I’ll be able to revisit this later, but for now this comes off as “dress up” to me.


Any other releases in late April and any in May will likely be covered in some way coming soon! But please feel free to engage in the comments and ask me as always about anything that isn’t covered or for further clarification on any comments I’ve made above!