Hip hop fans rejoice - Slick Rick is finally back! Being 2025, I expected something a little more modern, but much of this project sounds like the Slick Rick of old — which isn’t a criticism, just an observation. It’s genuinely great to hear new music from one of the most original voices in rap. At just 27 minutes, the album moves quickly, though it never quite delivers a truly standout moment. It kicks off strong with 'Stress', a catchy boom bap opener. Giggs closes it out, but doesn’t hit it out of the park, and the track ends a little too soon. 'Angelic' could've been better too if the sounds changed up more for the hook. 'I Did That' switches things up with a spoken word-style piece where Rick reflects on everything he’s contributed to hip hop that is more a self-mythologising interlude than a song. On 'Come on Let’s Go' and 'Cuz I’m Here', Rick revisits the house-influenced vibes of 'The Ruler’s Back'. These are decent nods to his past, though they don’t leave a lasting impression. 'Landlord' is a highlight that is classic storytelling about a landlord dealing with dodgy tenants. It could easily have slotted into his debut. 'Documents' with Nas plays like 'Black Bond Part II', picking up from the song on Nas' Life Is Good. 'We’re Not Losing' brings some of the album’s most energetic production, before closing with 'Another Great Adventure' that showcases Rick’s iconic narrative style. Overall, it’s good to have The Ruler back. While the album doesn’t break new ground, it’s a solid return from a legend, full of charm, character, and glimpses of what made him great in the first place. I do wish some tracks were longer. I’m not a fan of the recent trend of short songs. They don’t give the listener enough time to get immersed or build the kind of connection and memorability that more traditionally structured, full-length tracks offer. Beats: ★★★ Rapping/Bars: ★★★☆ Hooks: ★★☆ Best Tracks: Stress, Documents, We’re Not Losing

[spoilers] There just wasn’t enough story here to make me care. The characters felt thin and underdeveloped. The film opens with the death of a parent we know nothing about, revolves around a daughter we barely get to know, and ends with the death of a sister whose relationship to the protagonist is never meaningfully explored. The writers seem to think these moments will land emotionally, but there’s no real foundation for them. The near-constant action is solid and expected in the John Wick universe—and there’s no shortage of explosions (possibly a record of grenades used in film)—but after two hours, I needed something more. The film needed stronger narrative depth and character work to balance the chaos. 3-2.5.

What a waste of intriguing ideas and compelling characters. Despite the strong cinematography, engaging setting, memorable music, and initially interesting cast, it all devolves into yet another dull vampire film that could have been set in any era. The vampire genre is incredibly overdone at this point. While this hasn't affected my rating, it's worth noting: if the racial dynamics were reversed, a film like this wouldn’t get made — yet it's still somehow acceptable to portray things this way.

This album feels like many other decent-but-forgettable No Limit releases—competent, but lacking anything truly remarkable. I’ve given it multiple listens, and while I’ve never found myself thinking, “this is outright bad,” I’ve also never walked away with anything that stuck. One of the more noticeable issues is the lack of contrast between the verses and the hooks. The production remains largely static throughout, with little to no variation in the instrumental backing during the choruses, which makes the songs blur together. Picking standout tracks feels like splitting hairs—none rise above the rest in a meaningful way. Beats: ★★★ Rapping/Bars: ★★☆ Hooks: ★★ Best Tracks: Mobbin' Through My Hood, Fuck Them Hoes, Tru Playaz, Keep It All Good

I've been anticipating this album for ages as I really enjoy his last album, 'Guilty by Affiliation', that I still occasionally spin these days, and I kind of wish I held off and didn't check out the EP that was released prior to this, because it means I'd already heard 25% of this as three of the five EP tracks make the standard release of the album. Early impressions are that this isn't as good as his previous album, as I'm not feeling most of these beats as much. Most feel more like your stock standard hardcore west coast beats, where I feel many on his previous effort had something extra to 'em, and the amount you heard Cube on the previous album almost made it feel like a joint effort. Speaking of Cube, some of this, especially 'You Know Me', reminds me of a few of the beats on Cube's recent album, 'I Am the West', like 'Life In California', and the last track 'Dub C', produced by Trick Trick, feels very much like 'Trick Trick' by, oddly enough, Trick Trick. Also, none of the Japan bonus tracks are worth searching for. Despite not matching his previous and best effort, it's a solid bangin' album, where Dub-C continues to entertain featuring some tracks to go back to. 3.5-3 / 5. Best Tracks: Revenge of the Barracuda, What's Good, That's What I'm Talking About, D Boy 1 Revenge of the Barracuda 76 2 You Know Me 72 3 Reality Show 64 4 What's Good 76 5 Walking in My Taylors 60 6 That's What I'm Talkin About 86 7 Sticking to the Script 74 8 100% Legit 70 9 D Boy 74 10 Hustla 65 11 The Spot 67 12 Dub C 80 Bonus Tracks 13 It's Official - Maylay solo pretty much 14 Frontline 50 15 Dr. Mandingo 65 16 Back to the Basics 65