Benny The Butcher is here! But it feels more like he’s back for the first time. His debut album “Everbody Can’t Go’ lands on the vaunted Def Jam records so it should go without saying that this feat alone would be or should be worth the listen. But in today’s current landscape of music consumption, that salient fact is nothing more than a mere footnote in a the grand scheme of things. No worries though, this review is not going to be a lament on the ills of the music industry and how this album is a blast from the past.

  The album opens masterfully with “Jermanie’s Graduation.” It’s less of a intro and more of a opening salvo as it departs from the normal “Intro” structure and lands you right in the middle of the action. It’s not a bad decision by any means but I personally, a proper intro would have set up this album true opener perfectly. The Alchemist rarely disappoints so don’t expect him to here. Silk piano loops are his specialty…a perfect marriage of form meeting function.

  ”Bron” takes a tonal shift however as Hit-Boy gets tagged in and enters the fray with a bombastic horn section that allows Benny to get his braggadocio flow off. It works to a certain point because the beat begins to wear thin after the first verse but with a 2:30 run it’s not as painful as it could be.

  ”Big Dog” gets back to the gritty boom bap that Griselda is known for. I’d be lying if I said I wasn’t looking for Westside Gunn’s patented “Grrrddd” adlib but I let it slide for the All-Star performance of Lil Wayne. He absolutely steals the show and punishes the track some of his most to the point bars that he’s spit in a while. No nonsense Wayne might be a scarier sight than the lighter flick one.

  ”Everybody Can’t Go” should have been the opener’s true opener. As a stand alone track it offers poignant production and even more poignant lyricism. It’s so soulful but it feels more like a interlude. The run time is leaves you longing for more…A “Song Cry” type of song production wise deserves more than the 2:25 than it was given. I’m sure this is a nitpick but it woudl have been great if the track faded out and not just end so abruptly.

  “TMVTL” shifts gears again as Benny gets into his BAG with the story telling. It’s literally three different vignettes showcasing street life in a crime drama type of way. Benny narrates each scene like a Buffalo Rod Serling. This song has the potential to be an entire concept album if Benny decided to go that route but that’s just me wishfully thinking. As it stands now, This is the clear standout for best track on the album.

  ”Back Again” departs again from the gritty side and gets back to the smooth grooves that Hit-Boy is known for. It’s not a bad track by any means but immediately following the prior track, it’s a bit jarring. Snoop absolutely wasted this beat. His hook was serviceable but I wanted a verse…NOT reverb shit-talking and spit kicking.

  ”One Foot In” is amazing full stop. Perfect beat, perfect flows from Benny and my underground hero Stove God Cooks. However this track being 2 minutes is CRIMINAL. I realize halfway through this project that this has been my most returned to complaint. I’m not sure if that’s because I want to hear more or if I’m just being greedy…probably the latter.

  ”Buffalo Kitchen Club” sounds like a Hip-Hop Soap Opera. Like if Days of Our Lives or General Hospital aired on Bounce instead of ABC. Both Benny and Armani Caesar sleep walk through the track and don’t really offer much in terms of lyrical dexterity. This is the first track that I would skip as the energy is truly sapped. I’m not mad at the run time on this go round. Get this track over as soon as possible.

  ”Pillow Talk & Slander” redeems the former track’s existence. Stellar performances from Babyface Ray and Jadakiss allow Benny to play the back. Kiss should not be this good this late in his career. A true legend with the pen.

  ”How to Rap” Places Benny back in the spotlight by himself and he doesn’t waste a bar. It’s a manual of sorts of how to get your game intact…not your wig pushed back…lyrically of course.

  “Griselda Express” allows Voltron to form once more as Conway and Westside sit back and smile as they watch Benny and Rick Hyde truly come into their own on the final posse cut of the album. It’s a culmination of the years of work put in. And as Benny eloquently states. “The Griselda Train Ain’t Stopping” and I agree.

  ”Big Tymer” is the album’s true closer. The beat echoes throughout the bars as Benny and Peezy trade bars that are so seamless, you begin to think about the possibility of a collab project somewhere down the line. I wouldn’t say its the best closer to a debut album simply because the prior track had more of a finality to it. That’s more of a sequencing issue than anything. Missed opportunity to stick the landing on a otherwise stellar major label debut.

  Benny The Butcher is a star, there is no doubt about that. I know he is more than a few projects in at this point, But again with this being a major label debut, this was an opportunity to gain a new following and let people in a bit more. Don’t get it confused though, this album is filled with extremely high highs and minimal lows but they do exist and cannot be ignored. It’s a concise effort packed to the brim with features and does’t really allow for Benny to fully flesh out his story like I would have wanted. The album comes off more as a sequel to “Burden Of Proof” than anything else. I expect the album to have staying power throughout the year but unfortunately I feel it may get lost in the sauce by the summer time unless he drops a deluxe version.

4.0/5 Blades