Let's start off with The Boy Wonder.
XXL - Lloyd Banks hasn't dropped a project since 2016, and fans of his skilled pen game are in for some elite rap veteran bars. On the Queens, N.Y. native's latest project, The Course of the Inevitable, he keeps some of the guest appearances close to home with lyrical support from Benny The Butcher of Buffalo, N.Y., Harlem's own Vado and Styles P, who hails from Yonkers, N.Y. Nearly five years ago, Banks dropped his Halloween Havoc 3: Four Days of Fury mixtape and before that was A.O.N. (All Or Nothing) Series Vol. 2: L.I.U. (Live It Up), both arriving in 2016. His last album, H.F.M. 2 (The Hunger for More 2), came out in 2010, and was the second coming to his 2004 G-Unit debut, The Hunger for More.
First off Lloyd Banks is the fucking man.
He came up with 50 Cent back in the early 2000's and was arguably just as good if not the better rapper between the two. His punchlines were up there with Fabolous and Lil Wayne's, his gruff voice was similar to DMX's, and his songs fucking banged.
It sucks because it seemed like once 50 Cent became a megastar Lloyd Banks got left in the dust. Granted, 50 didn't turn on him and go out of his way to completely ruin his career like he did with Young Buck and The Game, but Lloyd Banks deserved better.
So today's release of a REALLY good hip hop album makes me happy.
Twitter was going crazy all day with fans new and old all remarking about how great the lyricism on this album is.
Throw it a listen over the weekend -
John Mayer also dropped a new video today for his new single, "Last Train Home" off his upcoming album, “Sob Rock” (what a name) and it's gold. A straight-up homage to Guns n Roses' "Sweet Child O' Mine" in every sense
Rolling Stone - If you watched John Mayer’s new music video for “Last Train Home” and kept expecting Axl Rose to snake-dance his way into the frame, it’s for good reason. The video is an homage to Guns N’ Roses’ summer of ’88 MTV staple, “Sweet Child o’ Mine.” Right down to a canine cameo.
Like “Sweet Child o’ Mine,” “Last Train Home” opens with an image of a digital clapboard calling action on filming. The premise is that the featured artist is on a soundstage about to shoot a music video and we’re all observing from outside the fourth wall. The crew sets up their dollies and light rigs, the band plugs in, and cameras roll. It’s a fly on the wall view — if that fly were somehow back in the Eighties.
Eighties cinema baby.
Now the sonpgs obviously couldn't be more unalike but if Mayer is planning on dropping a full album of Don Henley style depressor classics like this then more power to him. Anybody stepping outside of the cookie-cutter box the labels have cornered everybody into will be well received.
p.s. - one more for the road. Banks absolutely destroys this "Victory" beat