Hip-hop started in New York and has shifted in many ways that immortalized the genre forever. Buffalo native Benny the Butcher is bringing hip-hop back to its grimy roots inspired by the 1990s with raps about poverty, gangster activities, and selling drugs on his latest record, “Everybody Can’t Go.” The 39-year-old emcee has been building his name alongside his cousins, Conway The Machine & Westside Gunn, as the Griselda collective. His newest album continues to showcase the struggles of living in the slums of New York, drug dealing and the storytelling capabilities Benny holds as he raps over beats from The Alchemist and Hit-Boy.

The first lead single, “Big Dog,” featuring Lil Wayne, presents Benny and Weezy spitting bars on a low-key Alchemist beat about being at the top of their game, with Benny uttering street memories of being a dealer. At the same time, Weezy uses intense wordplay and references to talk about having multiple guns, women who flock to him and diamonds. Lil Wayne has had hilarious lyrics over the years, but “B—–s on me like fleas, but I don’t need no bugs, bunny” has got to be up there.

The second single, “One Foot In,” featuring Stove God Cooks, is similar. The chorus hits hard, and the Hit-Boy production would be perfect to play on game day. The most memorable aspect is the flow and delivery from Benny and Stove. The last single, “BRON,” a braggadocious comparison of Benny’s success to the legacy of four-time NBA Champion Lebron James, details the work put in to move his family out of the hood and become a mighty figure in hip-hop.

You can tell Benny has grown from his past and is genuinely blessed to be in his position today. Some lyrics contain that sentiment, like “I’m from the jungle where n—-s count war wounds as accolades,” on the titular track featuring Kyle Banks, who had a phenomenal chorus. The intro, “Jermanie’s Graduation,” also examines seeing drug abuse and violence in his neighborhood but being grateful to have made improvements in his life, like investing money and bringing his family into a better environment.

Since the lyrics are similar throughout, I want to discuss other riveting moments. A line that made me laugh out loud was on “Pillow Talk & Slander” featuring Jadakiss & Babyface Ray, where Benny said, “I lay on a n—a like Katt Williams perm.” That song also showed a change in sound for Babyface Ray, who mainly makes Michigan-style rap. I am not a fan of his boring flows on trap production, but he thrives on these relaxed, conscious beats. Plus, Jadakiss still sounds the same after 30 years. Armani Caesar’s feature on “Buffalo Kitchen Club” is also a record highlight. She is next up for women in hip-hop; I can predict it now. I must mention the small ounces of Snoop Dogg we received on “Back Again.” I wish he had a verse, and it is great to see them collaborate after Snoop helped Benny get a good record deal.

My favorite song on the whole record is “TMVTL.” The song is split into three parts with beat changes, all produced by The Alchemist, each telling a unique story about the risks of partaking in street life. The first story entails a female corrections officer falling for an inmate and begins selling contraband on his behalf. She tries to quit, but he ends up telling on her and gets out early from prison. The next is about two brothers from the projects. One becomes a gangster, while the other gets involved in stocks and business. They both end up dating the same girl and are shocked to find out about this fact and that she’s pregnant. One of the brothers ends up killing the other and the child after finding out he’s not the dad. The last story is about Benny recovering after being shot in the leg and how he wants to settle his difference with violence. This song is complex in ways I could barely comprehend.

“Griselda Express” featuring Westside Gunn, Conway The Machine, and Rick Hyde is a sorry excuse of a collab. I love the classical strings mixed with the kicks and hi-hats, but the hype is destroyed by Westside Gunn’s poorly mixed chorus and Conway’s lazy verse. Rick Hyde and Benny were better, but it was too late to fix it. “Big Tymers” is also disappointing, as I am not used to Benny on a traditional trap beat, and the chorus sounds unnecessarily autotuned. The flows are boring, and Peezy’s guest verse is average at best.

Benny the Butcher’s “Everybody Can’t Go” is a solid hip-hop album that exhibits his unique storytelling abilities and gritty style. The album has a consistent sound, with well-produced beats from The Alchemist and Hit-Boy featuring talented artists like Lil Wayne, Jadakiss, and Armani Caesar. While there are a few misses, such as “Griselda Express” and “Big Tymers,” the album is evidence of Benny’s talent and growth as an artist. Fans of classic hip-hop and raw storytelling will appreciate this record.