First 48: A Butcher and the ‘Burden of Proof’

The Butcher looks to continue Griselda’s epic 2020 run

I can’t be the only one that thought that was coke on his shoulder, right?

Welcome to the ‘First 48.’ What’s the ‘First 48’? It is simply the first 48 thoughts that come to mind when listening to an album for the first time. It’s not to be taken as a full review of a project. To diminish an artist’s body of work, no matter the quality, to a review consisting of just forty-eight thoughts would be unfair to everybody involved with the project. ‘First 48’ is more of a book report outline than an actual book report. Think of the biscuits at Red Lobster, that’s the ‘First 48.’ An appetizer that leaves you wanting more.

“History repeats itself. It always has and always will.”

Let’s take a trip back to 2003; what camp is running the rap game? Most would say that it was 50 Cent and G-Unit. Now let’s come back to 2020; rap is repeating itself. Instead of a trio from Southside Jamaica Queens, it’s now a trio from Buffalo that have rap in a chokehold with no signs of letting go.

Whereas 50 and The Unit delivered mixtape after mixtape, Griselda has delivered album after album this year. The next one to step up to the plate? Why, of course, it’s Benny The Butcher. So without further ado, let’s see if it’s been worth waiting for Benny’s turn to continue the run or if Griselda might be looking like 2008 G-Unit.

1. It seems like every other week there’s a new Griselda album. Did anybody know this album was coming (There’s a joke there, and we all know it’s there)?
2. Hit-Boy produced this whole album? Hit really wants that crown for producer of the year, and if his work on Detroit 2 and King’s Disease is any indication, he might take that crown.
3. *looks at tracklist* Oh, there’s only ONE appearance from his Griselda brethren? Hmm, that seems a bit interesting, but on the other hand, there’s a Gibbs feature, and Gibbs and Griselda don’t miss at all.
4. Speaking of Gibbs, what’s the over/under on the number of shots thrown at Jeezy in Gibbs’ feature? Three?
5. One last thought about Eddie Kaine, can we get a Griselda Gibbs album? Just Gibbs, Westside, Conway, and Benny. You can pick any producer, although I would love it to be Alchemist or Daringer.
6. I swear Dom Kennedy ALWAYS seems to show up on any project that Hit-Boy handles the bulk of the production. I imagine Hit agreeing to do an album with someone, but in return, they have to take the random Dom feature with it, and that person reluctantly agreeing to it.
7. Twelve songs. Thirty-eight minutes. At this point, it’s a running bit about how much I love short albums over long-ass bloated ones.
8. I’m looking at the artwork for this in iTunes, and I noticed that the clean version of the album has a sticker that says “clean lyrics.” The problem with that sticker? It looks just like the parental advisory one at a glance. Who thought that was a good idea?
9. Not sure how Benny clearing his throat turned into an adlib but fuck it, it works.
10. “Fuck all that who the best shit.” — someone who is about to prove to you that they’re the best.
11. Benny just started the album with a one verse song talking nothing but cash money shit. Are we getting shit-talking Benny over soulful Hit-Boy? Sign me up.
12. There’s a certain level of skill necessary as a producer to make a beat and have it sound like you sampled something without there being a sample. “Burden of Proof” had me checking WhoSampled to see what classic Hit used, and there isn’t one.
13. See number twelve? Apply that to “Where Would I Go?” and I have a feeling it will likely apply to the rest of this album as well, which isn’t a bad thing.
14. We all know that Ross was a correctional officer before rap, but if you told me Ross was a pimp, I wouldn’t think twice about it not being real because he can talk some slick shit. Ross sounds inspired on “Where Would I Go?” and makes lying so effortless and beautiful to the point where you almost believe it until he says, “I shook the prosecutor right back, Johnny Unitas.” Sir, you ain’t shaking a single soul.
15. I don’t think Ross managed to deliver a guest verse without Belaire’s mention since he became a Belaire Bottle Boy, which is impressive to keep finding ways to work that in, and it isn’t very pleasant like a DJ Khaled bit.
16. Starting “Sly Green” with a line at the level of “Only rapper that would’ve thrived in the 2Pac era,” is a bold ass claim. However, Griselda probably would’ve shot somebody during the East and West coast beef when you think about it.
17. “I ain’t with no rap beef. It’s Fs on my rap sheet. At eighteen, I had the trap bumpin’ like acne.” There’s no doubt that someone from that camp would’ve caught a body like Randy Moss.
18. Finally made it to “One Way Flight” and I can’t wait to see how disrespectful Gibbs and Benny are because if it’s anything like this, then let me go ahead and get ready to put this on repeat.

19. “What’s a stage with no mic and no voice of a poet?’ A nice little nod to Nasir Jones with that line and a valid question. Since we’re asking questions, following that line up with “What’s more important, the flower or the soil that grow it?” is a hell of a one-two punch of thought-provoking content.

20. Gibbs asking if “You gonna cry in that Toyota or this Maybach?” is just plain rude. It could be a nice Toyota compared to an old busted Maybach. Then what, Gibbs? But he does have a point.

21. This Gibbs verse is some got damn rude ass shit. “Bought some ugly white girl, when I whipped it, it’s Miss Universe.” I’m sorry, come again, the line is factual but still and then to follow it up with “I control my bitch’s OnlyFans, I got computer work,” and ending the verse with “…got fucked and sent home early like the Clippers.” I see why Pastor Tigallo decided to sing.

22. Sequencing matters, and “Famous” is flat and out of place, especially coming right after “One Way Flight.” I probably would’ve put it after “Burden of Proof” or closer to the end of the album.

23. The energy from the production on “Timeless” matched with Benny coming out firing makes me wish “Famous” wasn’t where it is because “One Way Flight” flows into “Timeless” better than it did with “Famous.”

24. Oh, we got an inspired Lil’ Wayne with this verse? 2020 is a weird year. Then again, I guess Wayne wanted to get some form of payback for what Benny did to him. Wayne effortlessly delivered his best guest spot in years.

25. All right, I was honestly expecting Big Sean to come in here with one of those “Big Sean” verses that we’ve come to know and expect. Surprisingly, he may have cleaned Benny and Wayne up on this. Sean managing to avoid the circus known as (redacted) and return this strong and focused as an artist is impressive.

26. Halfway through this album, and it’s probably Benny’s best project. It’s not quite the best or most complete Griselda project this year, but if the second half can match the first, it’ll be in the conversation.

27. *inserts another rant about how sequencing matters* This album is starting to get in its way — high energy right into something slower and more deliberate. “New Streets” isn’t bad, but it just doesn’t belong in this spot on the album.

28. Hey, there’s an actual sample used here. “In the Valley of My World” by The Independents is the sample. Also, for some reason, my mind takes that sample and instantly goes right to this song. Don’t ask why, because I don’t know, so enjoy it.

29. “Over The Limit” features the line, “Some of my best verses, I’m just talkin’ to myself.” I’m going to add the Genius notation so you can read it and let me know how many times it took you reading it for it to click.

30. I imagine people out West feel about Dom Kennedy how people down South feel about Currensy? Except one of the two rappers release quality on a consistent basis.

31. “You can’t be scarin’ the white people. They don’t know if it’s Black Lives Matter or a robbery, you know what I mean?” There are few things better than a well-placed interlude or skit at the end of a song.

32. The second half of this album is starting to look like the Clippers playoff run: shaky. The songs aren’t bad; it’s just what preceded them was impressive. It’s like Devin Booker going off for 30 plus in multiple games in a row and then only drops 20 one game.

33. “Trade It All” is a song that you end an album with, not sit in the middle of an album, especially when we know there’s going to be more violence and gun talk.

34. “Thank God I Made It” is perfect and likely Benny’s best introspective track. From lines about causing his mom extra stress to mentions of his brother combined with an ideal hook from Queen Naija, it all works and creates a perfect story.

35. Griselda might be the only label where there’s a weaker member than the others (Gunn being the weakest rapper out of him, Conway, and Benny), but that one manages to out rap the other two on a consistent enough basis. That doesn’t apply for “War Paint” since Gunn just did the hook, but it made me think.

36. Once again, perfect skit placement. “Benny The Butcher? He a rapper? That shit sounds like a wrestler name. Like WWE Smackdown.” That is comedic gold.

37. Why is “Legend” listed as Benny The Butcher & Hit-Boy? There’s no Hit-Boy verse or hook here. Wouldn’t you credit the whole album as Benny and Hit-Boy if you’re giving Hit credit as an artist for producing?

38. “Gun comes with a Carfax. You know who I shot with it.” I know that this isn’t feasible in practice, but in theory, not a bad idea at all. Just hear me out. If you needed a gun, you know what, never mind. If you’re buying a firearm off someone illegally, I doubt the bodies on said gun matter.

39. This album is a tale of two albums. The first half is high energy with purpose, and the second half feels like a victory lap where you keep changing your speed but are still running a victory lap.

40. Hit-Boy probably has one more album with somebody tucked away waiting for the right moment so he can end the year with one more substantial release.

42. It just hit me: I don’t think Gibbs threw a single shot at Jeezy. I’m shocked, mainly cause he found a way to work a shot in here but let this chance pass.

43. Speaking of Gibbs and Jeezy, why is it that we can let Gibbs shoot all day at Snow, but the second Pusha T even breathes, we’re coming for him for shooting at Drake?

44. Highlights: “One Way Flight,” “Burden of Proof,” & “Thank God I Made It.”

45. I honestly don’t think Griselda can miss this year. Three releases from Westside, a couple from Conway, Armani dropped her solo, Boldy’s Griselda debut, and now this from Benny plus all of their guest spots. It’s tough to say anybody has had a better year.

46. Oh shit, I completely forgot that Benny played a definite role in the Black Soprano Family Gangsta Grillz from earlier this year. Add that to the list, and all of this output has Currensy jealous.

47.*inserts Westside Gunn adlibs because I can*

48. The Butcher coming, nigga!

Bonus: Since I made mention of G-Unit and their mixtape run earlier, here’s a gem that’s been stuck in my head.

When you’ve had the year that Griselda records have had, you’re bound to stumble at some point eventually. The trick is being able to regain your balance before you fall entirely. That’s the case with Benny’s Burden of Proof. At times it shows what Benny is capable of when he’s running at his best, and at others, it shows that even the best get tired when running a marathon. While this isn’t the best Griselda project this year, it’s clear that few things can touch it or anything from the Griselda camp.

Jacob DeLawrence is a wizard with words and a terrorist with a pen. Follow him on Twitter, @_jdela. Read more entries in his ‘First 48’ series.

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