Album Review: Everybody Can’t Go by Benny the Butcher
Benny steps into the spotlight with his major-label release under Def Jam, where he's set on showing the world his credibility as an artist.
“I took a long way, and a lot of people who started with me or played a part ain’t make it. Some were dead or in prison, some took other paths, or some just weren’t built for it. No matter how meaningful or irrelevant the role was that they played they all feel entitled in some way. I know I’m not the only one in this position, but when it’s millions, fame, clout, jealousy & envy in the picture, it’s DANGEROUS. The biggest lesson I took from it was Everybody Can’t Go.” — Benny the Butcher
Benny the Butcher made waves in the hip-hop scene with his blend of gritty lyricism and unflinching storytelling, starting with his feature run and his coming out party with his magnum opus, Tana Talk 3, in 2018, thanks to Daringer and The Alchemist. His music, deeply rooted in the East Coast boom-bap rap tradition, brings a fresh energy to the genre. His tracks are a vivid portrayal of life’s harsher realities, painting a clear picture of his own experiences growing up. Benny’s lyrical skill lies in his ability to detail the struggles (The Plugs I Met) and victories of street life (Burden of Proof), resonating deeply with fans who value genuine and vivid storytelling.
A key element in Benny’s musical journey is his collaboration with Griselda Records alongside Buffalo natives Westside Gunn and Conway the Machine. This partnership has reinvigorated the East Coast hip-hop sound, blending the rich essence of its golden era with contemporary influences. The dynamic between Benny and his Griselda peers is unmistakable, as their combined talents create a dynamic and engaging auditory experience. Benny’s sharp lyricism perfectly complements the distinct styles of Westside Gunn and Conway the Machine, showcasing a powerful union in the world of hip-hop.
He soon branched out on his own with his label and group, the Black Soprano Family (plus earning his first RIAA-certified Gold single with “Johnny P’s Caddy” with J. Cole last year), and in 2021, he signed his major label deal with Def Jam. His debut with them, featuring production by Hit-Boy and The Alchemist, marks a significant shift in his career. Titled Everybody Can’t Go, this album blends gritty street lyricism with a flair for traditional hip-hop. This work is Benny’s declaration of his arrival as the King of New York’s music scene.
He opens the doors to his world, ready to establish his respect and dominance in the industry. The album reflects the exclusive nature of success, the tough realities of life on the streets, and the struggles one encounters while rising in the rap industry. Benny skillfully integrates these themes into his music, displaying his adeptness at storytelling.
In his quest to reshape Def Jam’s image, Benny has taken an active role that goes beyond just music production. In a live feed, the Buffalo lyricist emphasized his commitment to being an integral part of the label’s ongoing story. Alongside the release of Everybody Can’t Go, Benny has curated a documentary series, available on his YouTube channel, giving fans an intimate look into the making of the album. The first two episodes of this documentary provide a unique insight into Benny’s creative methods and the teamwork that contributed to the creation of the album. This element of his work is crucial to understanding the depth and context of his music and his role at Def Jam.
“Jermanie’s Graduation” opens with rich references to the drug trade, personal struggles, and the aspiration for growth beyond the confines of a troubled past backed by a piano-laced, bouncy Alchemist beat. This track speaks to his past involvement in drug dealing (“There’s a story behind that name when they call me the Pyrex Man/Like them two bricks from Doug and poppies from Kazakhstan”) while simultaneously acknowledging the broader context and implications of such a lifestyle. The song’s narrative arc moves from gritty street tales to reflections on personal growth and ambition, as seen in lines including:
“That was me, but now I’m currently trading currency for stocks
I’m Wall Street-butching, I’m getting 30 percent off top.”
With the second track, “BRON,” this Hit-Boy triumphant production is a blend of introspection and braggadocio, a common theme in Benny’s music. In the hook, “And I’m ‘Bron/After the chip, I told my folks back home, ‘So long’/I move my family and my bricks to a place where it’s warm,” he compares his success in the rap game to LeBron’s triumphs in basketball, implying a parallel journey of leaving his old life for greater achievements. This notion of evolution and elevation resonates throughout the song as Benny reflects on his past struggles and current victories.
The verses of “BRON” delve deeper into Benny’s life experiences, juxtaposing his tough upbringing with his current status. The opening line, “I been on/So long, people startin’ to hate it, they feel scorn” and “In my city, I’m King Kong,” showcase both the respect and envy he garners. His storytelling is not just about personal triumph but also about the realities of street life and the rap industry. This track solidifies Benny’s position as a formidable figure in modern hip-hop, combining gritty realism with a sense of triumph over adversity.
The album’s first single, “Big Dog,” is Benny with his rags-to-riches story as he raps about where he is in the rap game, as the bouncy production backdrop by The Alchemist. Benny’s bars paint a vivid picture of his rise, from flashy purchases like the new MGK to his resilience in the face of his criminal past. Benny’s narrative is about overcoming life’s unfairness, a theme echoed in his lines about providing for his crew and family, illustrating his transformation from a narcotics dealer to a successful artist.
Lil Wayne, who steals the show in the second verse, adds his distinctive flair, mixing clever wordplay with braggadocious lines. His references to his New Orleans roots and his early start in the game (“been a big dog since a puppy, though”) complement Benny’s narrative. Wayne’s verse is replete with clever metaphors and slick rhymes, creating a dynamic interplay between his and Benny’s styles.
On the Hit-Boy-produced “One Foot In,” Benny reflects on his journey from the streets to the music industry. From “I whipped that powder to glaciers and found the Oasis” to “I was one foot out the game after that freestyle with Flex,” depict his transition from drug dealing to rap stardom. He expresses pride in his achievements, noting how he wrote the verse in his GRAMMY outfit, symbolizing his rise from illicit activities to mainstream recognition.
Stove God Cooks takes over the second verse, bringing his perspective to the theme of balancing street life with music (where’s the album, man?). He raps about the challenges and temptations of his past, as in,
“These ten bricks of boy look like cinnamon
It was his own ni**as that did him in.”
This illustrates the treacherous nature of the drug game and the necessity of remaining vigilant. Both artists use their verses to paint a vivid picture of the duality of their lives, having “one foot in and one foot out” of the street life, a central theme of the song.
Other solo joints feature the well-crafted “How to Rap” and “TMTVL,” where the former kicks off with a vivid recollection of his past experiences, using the streets as a backdrop to his ascent in the rap game backed by the Hit-Boy drop. He skillfully turns his life story into a lesson on how to succeed in rap, emphasizing the importance of authenticity and hard work.
He blends raw street narratives with insights into the music industry. He describes the transition from street life to the corporate world, metaphorically turning “a pot to an office.” The hook emphasizes this transformation, highlighting his ability to adapt and thrive in different environments. It’s a blueprint for aspiring rapper where he advises these aspiring acts to stay true to their roots while navigating the complexities of fame and the music industry.
The latter, “TMVTL,” which is an acronym for Trust is More Valuable Than Love, tells a different story, yet they all converge on the same theme. The first verse narrates a tale of a woman caught in the complexities of prison life, highlighting the blurred lines between right and wrong. The second verse depicts the tragic outcome of familial betrayal, while the third verse revolves around revenge and the consequences of one’s actions. Throughout the song, Benny the Butcher’s sharp lyrical skills and The Alchemist’s production craft an atmospheric track that stays with you long after it ends.
More features include Kyle Banks, who delivers a hook on the title track, where Benny raps about his come-up and maneuvering through obstacles (“Know I'ma win, like the election if Trump run again”), Armani Caesar with another bouncy beat on “Buffalo Kitchen Club,” Babyface Ray who joins Jadakiss (who absolutely bodies it) on “Pillow Talk Slander,” Peezy with “Big Tymers,” even if it’s not the strong album closer, Snoop Dogg with “Back Again” only to deliver a hook, unfortunately. But on the positive side, you have the usual Griselda posse-cut with “Griselda Express.”
Benny opens with a verse that’s a celebration of his ascent in the hip-hop world and a reflection on the harsh realities that shaped him. He speaks of overcoming the limitations of his past (“that eight-foot cell turn my brain cells to bookshelves”) and asserts his dominance in the rap game, acknowledging his success in an industry that’s often unforgiving. This verse sets the tone for the song, blending street wisdom with a relentless pursuit of greatness.
Rick Hyde follows with a verse that delves into the complexities of striving for legitimate success amidst the temptations and challenges of street life. He articulates a narrative of transformation, turning adverse circumstances into opportunities (“green off of brown like earth tones”). His verse is a testament to the harsh realities of the streets and the ambitious pursuit of prosperity.
While Westside Gunn only does the hook, the final verse by Conway is a confident manifesto of his hard-earned success and independence in the music industry. He speaks of his ability to maintain control over his art (“I own the masters to a few of my classics”), illustrating his journey from the streets to the boardroom.
So, if anybody doubts if Benny will dumb it down for the majors, do not be alarmed. However, if you’re expecting another Tana Talk, then look elsewhere. In the underground scene, we’re in need of evolving. There’s not a lot of variety in song structures, especially in this no-drum production wave we’ve been in since the rise of Roc Marciano. Thankfully, Benny challenges Uncle Al and Hit to deliver an exquisite of melodic boom-bap elements, with only one song that contains a sample.
For those still complaining about Griselda’s output over the years and their lack of stepping out of their comfort zones, then you haven’t been paying attention. Outside of Westside Gunn trying new things and Conway broadening his horizon in the mainstream, Benny, specifically, has done this since the collaboration with Hit-Boy on 2020’s Burden of Proof, while also collaborating with other producers like Harry Fraud, plus being featured on a bunch of hip-hop (and some R&B) records, this album brings all of that together.
Benny’s ability to connect with his audience beyond the coke and brick talk through relatable themes and experiences is a key aspect of his artistry. His lyrics often delve into themes of survival, loyalty, and the pursuit of success amidst adversity.
Welcome to The Butcher’s world.
Great (★★★★☆)
Favorite Track(s): “Jermanie’s Graduation,” “BRON,” “How to Rap”