10 Reasons Why I Love The New Rome Streetz Album

Music, Videos

Queens MC Rome Streetz released his Griselda Records debut Kiss The Ring on 9/30/22, a release date many hip-hop fans are calling the strongest of the year. But amidst the flurry of joints that dropped by Freddie Gibbs, Boldy James and Nicholas Craven, Kid Cudi, Mr. MFN eXquire, Prodigy (a posthumous LP), and more, Kiss The Ring is the one that’s kept my full attention. Here are ten reasons why I love it. 

1. It exceeded my expectations. I’ve been checking for Rome Streetz for a while now, probably dating back to his project with Muggs. The song “Stone Cold Soul” solidified my interest in him, and put him in my heavy rotation (see video above). But there were two things more recently that truly made me a hardcore fan of Rome Streetz. His verse on Westside Gunn’s song “Uncle AL,” and this freestyle he did on Showoff Radio—which preceded the Gunn track but I didn’t discover it until around the same time last summer. Ever since, I’ve been highly anticipating his Griselda debut and keeping an eye out for everything he does. When there’s that much anticipation, it can be hard for a release to live up to the level of excitement you have for it, let alone exceed your expectations. But this did. 

2. Rome Streetz got skillz. From a fellow MC’s perspective, his skills are downright impressive. Every verse is top-tier, from the wordplay to the voice to the delivery to the flow to the actual rhyming itself. His attention to detail is apparent—the way he makes multiple syllables and words in each bar rhyme with the next. Like on “Heart On Froze,” where he raps lines like, “Slice the G.O.A.T. throat like a voodoo ritual,” or, “I’m going global, they love my shit like a Bon Jovi vocal, this dope on Pro Tools.” He bodies that song, these are just a couple pull quote examples.

Also, his breath control and the way he turns corners at the end of bars is so seamless. And for someone who raps with what I would describe as a more straight-forward, traditional East Coast approach, his pocket is ill. To sum it up, Rome Streetz is nice as fuck with it, and this album showcases his pure rap skill in all its splendor. Consider this recent freestyle below “related content.”

3. The beats are fire. I mean, there’s no better way to sum it up. The production on this album is incredible. From the moment that “Big Steppa” beat dropped, I knew this shit was gonna be right up my alley. “Big Steppa” is instantly up there with Roc Marciano and Alchemist’s “Quantum Leap” as my favorite beat of the year. But that’s just the beginning. The beats keep hitting one after the other, and they actually have drums, which considering the drumless trend that’s made a big impact on the current “underground” sound, it’s nice to hear a majority of the cuts on here actually have banging drums. I think I was like eight or nine tracks in before I wasn’t completely in love with a beat, and even then it wasn’t like the shit was wack. Props to Camoflauge Monk, Conductor Williams, Daringer, Denny Laflare, DJ Green Lantern, Alchemist, and Sovren who all did their thing on Kiss The Ring, and to Rome and executive producer slash curator Westside Gunn for the proper selections. 

4. Conductor we have a problem! Speaking of Conductor Williams—yo! That “Conductor we have a problem” drop is so lit. He ODs on it at points, and honestly, it makes me love it even more. Like when the beat switches up on “Reversible???” and he lets it ring off, that shit gets me so amped. I’m well aware this isn’t something new, but for some reason on this project that drop really connected with me and is one of the highlights. The fan tweet about it above is hilarious, too—although according to a follow-up tweet, that same fan doesn’t seem to appreciate it as much as I do.  To me, this is the same type of rap fan that probably didn’t like mixtape DJs “talking” on tapes back in the day, whereas I always thought it enhanced the listening experience and made it more exciting.

5. The guest spots are perfectly placed. Make no mistake, Rome Streetz is the star voice on Kiss The Ring, but his supporting cast of Griselda affiliates show up right on time throughout the album. A calm, collected Conway steps up first on “Soulja Boy” and questions his so-called competition like, “You’re so timid, it’s like, who even considered you nice?” Then Stove God Cooks compares moving vinyl to crack on “Blow 4 Blow” with a great line, “I took that wax and went Daniel Son,” before opening the door for GxFR favorite Benny The Butcher to close out the track. And as expected, executive producer and Griselda kingpin Westside Gunn represents too (see video below), as do label-mates Armani Caesar and Boldy James on the back half of the LP. It’s a family affair for sure, as everyone takes a seat at the table—with Rome middling, of course.   

6. Rome’s rapping with purpose. Okay, so like I said above, I’ve been checking for Rome Streetz for a while now. But to be honest, I’m not someone who’s well-versed in his entire catalog. I’m sure I missed a lot of his early stuff. I mean, to this day, I’ve still never listened to any of the Nose Kandy projects in full, and I only recently caught wind of “96 Nauti Windbreaker Shit” which I’m sure his “day one” fan base will crucify me for. Again, my fandom really started with the Muggs project, and fully formed when I heard him killing it on Gunn’s shit—I’m still playing catch-up. On Kiss The Ring, I can sense Rome knows new listeners just being introduced to him via Griselda may be even less familiar with his work than I am, and in many ways he’s using this label debut as a full-on display of how ill he is to solidify his spot in the elite MC category.

I watched the doc he recently released covering his European tour trip (see below), and it’s clear from his appreciation of the fans over there knowing his music word-for-word and the opportunity he’s been given to tour off “raps I recorded in my living room” that he doesn’t take any of what’s currently happening in his rap career for granted. But it’s not like Rome comes out and blatantly says, “To those of you who are just now being introduced to me since I signed with Griselda, I’d like to make it abundantly clear that no one can fuck with me on the mic.” He shows and proves it. There’s hunger in his raps. He’s spitting vicious, relentless bars, without letting his foot off the gas. He repeatedly shits on other rappers, calling them “garbage” and “trash,” and then proceeds to take them all out with verse after verse of slick, street and cipher bravado, connecting his past experiences as a street hustler to his current lifestyle as a Griselda ace. He’s out for glory, and lines like, “Going stupid hard ’til its Ferrari on the car key” sum up how real his drive is on Kiss The Ring.

7. Beyond Rome’s technical skills, what he’s actually saying is fucking ill. I had a conversation with a friend lately about how there are actually a shitload of really great rappers out there. Like, from a purely technical perspective, everyone’s great. It’s apparent that rappers across the world have been working on their craft and know how to spit. That said, not everyone has something to say. Lots of rappers are boring, or corny, or unoriginal, or all of the above. This is where a guy like Rome Streetz separates himself from the best of the best. The confidence, the imagery, the complex wordplay, the intelligence, the fast life he’s lived and living, the understanding and interpretation of his hip-hop lineage—Rome Streetz, like many of his Griselda counterparts, is a second coming of the golden era greats he was raised on.

Bars like the way he sets off his duet “Soulja Boy” with Conway really provide a stellar snapshot of how he brings skill to the table, but also a clever, street-wise swag and perspective that puts him on par with rap’s current Mt. Rushmore: “Being fucked up for years locked in the box is not the goal/I figured out the flip, I turned a pot of piss to pot of gold/Life’s a gamble like a dice roll at the Bellagio/I got the glow, big bottom hoes wanna top me slow.” To be honest, I randomly pulled this out, but the whole album is filled with crazy quotables, this is just one little sliver. Technical skill aside, Rome is saying some shit on this album—top to bottom. Check out the Alchemist-produced gem “Long Story Short” for some “Motherless Child”-style storytelling shit, too. 

8. The hooks are dope. Look, a lot of incredible MCs past and present have gotten by without throwing hooks on their shit. Pardon the second Wu-Tang mention, but RZA and Method Man made a song back in the day with Shaq where they proclaimed, “We don’t need no hooks.” And in many ways, the Wu was famous for just murdering posse cuts with no hooks and making them classics. Even solo—check out RZA “Sunshower” as a case in point, that shit is just a six minute long verse and it’s all flames. And the titans of today, from Roc Marciano and Action Bronson to Your Old Droog and Mach-Hommy, often leave traditional hooks out of the equation with no love lost.

But not Rome Streetz. Kiss The Ring is hook-heavy, and it really elevates the songwriting and makes his tracks feel like much more of a complete, memorable thought. They’re nice and tight, and almost extensions of his verses, without falling for the trend of just saying a word repetitively or feeling the need to try and sing. And for this, I applaud him. Peep the hook on “Big Steppa” as an example—”Chrome Hearts on my sweater, my work better, you could never fuck with me ever I been a Big Steppa/Make a play, put the shit together, before music made a way I had that work on my dresser.” The notion of being a “Big Steppa” is emphasized just enough in his delivery as a bar-ending thought to make it have that chorus-feel, but really it’s just a dope couple of lines that when repeated have the ability to anchor the song and give it a thematic shape. And he uses this formula flawlessly throughout the album, just peep joints like “In Too Deep” and the Daringer banger “Tyson Beckford” for further proof.

9. Kiss The Ring has heavy replay value. As you all know, the music cycle moves much faster than it used to nowadays. An album drops on a Friday, and even if it’s great, it can be old news by the top of the week. We give things a spin, maybe dump a couple favorites onto a playlist, and move on. Sorry, but that’s just how it goes. Unless! It’s one of those albums. And Kiss The Ring is one of those albums, for me at least, and I’d argue that it should be for anyone who calls themselves a true New York hip-hop fan.

Here’s how I know: every time I reach to listen to Kiss The Ring, I start at Track 1 and let it ride. That’s my tell tale sign of an impending classic. Just think about it, when you go back and listen to The Low End Theory or Only Built 4 Cuban Linx… or Reasonable Doubt, how do you listen to it? You start at the first song and let it ride. Instinctually, that’s how I listen to Kiss The Ring. Now is it on the level of the three classics I just mentioned? Maybe for some, and maybe that’s an extreme thought for others. For me, without making a bold statement, it’s just one of those albums I wanna let ride top to bottom. Even though I will admit there are a few skippers for me toward the back half of the LP, I’m still letting that shit play from the top and all the way through almost two weeks after its release date, and will be for the foreseeable future.

It’s the sheer amount of dope tracks, it’s the sequencing, it’s the way the skits connect each joint to the next. Actually, the skits are excellent and probably deserve their own bullet on this short list, but fuck it I’m just free-flowing here on some blog shit. Regardless, it all contributes to the high replay value. 

10. It’s the type of album I want to talk about. I’ve been tweeting and posting on IG about this album. I’ve been talking about it in my group chat with my childhood friends. I recommended it to my co-workers on our Slack music thread. I specifically texted a couple out-of-state friends about it to make sure it was on their radar. I even told my wife it’s my favorite new album, and played it for my son on the way to drop him off at middle school—his favorite track was “Destiny Child.” Shit, I’m writing this whole long-ass blog post about it! In fact, I’m hoping this article sparks more conversation around Kiss The Ring because it’s that dope and I feel like this post is just scratching the surface.

Hit me up if you feel the same way, or if this inspires you to listen for the first time, or even if you don’t like it and want to tell me why I’m wrong about it. Kiss The Ring is a conversation piece, and I’m down to have all the convos. 

Big respect to Rome Streetz and everyone involved in the making of Kiss The Ring. I’m out – peace!

In The Lab with Daringer (2016)

Interviews, Mixes, Music, Published Material

It’s been four years since I interviewed Daringer for NahRight’s In The Lab series. And since then, Griselda has exploded, with Shady Records and Roc Nation deals, and countless releases that have made their catalog of modern-day classics seemingly endless. And their in-house producer Daringer has been at the boards through it all. Take a trip back four Septembers and go In The Lab with Daringer, and see just how far him and his team have come, and also how some things are probably the same as they’ve always been.

This article was originally published on NahRight.com on September 15th, 2016.

Written by Daniel Isenberg

Beneath the brazy bars of Buffalo-bred brothers Westside Gunn and Conway, you will commonly hear incredible soundscapes crafted by a sample-based producer from the same city—Daringer. In the past year, this three-headed monster has ushered in a new wave of hard body hip-hop, keeping that real street shit many of us grew up on alive and well. And Daringer has been at the helm, spearheading the production on recent celebrated projects like Flygod and Reject 2, not to mention a shitload of Soundcloud loosies and EPs. And though it’s steeped in tradition, Daringer’s beats are not just a bunch of recycled ‘90s nostalgia. Instead, he’s putting his own stamp on the sample-flip style with a signature sound that legends in the game like Alchemist, Just Blaze, and DJ Premier have all publicly saluted. 

It’s not easy to go back to basics and still help push the genre forward, which is what intrigues us most about Daringer’s discography thus far. So we hopped on the horn with him to find out how he constructs his tracks, and dug into some interesting history along the way. Plus, we got a feel for the vibe in is Buffalo-based, crib-set studio, and what it’s like to record with two of the illest new dudes in the game. Let’s take a trip upstate, shall we? It’s time to get In The Lab with Daringer.

Starting Point

Daringer: “I started on the DJ route before making beats when I was 17, 18. I wanted to get turntables and a mixer and records and start scratching, and everything that came with DJing. So first thing I did was cop a couple Stanton turntables and a mixer, and I started digging and buying some hip-hop 12 inches. That’s pretty much what got me hooked. 

“From there, I wanted to do it all. I wanted to start making beats, so I started figuring out how to go about it. What I need to get, and see if there was anyone in town I could talk to that could show me the ropes and what I needed to do to get that rolling. 

“I was working a kitchen job when I was younger to make a couple extra dollars. When I finally had enough money, I was able to finance an MPC from Guitar Center. I got the MPC2000XL, and it was on from there. One of my homies from around the way, Tone Atlas, he knew how to work the MPC. I knew if I could connect with someone and learn a little something, I could at least get it working.”

Studio Setup

“I’m working out of my apartment in Buffalo. It’s not any special, crazy studio space that people might think we’re recording all this shit at. We’re doing this shit in my living room. I’ve been making all my beats in this apartment for the past four, five years now, so damn near everything you hear has been made in this living room. 

“I’m rolling with the same thing—Technic 12s, MPC2000XL that I bought years ago, and I have a newer MPC Studio so I can be on the computer, working on the go. I mainly got into it for travel reasons, but it became more of a permanent piece for me. I’ve been rocking out on the MPC Studio for pretty much everything now. It’s more tech savvy—easy to chop up and keep it moving. The workflow is nice on those things.”


“It really started by getting into my pop’s crates. That’s what got me wanting to make beats from the beginning. He had dope jazz, Blue Note records—he was a jazz pianist, so he had a lot of shit that was jazz-related, that he was buying when he was younger. So I started going through those records, finding samples used by guys like Premier and all the guys I was listening to at the time. Primo was a big influence on me at the time with all the piano samples, and Pete Rock and Alchemist. Those were my main influences at the time when I was in high school. So I’d be sitting in my basement chilling, and low and behold, there were piano samples galore. 

“One of the first records I found in there was the Gary Burton ‘Las Vegas Tango’ joint. That was sampled numerous times. Cypress sampled that shit so Muggs was on top of that, there was a song off Capital Punishment that RZA produced with that sample I think Organized Konfusion used it. It’s a popular song, but when I heard it I was like, ‘Wow, this is crazy.’ Once I heard that, it was like, ‘I want it all.’ 

“We have a couple spots around Buffalo, but there really aren’t too many. It’s very selective. There’s a record show that comes around twice a year, and some private dealers, but it’s not like New York City where you can go to ten different stores and go digging. So I’ve been keeping it low-key with a couple record spots and record dealers. Record Theatre, and Revolver Records which is only a couple blocks away from me so it’s very convenient. I don’t have to go far to dig.

“And I do the online digging as well. A lot of the shit from different countries isn’t in the crates in Buffalo. But I’m not downloading—I’m going on eBay, Discogs, or something like that. 

“But honestly, I’ve been collecting vinyl for so long that I’ve been constantly just going back to my collection and working off that. Any time I get frustrated with not finding what I want, I just hit my crates. Now that I’m just producing, I have a decent amount that I’ve been able to work off of. I can always go back to that, which is crazy because you’d think I would have used it all by now and there wouldn’t be anything left.”

Daily Routine

“I try to have a set schedule, but sometimes it winds up being something else. For the most part, I try to get my day started early. I’ll listen to some records, try to find something that I like. Get a groove going, get inspired. Once I throw on a couple records, I’ll fuck around and usually start hitting some beats up. Sometimes I’ll stay up late making beats, and I’ll wake up early and start messing with what I made the night before. It depends. 

“Sometimes, having the transfer my samples from the box to the computer, I’ll go through records and stack samples up. But sometimes I’ll find something, and I’ll be like, ‘I gotta work on that shit immediately. I don’t even wanna wait. I got an idea for this now, let me see if I can find some drums. Or shit, I might just be looping this motherfucker.’ You already know the signature Daringer loop is definitely getting out there. So as much as I want to show everybody I can be an ill producer with the drums, we’ve been doing a bunch of these loop joints and these shits have been working out for us, so you never know. 

“We’ve been working so hard, I don’t get a chance to sit and listen to music as much as I’d like to. I gotta be whipping up beats right now. But I gotta do what I gotta do. So I just get the shit cracking, and keep cooking. We’ve been working on the Conway album for the past couple months now, so mainly everything we’ve been doing has been going for that. We’ve been dropping a couple loosies—when West’s in town we’ll record something new and put it out on the fly. I’ll play some beats, and before you know it, we’ll have some songs done. I always gotta keep a stack with me for when West comes into town, because we get busy.

“We come from a town where nobody’s really been able to make anything happen. So for heads in the city to see what we’re doing, and see me getting praise from the people that inspired me to even start this, it’s mind-blowing at the same time. This is very, very new to the city, so we’re tapping into a vein that’s never been touched before. We’ve got something to prove.

“There’s a lot to learn still, too. All the programs, all the new technology. I’m kind of doing it the throwback way, more simplistic. You’re not hearing me play all sorts of instruments on top of it, or adding synths. I’ll do my crazy sounds over the top of these beats, but I’m not sitting here with the keyboard playing some magnificent chords over the top like some producers can. Not saying that I don’t want to or can’t—I can definitely play a couple notes, and my pops is a piano player so I want to learn the instrument more and progress as a producer—but we’re just keeping it simple for these records right now. I’m not into the overproducing—I’m trying to stick with the formula and keep doing what people want to hear from us.”

Studio Essentials

“We’re constantly smoking—that’s a fact. That’s definitely a method behind the madness. Smoking weed crazy all day every day here, from the moment we get up until we pass out. [Laughs.] Whether that has an influence or not, that’s just something we do regardless. 

“We get some good strands. We’ve got some kids getting some shit from Cali, so we always got some good Cali strands coming. It’s not like we’re stuck with some boo-hoo Buffalo homegrown shit. We don’t get the best shit from Cali, but the kushes and Girl Scouts and sours, that all comes around.”

Wing Breaks

“We got a little hole-in-the-wall Irish bar called Kelly’s Korner, that’s pretty much our favorite wing spot out here. That’s our go-to spot for the wings. They got like a weird hot sauce with crazy crushed red pepper and Frank’s hot sauce—it’s not your average hot sauce. It’s a unique taste.”  

Westside Gunn & Conway

“They’re definitely two completely different individuals, but they come together and both work the same. They’re very fast writers. They work on the spot—they’ll hear something, and they’re damn near ready simultaneously.

“Conway’s an amazing writer because he can just keep going. West is a great writer too, and both boys just kill it on the spot. But Con sometimes gets into writing more and having longer verses on some of these songs, and push the limit as far as giving people the bars, the delivery, the punchlines. He’s always been like that.

“They love the references. Between the two of them, you never know what they’re gonna say. There’s always some fresh references that they’re thinking of at all times, so it’s like, how are they gonna fly ‘em. 

“I wouldn’t say they’re competitive, but they do like a lot of the same beats. So that’s why we get the Hall & Nash joints.” 

Studio Time with Alchemist

“When we went to New York in January, I was able to finally get in the lab with Al. The boys got to get up with him and work on a couple of these Hall & Nash joints. So I was able to get in the lab and actually kick it and chill with Al. That was dope, because he’s always been someone I’ve been influenced by for years. 

“Al’s still doing everything on the MPC2500 still. I thought he was doing more in the Pro Tools with all the crazy sounds and effects he’s got going on. But he’s just killing shit in the MP still. So that really made me think a little bit differently about everything going on—just keeping it ill, and doing everything in the box still.”

“The Town” ft. Conway, Westside Gunn and Sadat X

“We had Sadat here for a show, and that’s how it started. He came and did a show here in Buffalo at one of the hip-hop spots around the way—DBGB. They’ve been holding down all the hip-hop shows lately, bringing in legendary artists, that’s been their motto. We wound up linking with Sadat that night, and our homie went and spoke with him, checking his temperature and seeing what it was. And before you know it, that next morning, we got him in the studio, right in my apartment.

“He came through, we got some 40s crackin’ and a couple blunts in the air, and we played that beat which I was working on at the time, a soul 45 joint. We already had a Conway verse on it, and we had sent Sadat the beat the night before, so he already had something prepared for it. He didn’t write it on the spot, but he revised it. But Conway already had his verse over it, so I think that definitely helped with the process.

“Once we got Sadat on it, West heard it and jumped on it as well. Then we did a quick mix on it and dropped it. When I hear it now, I’m like, ‘Damn, it could’ve come out a little bit better.’ But it’s another situation of where we mixed it here and let it fly. And people loved it. So I don’t really take anything back, other than maybe I can do another mix for it.

“You never know, it might wind up on a collection of mine. I’m gonna start working on a Daringer project soon.”

“Rex Ryan” ft. Conway, Westside Gunn and Roc Marciano

“It’s like, ‘Who would’ve thought?’ Because that was something that was made quickly. I didn’t think about it much, and didn’t think it would get to where it is today. Con just happened to pass out on the couch over here, and I’m here just trying to come up with something for the album. I heard a couple sounds, and just threw them together real quick. I cooked that beat up fast, and didn’t think much of it when I did it too. I just kind of saved it and went on to something else. 

“A couple hours later, Con was trying to work again. So I pulled up the beat, and he knew right there that was it. And I’m over here scratching my head like, ‘Really? You Sure?! This is probably the fastest beat I ever made, or one of them.’ But he wanted something stripped down, so I was already looking for something for him. Plus we wanted to get Roc on a track, so that was the motto—something stripped-down and simple but still raw. 

“Conway laid his verse to it, and we shipped it off with the hopes of getting Roc and West on it. Roc wound up fucking with it, and we got the audio back like, ‘Yeah. We got us one here.’ 

“We’re really excited about the response it’s gotten. We put the video out, which has the most views on it. It’s one of our more popular songs, for sure.

“I had my thoughts about it. I thought I could’ve done more to it. I could’ve added the big drums, but the boys wanted to keep it simple. It worked out. It sounds ill, with the snare kind of peaking in, the kick is still in there a little bit. It’s not like it’s drumless, it’s just not a boom bap track.”

Cooked In Hell’s Kitchen

“I was going through records, and that dark bassline just popped out. I was like, ‘This is kind of ill, let me see if I can find some drums.’ I’ve gotten so many questions about what I did with that beat. It’s another simple one, just the bassline and a guitar. I didn’t really do the toppings over it like I would normally do with the extra sounds on it. I just chopped those guitar sounds and threw a crazy effect on it, and people are thinking I got a live guitar player in here, hitting pedals. Or they think I got a crazy plug-in. I can hear a rock band playing that shit, it sounds like some ill metal shit almost. 

“That’s going on the G.O.A.T. That’s a good thing too about dropping it on the Soundcloud, in terms of what’s album-worthy and what’s just gonna be a loosie.” 


“That was West in the studio, coming in from Atlanta and legit just pulling through everything I had here. A lot of those beats were already made, some were new. It was a collection of everything going on at the time, and some songs we had already started within that month we were putting it together. We worked on it for a couple months, he was cooking on the spot.

“The ‘Dunks’ joint is definitely one of my favorite songs on the album. It’s got the ill bassline. People were going ballistic over it when we performed it in Boston. They performed it with Just Blaze, and that was one of his favorites on the album too.”

Peer Love

“I’ve been getting flooded lately. The love has been overwhelming. It’s been crazy, anyone you can think of. People I don’t know, people I do know. It’s just been a huge array. It’s flattering. 

“As soon as we started getting it in with Roc and he started inquiring and actually paying attention, that was big. I always wanted to do a song with Marc, he’s one of my favorite MCs. And then, we started getting it in with Action and Meyhem and they started getting to know us and our work and kicking it with them, because those are two of the newer MCs that have been killing shit and paving the way. I still have yet to do an Action record, but he’s definitely listening and has inquired about some beats as well.

“I’m trying to keep working and get some other ill records done this year. They did the Prodigy joint, and all of a sudden he’s looking for a batch. It’s all across the board. We were just kicking it with Ras Kass and Planet Asia, they’re showing dumb love. Royce showing love and getting Conway on his mixtape. It’s dope to see these legendary artists co-signing our music. And not just the music—really fucking with it as a collective, wearing the merch, talking about the boys in interviews. For them to be showing that kind of love, we gotta be doing something right.”

What’s Next

The G.O.A.T. is next. That’s the cream of the crop. We’ve been working on it for months. There are some exciting pieces on it. That’s gonna be a special one.”

Special thanks to Daringer, Westside Gunn and eskay!



Griselda Records x Roc Nation

Music, News

Screen Shot 2019-08-06 at 10.29.58 PM



Watch Conway and Benny’s No Jumper podcast interview below. Stand-up, honest dudes right here. Love seeing them win…

Catch Benny The Butcher and friends performing his latest release The Plugs I Met live at Sony Hall next month, courtesy of UpNorthTrips. Cop tix HERE.