Since the late 2010s, Griselda Records, hailing from Buffalo, NY, has been making waves in hip-hop, led by Westside Gunn, Conway the Machine, and Benny the Butcher. Among them, Benny stands out as the star, reminiscent of Raekwon from the Wu-Tang Clan, with his consistent focus on drug trade, street life, and hustler’s ambitions. Yet, Benny adds depth to these themes with intricate rhyme schemes and vivid storytelling. With over a dozen projects since his 2016 debut, including the commercial hit “Johnny P.’s Caddy,” Benny has now transitioned from indie to major label with his Def Jam debut, “Everybody Can’t Go.”

The transition from indie to major label often raises concerns about artistic control and commercialization. However, Benny retains significant control on this album, collaborating primarily with longtime associates Hit-Boy and The Alchemist for production. The opening track, “Jermanie’s Graduation,” produced by Alchemist, sets the tone with its piano-driven beat, allowing Benny to narrate his rise from the streets to success without a traditional chorus. Throughout the album, Hit-Boy and The Alchemist alternate production duties, each bringing their signature styles. Hit-Boy’s “BRON” features horn samples, providing a backdrop for Benny’s lyrical prowess, while The Alchemist’s “Big Dog” incorporates canine sounds, setting the stage for Benny’s assertion as the top dog. Guest appearances from Lil’ Wayne, Snoop Dogg, and Jadakiss add further depth to the project, with standout verses and complementary styles.

Benny showcases versatility on tracks like “TMVTL,” delving into darker themes over Alchemist’s cinematic production, and “One Foot In,” exploring the dichotomy of street life and legitimacy with Stove God Cooks. The album also features Griselda collaborators like Westside Gunn and Conway the Machine on “Griselda Express,” delivering gritty verses over a haunting beat. While “Everybody Can’t Go” is a solid effort with only a couple of skippable tracks, it falls short of Benny’s previous classics like the “Tana Talk” and “The Plugs I Met” series. Despite maintaining his signature sound, Benny’s Def Jam debut feels more like a refinement than an evolution. Additionally, Benny’s claims of creating Def Jam’s biggest album since DMX’s debut seem exaggerated, as the album lacks the impact and innovation of DMX’s groundbreaking release. Benny will need to push boundaries further to surpass his own classics and fulfill such bold claims.