Note: Patreon supporters received access to this review on August 7th, 2024.

I believe this album was released on or around April 4th this year. I pretty much went into this album completely blind; it was my first time listening to Alim, and I think it was my first time hearing any of the other collaborators as well. The entire album is produced by an artist named JSON. I wanna say the name looks familiar, but I don’t know where I’ve seen it before. I saw a clip that Alim shared on Twitter of Myke C-Town praising his music, so that cosign is part of why I had an interest in checking this out. I checked out Alim’s album from last year, Running Out of Shit to Rap About, and I thought it was really good. I enjoyed this newer one even more though, so I decided I would tell y’all about it. One thing I should note is that both of the albums are only available through Alim’s website, runningoutofshittorapabout.com.

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The intro is called Welp, and it’s 73 seconds of people asking “I thought you were running out of shit to rap about?” I think the whimsical instrumental in the background is kinda cool. It sounds like something that would play during an interlude from DOOM. This isn’t really something I’d listen to or keep in my digital library, but it works well enough as an intro. Track 2 is called New Disclaimer, and it features someone named Juju Gotti. I think this track would’ve worked better as an intro to be honest. It feels like the real intro since Alim doesn’t even really rap here. He pretty much just sings one line throughout the whole track. What really makes this song enjoyable for me is the instrumental from JSON. This might actually be my favorite beat on the whole album, so it was a little disappointing that Alim didn’t rap over it. I think this instrumental is pretty amazing. The guitar sounds great, and this song features one of the best incorporations of an airhorn that I’ve ever heard to be honest. Alim’s singing isn’t particularly good, but it works. I believe that was Juju Gotti speaking on the outro. They have a very distinct voice, so it was kinda cool to hear them here. Overall, I really like this track. I think it had the potential to be my favorite song on the album, and that didn’t really end up being the case. It’s still very dope though. Track 3 is the first real highlight for me. It’s called Great Idea Remix, and it was co-produced by Alim himself. One thing I probably should’ve mentioned about this album earlier is that almost every single song is under two minutes long. There are only 5 tracks out of 17 that exceed two minutes in length. I guess you could say Alim takes the Today, I Wrote Nothing approach when it comes to album sequencing and songwriting. I typically don’t really care for that style, unless it’s really well done. Thankfully I was able to enjoy pretty much every track on this album, so it wasn’t too much of an issue. There are definitely some tracks I think I would’ve liked even more if they were more fleshed out though. Anyway, Great Idea Remix is one of my favorite songs on the album, and it’s mostly because of one line in particular.

I never ever believed in Santa

That line is awesome. He’s like, “I was never like these other dumbass kids.” That’s so funny to me. I love it. The whole verse is really good though. I think it gets better and better as it progresses, and the way it ends is really great. The instrumental, which was actually co-produced by Alim himself, is really dope. The percussion sounds really great. The song is brief, so there’s only really time for one quick verse, but what’s here is dope as hell. I love it. Track 4 is called $1 Zillion Freestyle. This one has one of the best verses on the whole album to me. He really killed this track. I mean, his flow isn’t gonna stop anyone in their tracks, but I just really fuck with what he had to say here.

If you hear me on the radio, nigga, check the sky for swine
The earth is square, somebody at the Church done lied
If aliens is fake then, nigga, 2Pac's alive
You killed niggas and sell crack? Whoopty do
You sold your soul for success, bro? That's good for you
I ain't here to tell niggas what to do, but I couldn't throw my people for a loop
Or hit 'em with the okie doke for no amount of loot
It's all cute until the BBL fluid leaks
Ironically, your whole confidence is booty cheeks

The song honestly grew on me a lot as I returned to it more and more. I think I like it even more than the preceding material now. It’s fire. The following track is called ST8K & Bots. Basically, the main message behind this song is that DSPs are a scam. He’s definitely not wrong about that to be honest.

I don't know the difference between Bubba Chuck & Iguodala
Niggas get 100K streams and a check for forty dollars
Better you than me, better you than me, each and every single time
It cost more than that for me just to record my rhymes
The weed more than that
The Uber fees more than that
I'm in LA, so you know I'ma need more than that

It really is crazy how little platforms such as Spotify and Apple Music pay. From what I understand, Napster pays the most out of all the streaming platforms. Their music player is kinda janky though, so I don’t love it. The best thing to do is to support the artist directly, which is why this is a physical only release. Thankfully you get the files for it as soon as you pay for a CD, so that’s nice. Overall, I really fuck with the message behind this track. I think more artists should be encouraged to release music on their own terms. The production is good too. This is a dope song. Track 6 is called Touché. This one didn’t stand out to me as much as some of the others on the album, but I still liked it overall. It’s just really short, and it feels kinda like more of an interlude than a full song. Alim’s performance here just feels very scant. I guess the approach here is kinda explained more with the following song, RLIO4EVER. I certainly disagree with the sentiment of this track.

Rapping long is out
Go ahead and pout
The song's almost over
I thought I told ya

Personally, I definitely prefer longer, more fleshed out songs. I’m typically not into the style where artists just spit one quick verse over a loop and then bounce. This is probably my least favorite track on the album just because of how much I disagree with it. With that said, I do still like it to some extent. I think it’s pretty good. I think I probably like it about as much as I possibly could like a song that’s trying to make this point. The production is very pretty. Thankfully the following track, Nowell Notroll, is even better. I really love the beat on this one. It’s a very soulful, uptempo, lighthearted, cheerful-sounding instrumental. It sounds excellent. Alim gives a much more substantial rapping performance here than on either of the preceding couple of tracks.

Bein' wise is not makin' the same mistakes
This bitch cryin' 'cause she want a famous face
These niggas ain't tryin', they makin' the same mixtapes
And we all lyin' sayin' the shit sound straight when we know that it ain't
Nah, Alim'll never do you like that
Alim'll never try to fool you on wax
If you bought my shit and a mill fall out the speakers
Send me 100K, and the rest, you can keep it

There’s even a hook that works pretty well on this track. This is one of the most complete-sounding songs on the album, and it still manages to wrap things up in under two minutes. It’s a really dope track. Clout 9 is another song that grew on me a lot. On my first listen, I thought I was going to dislike it when it first started since I’m typically not into that super chill, smooth-sounding production style. However, I did end up enjoying the song quite a bit because I think Alim was able to elevate it really well. He just sounds great over this beat.

They playin' your rap shit in the courtroom
They document it all, the chronicles of a goon
You gave them the playbook like Madden
You playin' pranks on camera, bad actin'
Tubi, Youtube goofies
You thought this shit was lit? Shit was gon' be a movie?
You blowin' bread from the lick, you think these hoes is groupies?
But you feelin' woozy, I think they slipped a roofie

This is one of the longest songs on the album, but it doesn’t feel like it overstays its welcome at all. I think it’s really dope. The following track is an interlude called Friday Parents, which features Alim’s Mom. This was actually a really sweet interlude. It was really cool to hear about one of Alim’s earliest positive experiences with music. I love hearing about shit like that. Also, the instrumental in the background is really nice. It’s a dope interlude. Track 11 is called Alim, and it’s definitely one of my favorites on the album. The production here is really soulful and beautiful, and Alim’s performance over it is great.

Altadena, California, spoiled, but not rotten
I lost more toys than your parents got you
They say I got it out the mud, that is not true
Room got two TVs, Cable, Genesis, Super Nintendo
Apple computer, niggas have no idea what I been through
Skeletor and Thundercats
Voltron, Proton packs
Caprisuns, granola bars
Hostess cupcakes and fruitsnacks
I had it all

I love how the first verse, which is full of joy and gratitude, is juxtaposed with the dark storytelling on the second verse. This song honestly grew on me a lot as I listened to it more and more. I loved it the first time I heard it, but now I’d say it’s one of my favorite songs of the year. I think it’s dope as fuck. The following track is called 95 Servite Freshman Tournament Champs. This one has a familiar sample that I’ve heard countless times. It’s one of those samples that’s so good that I don’t even mind how frequently it’s used. It certainly helps that this beat in particular is really well done. I think this is one of the best flips of it that I’ve heard. Alim sounds really great over it too. I have not ever had any interest in sports in my life, so some of the shit he was saying kinda went over my head I guess, but I still enjoyed the song quite a bit. It’s dope. Ten Legs is another track with a familiar sample. A lot of what I said about the preceding track applies to this one as well. The beat is really nice. What makes this song stand out more is the flow from Alim though. He sounds really good here. The lyricism about sports betting is not something I can relate to at all, but it’s just a good ass song. The beat sounds really good, and Alim’s flow was fire. The song’s dope. It’s followed by BWB 2000, which has one of the hardest beats on the album. I really love how hard-hitting the percussion is. I will admit that it’s not super hard to find other rappers who spit over this type of production—it’s kind of in the Griselda/Umbrella Academy lane—but I think Alim fits over it really well. He definitely spit one of his best verses on the album here.

My latest invention
Chargin' niggas just to pay attention

That line in particular is hard as fuck to me. The song’s really dope. Track 15 is called Streetlife on Deadly Melody, and it has another really hard, gritty instrumental. I actually like this beat a little more than that of the preceding track. Alim killed it too.

Check my contacts, nigga, I'm free, I set my fees, I set my prices
I set my ticket, you don't like it? You don't buy it
I don't got one streaming app on my phone to hear that crap you push into the general public
Bro, you like it? I love it, how much you gettin' from it?
Check the budget, run the numbers
Do my calculations, my good brother
It doesn't cut it, it's not enough, motherfucker

There are two full verses here, and they’re very enjoyable. I fuck with the song. The penultimate track is called CarlitoFace [Opps], and this is another highlight for me. The jazzy production here is pretty incredible to be honest. That horn loop sounds so good. Alim’s voice sounds great over it too.

It takes a nation of millions of morons to condense my list to the same old shit
I got a top two hundred and six in no order, shape, or form
And I don't want it if the water is warm

Both of the verses on this track are really good, and I love the instrumental. However, the closing track, Kapút, Pt. 2, is even better to me. This song definitely has a top 3 instrumental on the album for me. I love this beat so much. It’s a very somber, yet melodic instrumental. I like how it kinda plays out as the song ends too. Alim’s performance here is fantastic as well.

How could I rival niggas I write for?
My rap game proper, shit, I done dapped up most my idols
My friends say they don't want the cassettes, they gon' wait for the vinyl
All sales is final, one of a kind from the hair raids to the harold minor
No sir, I don't wear designer, no ma'am, I don't wear no wires
Ain't no dope in the car, ain't no bodies on the gun, shit, no guns at all
What's waiting on the other side of tomorrow?
Not me spittin' bars for some goofy A&R
Nah, nigga, I'm way beyond

This is easily the longest song on the album, and as a result it ends up being one of the most memorable as well. This is probably my second favorite track on the project to be honest. I think it’s dope as hell.

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^{This album is great. It’s definitely the kind of album that you’re gonna wanna spend time with and dedicate multiple listens towards, so I guess it makes sense that it’s primarily a physical release. On my first listen of this album, I was a bit taken aback by what I perceived to be a scant track list. Again, I’m typically not into albums that have a lot of really short tracks, instead of fewer more fleshed out songs. However, after spending more time with the record, I came to the conclusion that the album is greater than the sum of its parts. If you just listen to one track you’re not gonna be able to enjoy this project to its fullest. It’s not built for playlists. I just enjoy it as if it’s one long track. There’s not really a single beat here that I don’t think is good, and Alim is a dope rapper, so I enjoyed his performances. My only complaint would be that at times Alim’s stinginess with the rapping felt a little frustrating, but as a whole I was satisfied by the time the project was over. It’s a dope album.}

Favorite Song: Alim
Least Favorite Song: RLIO4EVER

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