[12] Producers who contributed on this album includes these fellow Pro Era members, Kirk Knight and Chuck Strangers, as well as Statik Selektah, DJ Premier, Hit-Boy, J Dilla, The Roots, Samiyam, Basquiat, Freddie Joachim, and Lee Bannon.

The tour began running across through North America, Europe, Australia and New Zealand; though its European leg was cut short due to the death of Joey Badass' cousin Junior B, to whom he dedicated the album, the music video for "No.

While in Australia, Joey Badass was arrested and charged with assault for allegedly punching a security guard in the face at the Falls Festival in Byron Bay, New South Wales, which resulted in major controversy surrounding him and Pro Era.

[17][18][19] Prior to the album's release, Joey Badass performed "Like Me" with BJ the Chicago Kid, The Roots and Statik Selektah on The Tonight Show Starring Jimmy Fallon on January 13, 2015.

[22] On February 5, he appeared on Le Before du Grand Journal in France, where he performed "Paper Trails" with Powers Pleasant and then was interviewed by the show's host Thomas Thouroude.

[23] The art direction and music packaging for B4.Da.$$ were done by Pro Era members Tony Whlgn and Dee Knows, featuring Joey Badass on a New York City rooftop.

"[33] Vish Khanna of NOW Magazine also gave the album a positive review, saying that "his production choices (and those of Statik Selektah, Kirk Knight and Freddie Joachim) are innovative and timeless.

Club gave the album a score of B, saying that Joey Badass "finally lives up to the expectations that have been thrust upon him, delivering a confident debut steeped in the history of hip-hop and simultaneously engaged with the current cultural climate.

"[37] Nathan Fisher of Inveterate also chips in with another positive review, stating that fans of Joey Badass "will no doubt be impressed and satisfied with what he delivers, which is a mature improvement on his first two efforts, showing clear growth in both delivery and lyrical content.

"[43] Jesse Cataldo of Slant Magazine gave the album three-and-a-half stars, saying that it "deftly traverses the different economies of the rap world, from the desperate hustle of the streets to the showy wastefulness of the club and the tricky minefield of the music business.

"[39] Dan Rys of XXL praised the album, noting that "it just so happens that this story is a lot more personal than the 'fuck bitches, get money, do drugs, buy diamonds' aesthetic of so many of [Joey Badass'] peers in the rap game.

"[44] Edwin Ortiz of Complex gave the album a mixed review, saying that it "finds a way to balance out the confines of revivalist '90s rap with deeper tracks that play up a more introspective Joey."

"[38] B4.DA.$$ received a mostly positive review from Rebecca Haithcoat of Spin, saying that Joey Badass' style is characterized by "often-poetic lyrics rapped in a blunted monotone over moody production" and is "skilled, but not always very fun.

Unless you're a teenager trying to establish aesthetic lines in the sand or an old hip-hop head who still gets excited about a Wu-Tang Clan reunion show, over the course of an hour those cloudy beats and Badass' unrelenting, I-really-mean-it flow get kinda tedious.