Atlanta rapper Soulja Boy left his goons behind and decided to rely on good ol’ law enforcement over the weekend to reportedly help retrieve a stolen vehicle.

Details of SB’s reliance on police and what really happened to his whip surfaced online Sunday (May 11).

Soulja Boy?’s stolen Bentley was magically recovered last night in a matter of hours … because it was never stolen in the first place … TMZ has learned. According to our sources, Soulja called police to his home last night to report his Bentley had gone missing. We’re told cops told Soulja he’d have to come in to file a report. But before he could, we’re told Soulja found out his manager had simply borrowed the sweet ride, but Soulja never got the message. Case closed. (TMZ)

Earlier this week, Soulja revealed his involvement on a handful of solo albums.

“I’m working on Diddy’s project right now. He’s doing his last album right now, it’s called Money Making Mitch. That’s been taking up a lot of my focus. So is the Carter V. When I was in Miami I did like two beats for CV, and I just been tryna go back in on them beats and make them the best for [Lil Wayne]. And Nicki’s joint, The Pink Print is dropping. Her new song “Yasss Bish,” I produced that and wrote the hook. I think that record is gonna be so big for her.” (The FADER)

Recently, MMM contributing producer Reefa told SOHH vintage Diddy records would likely end up on the highly-anticipated LP.

“I’ve known Diddy for a little while,” Reefa told SOHH. “I’m kind of in the Bad Boy family. I’ve did a lot of work with him. He wants that whole classic, hard-hitting rhythm music and he called me up and is giving me a chance to work on the project. I’m very thankful. I can’t say I’m just finding that out [about his return as ‘Puff Daddy’] but I got that vibe. I knew where it was going to end up at. The Money Makin’ Mitch project, it’s going to be some great music on there.” (SOHH)

Puffy’s “Big Homie” track premiered online back in March.

“Big Homie” features French Montana and Rick Ross, and the latter is clearly the biggest influence on Puff’s current sound: It’s big, it’s badass-sounding, and it leans into that signature monster plod. But while Ross’ penchant for rapping just behind the beat always sounds like a conscious decision (not even the power of rhythm can move the Bawse), Puff just sounds slightly inept (which is a pretty accurate description of his career-long rhyme style). Everybody is going hard, but by surrounding himself with high-impact blasters in Montana and Ross, Puff highlights the oomph his rapping has always lacked. (Entertainment Weekly)