Willie Nelson – “The Border” review

Willie Nelson is a 91 year old musician, singer/songwriter, actor & activist from Abbott, Texas known for being one of the main figures of the outlaw country subgenre & being 1/4 of The Highwaymen. Standouts in his vast discography include Shotgun Willie, Phases & Stages, Red Headed Stranger, Stardust, Spirit & Teatro. Looking to celebrate a month after his birthday though, Buddy Cannon is producing the 75th full-length solo LP of material from country music’s favorite stoner.

The title track that starts us off with a decent cover of “The Border” by Rodney Crowell whereas “Once Upon a Yesterday” works in some acoustics, pianos so Willie can passionately sing about getting older reminiscing that we were all children working hard at play at one point in our lives. “What If I’m Out of My Mind” has a peppier country flare to it finding the girl of his dreams & after “When I Wrote This Song for You” covering Larry Cordle, the harmonica/guitar laced “Kiss Me When You’re Through” addressing a woman who told him she wouldn’t want him if he was the last person on Earth.

“Many a Long & Lonesome Highway” covers Rodney Crowell once again to start the 2nd leg of the album, this time the lead single off his 6th album Keys to the Highway leading into “Hank’s Guitar” telling a story from the perspective of the late great Hank Williams’ very own guitar. “Made in Texas” was a solid choice of a lead single paying tribute to his home state, but then the bluesy/country hybrid “Nobody Knows Me Like You” sings about Annie D’Angelo being the only person who knows him best. “How Much Does It Cost” ends the album with a powerful country ballad asking the cost of freedom.

As I stated when I reviewed Beyoncé’s new album Cowboy Carter couple months ago: Country music one of those genres that I’m not the biggest fan of altogether with some exceptions & Willie who did an interlude for B on the 2nd act of her ongoing trilogy is most certainly one of them. Nearly 7 decades in the game & The Border elevates everything that made A Beautiful Time his best album since Teatro to new levels. Buddy improves his production from Blueglass’ to help efficiently tell the inner struggles & outer life stories of a border guard.

Score: 4/5

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Big Trip – “Honestly Filthy” review

This is the 3rd EP from Detroit, Michigan emcee Big Trip. A member of The Umbrella collective, he introduced himself in 2021 off his first EP Bullet Tooth Tony followed by another one Crasseux of course the full-length debut album Filth Be Thy Name. All of which showed the underground what Big Trip was capable of doing on his own, but felt Honestly Filthy would elevate since Maryland emcee/producer Jamil Honesty was hopping behind the boards for it.

“And Now You Know” starts off ruggedly introducing y’all to his sound refined whereas “Death Wish” takes the boom bap route instrumentally talking about everyone out there who want him dead. “Serenade” works in a pleasant soul sample encouraging to get rich by being real ones doing real shit prior to “Underplays & Overlays” featuring Ty Farris hooking the kicks & snares back up talking about making plays.

Starting the EP’s latter half, “Major League” gives it to them ice cold over a jazzy boom bap beat while “Gillie & Wallo” featuring Jamil Honesty likens themselves to the $1M Worth of Game hosts of the same names. “Filthy Cabaray” gives a middle finger to the fame & the imposters only wanting the money & finally, “Life’s a Gamble” ends Honestly Filthy talking about on some cutthroat shit likening his squad to gorillas & whipping up in the tank like Master P.

Being the 4th project that Big Trip has released of his own in the span of 3 years since beginning to make waves in the underground, it now zips past everything that he’s done previously to quickly take the #1 spot as the crown jewel of his entire discography so far. The production that Jamil Honesty’s cooks up is an excellent refinement of what you’ve heard from Trip in the past & the Detroit emcee jots down some of the hardest bars of his career yet.

Score: 4.5/5

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Brotha Lynch Hung – “Season of da Siccness 2: Kevlar” review

This is the long-awaited 9th full-length studio LP from Sacramento horrorcore pioneer Brotha Lynch Hung. Establishing himself with the debut EP 24 Deep & debut album Season of da Siccness, he would later regain popularity in the early 2010s after signing to Strange Music for Dinner & a Movie alongside Coathanga Strangla & of course Mannibalector an acclaimed trilogy. Bullet Maker proved to be a disappointment in 2016, so it only makes sense for him to make a comeback with Season of da Siccness 2: Kevlar & not miss the mark considering it’s importance to his discography.

After the “Yaw Ready?” intro, the first song “I Can Be a Killa” is this spine-tingling opener talking about his murderous tendencies whereas “I’ve Changed” works in some strings to explain how much he’s changed in the last decade since we last heard from him. “Get ‘Em” grisly talks about a man who was trying to commit suicide jumping off a building & a bullet striking him in the midst of him falling, but then “Gangsta” featuring G-Macc turns the symphonic elements back up getting on their g shit.

After the “Start the Car” skit, “Smoke” featuring Phonk Beta & V8 brings the trio together for a west coast flavored smoking anthem just before “Ill” featuring Swifty McVay of D12 following the “Born In It” skit eerily finding both MCs boasting how ill they are lyrically all these years later. “Viral” featuring TA has a tenser vibe to the beat as they set out to become extremely popular & spread across the internet leading into “Eyes Wide Open” dropping bodies backed by guitars & hi-hats.

“Bang Bang” morbidly talks about being strapped while “Da Siccness” ominously brings gets on his wicked shit once again. “Blocc Monsta” has a dark, funky tone instrumentally explaining how much of a monster he is around his block while “Grrr” menacingly talks about cooking without the deep dish. After the “Grinding” skit, the final song “Southside” ends Season of da Siccness 2: Kevlar ends the sequel to Brotha Lynch’s debut profoundly getting introspective.

Over a decade in the making, it’s as if that Brotha Lynch Hung never took all that time off focusing on recapturing the essence of what made his first LP a west coast horrorcore classic & refining it in a modern fashion. His own production is as consistent as the Coathanga Strangla trilogy back during the Strange Music days & most importantly, he sounds recharged on the mic breaking down where he started & where he’s at in his life currently whilst keeping it ripgut.

Score: 4.5/5

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Dave East – “APT 6E” review

Harlem, New York emcee Dave East joining forces with Mike & Keys for his 4th LP. Breaking out in 2014 off his 8th mixtape Black Rose, this resulted in the man signing a joint deal with Def Jam Recordings & even Nas’ independently owned Mass Appeal Recordsas well as a spot in the iconic 2016 XXL Freshman Class. However, his full-length debut Survival wouldn’t come out until 3 years later & was very disappointing in the sense that he tried appealing to a more mainstream audience that just didn’t exist. The Harry Fraud produced sophomore effort Hoffa proved to be better as did his final Def Jam offering Fortune Favors the Bold, so I was already intrigued to hear him take it back to his independent roots on APT 6E.

After the intro, the first song “Doin’ Great” starts off with pianos & hi-hats explaining the ways to get out of this life whereas “God Produced It” hooks up a sample-laced trap instrumental talking about telling himself he could do it time & time again. “Snow White” discusses the largest gang takedown in the history of the Queens borough over a psychedelically rattling beat prior to “I.D.R.N. (I Don’t Regret Nothing)” goes into a ratchet direction so he can talk about not regretting anything.

“Me vs. Me” jumps on top of organs & soulful guest vocals from Stacy Barthe making it clear that the toughest fight of his life was within himself just before “This Lifestyle” featuring Kurupt mixes hi-hats & synthesizers as they break down the way they both living currently. “Ballin’” featuring Buddy finds the 2 cloudily smoking good & poppin’ another bottle while “Dangerous Riddim” featuring Shaggy comes through with summertime vibes top to bottom generally.

Stacy returns on the whimsically rugged “So Much Changed” getting on his grown man shit topically, but then “Intervention” talks about going through it over pianos & hi-hats. “Can’t Even Know” hops over a soul sample making it clear that he ain’t concerned unless it’s over the guap & that he has a lot more to learn. “Out the Way” passionately explains his passion outlasted doubters & critics while the final song “I Remember” ahead of the outro ends APT 6E in the form of a profound ballad dedicated to all sorts of people.

Dave’s R&B EP For the Love produced by Scram Jones from the beginning of the year was disappointing as intrigued as I was about the idea going into it from the beginning, but APT 6E finds him reclaiming his independent spirit & has me highly anticipating Hoffa 2 since it was hinted at a while ago. Mike & Keys bring their west coast sound & mix it with Dave’s hardcore East coast lyricism.

Score: 3.5/5

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Nasaan – “Error 404” review

Nasaan is a 25 year old MC/producer from Atltanta, Georgia by way of Detroit, Michigan notable for being the son of the late D12 de facto leader & in my opinion the greatest Detroit emcee of all-time Proof. Some of you may remember him for releasing the Def Jam-backed debut EP Kiss of Karma in July of 2019, which gave listeners a taste of what was to come from the promising Motor City up-&-comer. Now that he’s been signed to Atlantic Records since last summer, Nasaan’s further establishing himself by returning with a 2nd EP.

After the “ERROR” intro, the first song “Goated” featuring Royce da 5’9” on the intro is this off the wall trap banger talking about his greatness whereas “Devil to Atlanta” takes the futuristically bassy route instrumentally talking about bringing Satan himself to the ATL. “Top N****r” featuring Daniel Hex starts off melodically until aggressively transitioning & boasting his top dog status, but then the dynamic “It’s Giving…Leo” produced with mR. pOrTeR encouraging a bitch to tell him about himself.

“Key Up!” gives off a cloudy trap vibe thanks to Turbo & Pooh Beatz lifting the seat in his Maybach up prior to “Stepping on Shit” featuring SWAVAY taking a vibrant approach generally spitting braggadocio. “Lunchroom Freestyle” featuring Babytron shows off their charisma for a couple minutes while the atmospheric “Land of Cap” dedicates itself to his father. “Cullinan Gang” featuring Icewear Vezzo ends the EP smoothly exclaiming they don’t believe in relaxation.

On his Atlantic debut, Nasaan returns after 5 years telling listeners what it was like to grow up & live in Atlanta with every track stemming from an experience of his & bring it back home. He even invites guests from Detroit to this world in a successful attempt to blend the 2 worlds, continuing to build upon the trap sounds of Kiss of Karma & establishing an indentity of his own detailing the personal growth he’s gone through since.

Score: 3.5/5

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Homixide Gang – “I5U5WE5” review

These guys are a duo from Atlanta, Georgia consisting of Homixide Beno! & Homixide Meechie who began to turn heads a couple years ago after dropping their debut EP Snotty World to the point where trap trailblazer/rage pioneer Playboi Carti made them the 3rd act to sign to his Interscope Records imprint Opium Records following Ken Carson & Destroy Lonely respectively. Homixide Lifestyle was a solid debut, Snot or Not wound up being a mixed bag of a sophomore effort & their debut mixtape 5th AMNDMNT proved to be significantly rawer. Now that we’re nearing closer to the beginning of summer, Homixide’s stepping up first for Opium in 2024 to release I5U5WE5.

“Sharp Sh00ter” is a horn-inflicted opener homaging former 7-time WWE world champion, 3-time WWE tag team champion, 5-time WWE United States Champion, 2-time WWE Intercontinental Champion & 2-time WWE Hall of Famer Bret Hart’s finisher whereas “VersionF!VE” works in the rage beats pulling up in all black with fat ass racks. Lil Yachty makes I5U5WE5’s only guest appearance on “SIDE EFFExT” has one of the best instrumentals on the album from F1LTHY of Working on Dying as the trio talk about their bitches being rockstars & “FA5EBUSTER” mixes a guitar with hi-hats looking to breaking faces.

Meanwhile on “SRT”, we have Homixide over more atmospheric trap production talking about being undefeated referencing WWE’s 2nd flagship program Friday Night SmackDown just before “SwanTon BOMB” is this insane 2-parter named after Jeff Hardy’s iconic finisher. “FiGure5” experiments with a quirky drill beat talking about how they can’t be making the wrong moves out here leading into “R50” going trap metal with Cxdy help boasting that you can’t see them. “DeathLOK” fuses rock & trap together courtesy of Galactic Records signee tana so they can talk about having nightmares with the demons while “2xTREME” finds Vendr of Internet Money Records, Toom of Vanguard Music Group & Dreamr keeping the guitars & hi-hats into the fold boasting their levels of extremity.

“00-MEGA” brings an ominous trap flare to the table admitting they have no feelings & can’t show love while “Hi-Voltage” showcases elements of gangsta rap & hypertrap with the help of Cxdy swerving through traffic with their foot on the gas. The bassy penultimate track “SMAKDWN” turns the rage back up to 11 talking about being as lit as they are & “TABLESandLATTER5” finishes the LP in favor of being on a whole different wave than everyone else in their field is over ethereal production that Census, Spaceman & Zodiac provide.

Have to clarify that although Beno & Meechie was already signed to Opium for a year & a half now, their 4th offering under Carti’s imprint also happens to be their major label debut as their last 3 didn’t have Interscope Records handling distribution like they’re doing here this time. The end result being in Homixide growing beyond the raging gangsta rap sound they artistically became known for keeping it in the wheelhouse on the occasions of venturing out into cloud rap, trap metal & rap rock.

Score: 3.5/5

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Crimeapple – “Bazuko” review

Big Ghost Ltd. reuniting with New Jersey lyricist Crimeapple for his 13th full-length album. Becoming a fan of his in the fall of 2017 with his 4th EP Sweet Dreams along with the Big Ghost Ltd. produced full-length debut Aguardiente that following spring, his profile in the underground grew exponentially from there. Discography standouts include the DJ Skizz-produced Wet Dirt, the DJ Muggs-produced Medallo, Cartagena, Breakfast in Hradec & Sin Cortar. El León produced by Preservation from the beginning of this year became the most I’ve enjoyed Crime’s music in a while & the official Aguardiente sequel Bazuko here raised the stakes considering how essential the predecessor is to his catalog.

After the “Introducción” intro, the first song “Laugh Now” is a jazzy starter to the album telling a bitch to throw some salt over her shoulder staying in his zone roaming around the world whereas “Re-Rock” takes the boom bap route instrumental talking about the jeweler hitting him with the water. “5000 Degrees” ruggedly reminds everyone that Crime has the ability to melt you on the mic just before “Chemical Imbalances” works in more kicks & snares getting in his hardcore bag lyrically.

“Trust Issues” has a grimier tone to the beat setting out to tie up loose ends while “Pretty Girl Who Can Rap” goes into a soulful direction instrumentally thinking about all the dimes he wants to sex who so happen to be skilled MCs. “Higher Learning” has this organ-laced boom bap beat explaining it’s just him & a pair of fiends on the block, but then the grisly “Smoke Signal” talks about having PTSD from past missions.

Starting the last leg of Bazuko, “The Tropicana” turns the jazz influences back up to work on a master plan while “Las Trompetas” gives off a groovier vibe talking about hanging with the honeys. “Motorcycle Sicario School” featuring Mickey Diamond, RLX & T.F brings the quartet together over a vocal sample discussing the friends they have who come to Colombia for their g fix & “Die Later” ends the album with guitars, kicks & snares talking about someone getting balled like aluminum.

If El León was the most that I enjoyed a project from Crime in a year & a half, Bazuko here has already outdone it 5 months later. Everything about Aguardiente whether it be Big Ghost Ltd.’s distinctively raw production or the gritty hardcore lyricism from the New Jersey emcee is being recaptured & elevated to display how much both of them have grown over the course of these past 6 years.

Score: 4.5/5

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Tha Dogg Pound – “W.A.W.G. (We All We Got)” review

Long Beach, California emcee/producer Daz Dillinger & Philadelphia, Pennsylvania emcee Kurupt together known as Tha Dogg Pound returning to Death Row Records now distributed by gamma. for their 9th LP. I really shouldn’t have to say much about their 1995 full-length debut Dogg Food since it’s widely recognized as one of the last great albums that Death Row ever put out, but their comeback effort DPG 4 Life from a few years ago was easily their worst due to being plagued by tacky pop rap tunes. Nevertheless, I was certain W.A.W.G. (We All We Got) had to be the duo’s true return to form.

After the intro, the first song “Smoke Up” featuring WWE Hall of Famer Snoop Dogg produced by Rick Rock is this banging g-funk opener for all the west coast heads to light one up to whereas the title track featuring Tha Eastsidaz unites both groups together for the first time talking about having only each other. “Imma Dogg” takes the g-funk route once again thanks to DJ Battlecat reminding themselves of the Doggs they are leading into “Need Some Space” talking about needing their space over a cloudy Mike & Keys instrumental.

“Favorite Color Blue” is this playful club banger dedicated to their roots as Crips while “Inside of Her” picks up from there with a chilled out pop rap jam. “House Party” featuring Snoop Dogg pulls inspiration from Zapp a bit talking about going to the clubs, but then “After Hours” featuring DaBaby & Snoop Dogg warmly expresses their desire for it all even though my only complaint about it being DaBaby’s unnecessary verse at the beginning.

The electronic influences on “LA Kind of Love” featuring will.i.am on the remix feel outdated despite the west coast lyricism while “Grown Up” featuring Snoop Dogg heading for a delicate trap direction to the beat talking about everyone wanting to be grown. “The Weekend” featuring Jane Jane Handcock & October London turns the g-funk influences back up courtesy of Soopafly making time for their partners while “Always on My Mind” featuring Snoop Dogg bouncily refuses to give up. “Who da Hardest?” by the N’Matez & Snoop Dogg ends the album jumping over a DJ Premier instrumental flexing their prowesses.

Dogg Pound really couldn’t fumble on W.A.W.G. (We All We Got) much like they did with DPG 4 Life a few years ago especially since it’s their first album of newly recorded material to be released through Death Row in almost 3 decades & thankfully, Snoop helps give Daz & Kurupt their best offering in a while. They return to their roots stylistically on top of demonstrating their growth after being in the game so long, only having each other at the end of the day.

Score: 4/5

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Oddisee – “And Yet Still” review

Oddisee is a 39 year old MC/producer from Washington D.C. whom I got introduced to through his incredible 7th album & Mello Music Group debut The Good Fight almost a decade ago weeks before my high school graduation. I also happen to enjoy his work with Diamond District, the Odd Seasons mixtape series, his 4th EP Alwasta & The Good Fight’s successor The Iceberg. He just returned last summer by releasing his 9th LP To What End & only 16 months later, Oddisee is taking no time to slow down whatsoever by officially releasing his 6th EP as we near the end of 2024’s halfway point.

“Had to Improve” officially begins the EP with a hypnotizing self-produced instrumental talking about taking some time off in order to step up his craft using a drill flow whereas “Live from the DMV” throws it back to the mid 90’s with the 2 stepping, house party vibes. “Words on Fire” mixes crooning background vocals with kicks & snares talking about the world being out of rhythm this day in age while “Thankful For” merges a 4/6 Moroccan inspired rhythm with jazz rap & a promising message. “Give Way” fuses soulful rock, hip hop & spoken word to tackle themes of acceptance, but then the title track mellowly ends the EP talking about nothing being certain.

To help get the summer started, Oddisee presents a modern hip hop EP inspired by myriad of genres & musical styles with each song revolving around a different understanding of the fact that we have to wake up & make a living no matter what’s going on. His love to all genres really culminates within the production during the 19 minute offering, displaying his range artistically without any guest appearances whatsoever. If this is to hold us off until a potential 10th full-length sooner than later, it’s surely an eclectic one.

Score: 4/5

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Big Hit – “Blacks & Whites” review

This is the sophomore full-length LP from Los Angeles rapper Big Hit. The father of Hit-Boy, he was found guilty & convicted of a hit & run resulting in great bodily injury almost a decade ago & unlawfully being sentenced to 12 years & 4 months in prison including a 5-year GBI enhancement connected to Count 1. Last February, his petition for a writ of habeas corpus was granted & became a free man on his son’s 36th birthday. Hit would have his father join forces by making Surf or Drown 2 a collab effort tailored for Father’s Day Weekend & put out a debut album of his own The Truth’s in My Eyes only 6 months later. Blacks & Whites here raised my expectations after learning Hit-Boy was producing half of it & most importantly, The Alchemist doing the other.

“Drug Tzar” is this murky boom bap opener to the album talking about being a drug star as opposed to a rap star whereas “Only Weight I Feel” works in more kicks & snares reminding that he’s the one who sold these cats the news & gave them the rules. “Godfather, Pt. 2” featuring Boldy James is this piano-boom bap hybrid with both of them calling out the cross-artists out here just before “Heartless” goes drumless revealing that he’s suited up ready for y’all.

Moving on from there, “Foreclosure” takes the heinous route instrumentally cautioning that you better count your fingers when you shake his hand while “Temperature Check” kinda has an atmospheric flare to the beat talking about being ready for war. The title track featuring The Alchemist & Hit-Boy themselves finds the trio lavishly keeping everything black & white prior to “Champion” coming through with a warmer vibe talking about being a winner.

“Count Your Blessings” featuring Figg Rarri, Killa Twan & LongBodyy brings the quartet over more keys as they discuss keeping track of one’s blessings while “Sly, Slick & Wicked” featuring Hit-Boy’s son & Big Hit’s grandson C3 soulfully talks about disliking these n****s. “Dirtball” nears the conclusion eerily explaining that everyone else can’t keep up with him while “Gank Move” featuring Hit-Boy’s sister & Big Hit’s daughter HitgirlLena cloudily samples “Murderer” by the titular Detroit duo to end the LP detailing the gangsta lifestyle.

Big Hit’s been steadily getting his name back out there ever since coming home from the pen, but Blacks & Whites as I had anticipated takes himself to a whole new level & dethrones The Truth’s in My Eyes as the best album of his discography thus far. Hit-Boy & Uncle Al’s production are like yin & yang with their own distinctive styles, complimenting Big Hit’s gangsta lyricism stronger than the debut we got last winter.

Score: 4.5/5

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