Saigon – “The Jordan Era” review

This is the 5th full-length LP from Brooklyn emcee Saigon. Breaking out in the early 2000s off his debut mixtape Da Yardfather, it wouldn’t be until 2011 when he would make his full-length debut by dropping The Greatest Story Never Told under Suburban Noize Records. The album would spawn a sequel to fulfill his contract with the Spade the following year & then a final installment on his own imprint Squid Ink Squad Records in 2014. He returned from a 6 year hiatus in 2020 by signing to Strange Music’s new subsidiary It Goes Up Entertainment & dropping the STREETRUNNER-produced EP 777: The Resurrection & fulfilling that deal on Pain, Peace & Prosperity the next spring. However, he’s linking up with Swedish producer Fredro for produce The Jordan Era after signing a new contract with Payday Records.

After the intro, the first song “G Miller” instrumentally kinda has this old school hip hop flavor to it talking about dressing like a tiger & biting like a killer whereas “Lyrical Genius” featuring Grandmaster Caz works in this danceable groove so both MCs can boast their prowesses together. “Think Twice” featuring Grand Puba has this prominent organ sample throughout only giving the listener advice 1 times, but then “1 Foot in the Door” featuring Big Daddy Kane points out that there’s something about the name Big whether it be the Kane himself or even Biggie Smalls & Big Pun.

“The Mobbery” picks up from there by rawly admitting that he wants to stick up the mob while the rugged “3 Digits” featuring Rock brings the 2 together explaining that this life all about the drugs, money, weed, women & standing out from the rest. After the interlude, Kool G Rap joins Saigon on “Make Money” menacingly discussing stacking up their chips just before “Home of the Wild” featuring Al Skratch finds the pair dustily talking about the wildest coming from New York.

One of my top 5 producers of all-time Pete Rock hops in the booth for “Get Loose” getting on some funky boom bap shit to show their recklessness, but then “Stop Poppin’ Shit!” featuring Craig G jumping over pianos mixed with kicks & snares calling to cease gun violence. “We Were Stars” menacingly talks about how things were back then while “Dangerous” featuring Sadat X returns to the boom bap bringing it hardcore lyrically.

“Tournament” orchestrally breaks down a tournament of torment that you can enter in for only 64¢ while the album’s proper closer “The Era” shows everyone what the real meaning of fortified is over kicks & snares. The bonus track “Sveriges Regenter (Sweden All-Stars)” featuring ADL, Ayo, Petter & Timbuktu truly wraps things up by thunderously showcasing amongst the nicest MCs that the Swedish hip hop scene has to offer.

Pain, Peace & Prosperity had it’s highlights although I didn’t enjoy it as much as I did 777: The Resurrection, but The Jordan Era has revealed itself to be Saigon’s best full-length in about a decade & almost matching the bar that 777 as amongst the 2 strongest efforts of his in this current decade. We’re taken on a journey through the culture from 84-98 seen through eyes of a young Saigon, complimented by guest appearances from the pioneers & production from Fredro paying homage to hip hop’s roots.

Score: 4/5

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Slum Village – “F.U.N.” review

Slum Village is a duo from Detroit, Michigan now consisting of T3 & Young RJ. Originally a trio with the late J Dilla & Baatin, their debut Fan-Tas-Tic Vol. 1 was bootlegged in the summer of 1997 only to be revamped & re-conceived on Fan-Tas-Tic Vol. 2 only 3 years later. Dilla left the group a year later to pursue a solo career & eLZhi filled in for him in the midst of them signing to Capitol Records for their next 2 albums Trinity (Past, Present & Future) & Detroit Deli (A Taste of Detroit). Following their eponymous full-length, Dilla & Baatin both passed away prompting RJ & even Dilla’s younger brother Illa J to join for what was set to be their final offering Villa Manifesto. What really ended up happening though was eLZhi leaving the group due to what he said was a falling out with Young RJ & interestingly, Illa J followed suit after Evolution & Yes!. After almost a decade though, T3 & RJ are getting back together for their 9th studio LP.

“Welcome” by Brittney Carter is this atmospheric opener with hi-hats provided by none other than Young RJ welcoming y’all to a name that you heard about & never had the guts to touch whereas “All Live” picks up from there with a funky ass instrumental so SV can get the party started. “All Live 2” by Phat Kat works in some pianos talking about calling him Ronnie S. Truman since he be buyin’ ‘em all first that is until “To the Disco” takes a groovier route to the beat continuing to settin’ it off & describing themselves as warlords.

Moving forward, “Yeah Yeah” co-produced with Karriem Riggins brings back the funk a bit so the duo can talk about being the foundation & for everyone else to get in line leading into “Just Like You” featuring Larry June works in more disco influences instrumentally so all 3 MCs tell their significant others that they wanna be with them. The rhythmic title track boasting that the Detroit cats are at it again, but then “Request” groovily talks about giving what they need.

Cordae joins Slum Village on the mellow “So Superb” making way for everyone to boast their superiority while “Keep Dreaming” featuring Fat Ray is this funky/boom bap crossover telling everyone to open their minds & realizing they’re still dreaming. The penultimate track “Factor” soulfully talks about factoring in all the good times to spend just before “Since 92” ends the album with kicks, snares & pianos from Robert Glasper reminding that they’ve been putting it down for over 3 decades.

Putting in the perspective that it’s been 8 whole long years since we last heard Slum Village together in a full-length capacity, I figured something had to be coming down the pipe sooner than later when they teased us with the singles & even performed at a halftime show during a Detroit Pistons game during this past season even though they didn’t play the best by any means. Needless to say: It’s like they never took a break. They seem very happy to be back in the lab keeping their signature sound alive occasionally joined by a couple of their homies in the D & co-signing some new blood.

Score: 3.5/5

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Valee – “Partridge” review

Chicago, Illinois rapper Valee now joining forces with Detroit, Michigan producer Black Noi$e for his 5th EP. Making his name known by releasing 3 mixtapes & a couple EPs from the span of 2015-2018, it wasn’t until one of my top 10 producers of all-time Ye formerly known as Kanye West signed him to a joint deal with G.O.O.D. Music & Def Jam Recordings. The next 2 EPs G.O.O.D. Job, You Found Me & Runnin’ Rich helped spread plugg music to a mainstream audience despite both receiving mixed reception to the point where he would go his own way from Thersday onward. I should also mention that Valee additionally has 2 EPs with AYOCHILLMAN as the duo The TrAppiEst as well as 2 more with ChaseTheMoney as the duo VTM & 2 with Stan Lane as the duo Vlane. Anyway, his full-length debut Virtuoso produced by Harry Fraud from last summer won me over on him & I was certain of Partridge being as enjoyable.

“Partridge” is a sample-heavy trap opener with Valee boasting about putting a bitch in Chanel & skating harder than Molly Bloom whereas “Clutch” works in this crazy beat switch near the 2 minute mark so the dude can lay out his lifestyle on wax. “DiGiMon” takes the eerie boom bap route instrumentally talking about fucking on the money while “Ruff” pushes near the end of the EP taking a bit of a mellow trap turn flying out to Berlin & playing with the idea of pulling up in something new. “Sonnet” finishes up Partridge cloudily showing off his baby rockin’ A Bathing Ape with no monkey in the middle.

Originally, I had Runnin’ Rich as my favorite Valee EP since it took everything from G.O.O.D. Job, You Found Me & improved on it. 5 years later, he outdoes himself here much like he did with Harry Fraud on Virtuoso last summer. Black Noi$e’s production is more experimental than Harry’s was on that debut LP & the performances from Valee himself are an improvement over some of the other material he’s given us in the last 10 months since.

Score: 4/5

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Rome Streetz – “Buck 50” review

New York lyricist Rome Streetz is joined by Floridian producer Wavy da Ghawd for his 5th EP. Emerging in 2016 off his debut mixtape I Been Thru Mad Shit, this was followed up by a plethora of projects with the most notable being the Noise Kandy tetralogy & Headcrack. These past couple years however we’re probably his biggest ones yet, as he dropped some of the best work of his career from the DJ Muggs-produced Death & the Magician or the Futurewave-produced Razor’s Edge to the Ransom-assisted collab effort Coup de Grâce& the Griselda Records deal that followed. His debut with the Buffalo powerhouse Kiss the Ring came in at the #9 spot on my Best Albums of 2022 list & the Big Ghost Ltd.-produced Wasn’t Built in a Day ended up being a tad bit higher but coming off the 5th & final installment of the Noise Kandy series, Wavy is joining Rome for Buck 50.

The raw, 2-minute opener “Ball of Soft” boasts that he’s ballin’ like the league leader & that these rappers’ albums don’t amount to shit whereas “Runnin’ It Up” goes drumless talking about the fact that he’s been had the world in his fist. “Why is Water Wet?” goes for a smoother approach to the instrumental discussing a woman who says she never leaves him alone just before the dusty “Ya Understand” talks about no one being able to fuck with him. “‘92 Mike” is this luxurious boom bap cut going on a killin’ spree & the flute-infused “Saliva” ends the EP by doing what he had to do so cracks on the cash pursued.

The first 2 installments of the Noise Kandy series were my favorite EPs in Rome Streetz’ catalog for the longest time, but I truly consider Buck 50 to be head & shoulders above those including Narco Lingo & The Residue. I think that Wavy da Ghawd’s production here is amongst the best of career being a bit more consistent than Noise Kandy 5’s was as much as I still enjoy that previous project & Rome’s style of lyricism fits Wavy’s whole sound generally.

Score: 4.5/5

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Spice 1 – “Platinum O.G. 2” review

This is the 15th full-length studio LP from Hayward, California emcee Spice 1. A pioneer in the Bay Area scene, his first 6 albums with Jive Records (most notably the sophomore effort 187 He Wrote) played a big role in cementing himself in that status & has remained independent since the turn of the current millennium. Aside from the This is Thug World mixtape showcasing the talent on he’s signed to his very own label Thug World Music Group, there’s no doubt that Spice’s previous body of work Platinum O.G. released through Elder Entertainment was his best since The Last Dance nearly 2 decades prior & I didn’t expect any less from the sequel.

“Since the Day” featuring CL Smooth starts off with a sample-heavy opener taking us through an average day in the streets knowing they’ve been hard from the jump whereas “Gangsta Shit” featuring Rick Ross, Q Bosilini & WWE Hall of Famer Snoop Dogg shifts into trap territory talking about being the Gs that they are. After the “Sway Speaks Bay Area History” skit, “Projects” featuring K-Rino & Treach brings a funkier loop into the fold with hi-hats telling stories from the PJs just before the groovy “Crumbs with Bums” featuring Conway the Machine talks about rich cats who’re fake.

After the “Sway Speaks Impact” skit, “How Long” featuring Nawfside works in some organs to ask exactly how long will they mourn each other leading into the 2nd single “Deuces in the Sky” featuring MC Eiht & Worldwide serving as an anthem for all the west coast heads to throw their 2s up. “Not Easy” featuring Devin the Dude, Lee Royal & Nawfside brings back the funk a little getting twisted every day but after the “Sway Speaks Importance” skit, “Thriller” featuring Nawfside alongside Q Bosilini & Tela menacingly talks about being straight up killers.

“Come Out with Me” featuring the late Bushwick Bill & once again Q Bosilini samples “My Flame” by Bobby Caldwell to show a sensual side to all 3 of them while “Houston to the Bay” featuring Lil’ Flip & Paul Wall comes through with this trunk-knocking ode to both cities. After the “Sway Speaks Industry Influence” skit, “Real G’s 2” featuring B-Legit as well as Domino & KXNG CROOKED is a sequel to a track on O.G. Platinum that’s better than the original ahead of the party-starting “Henny Out the Bottle” featuring C-Bo, the late Hussein Fatal & Nawfside. After the “Sway Speaks Spice 1 the Legend” skit, the final song “Yesterday” featuring Fiend, Mac, Mr. Serv-On & Q Bosilini slickly closes Platinum O.G. 2 reminiscing.

Was sorta hoping that we were going to get a new body of work from him with lesser features due to the fact that I can truthfully be a little skeptical about projects overloaded with one feature after another & regardless of me still hoping for that sooner rather than later, I very much have to give Spice 1 credit for delivering a monumental collaboration joined by a constellation of amongst some of hip hop’s most elite MCs. I’d even say that I happened to enjoy the sequel more than the original LP he made his comeback with the summer before the COVID-19 pandemic. N.O. Joe & Ryan Elder’s production is a cut above the predecessor’s so the Bay Area veteran & company tell the listener stories that pulsate with the lifeblood of the streets.

Score: 3.5/5

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Kamasi Washington – “Fearless Movement” review

Los Angeles, California tenor saxophonist Kamasi Washington has returned for his 5th full-length LP & his 2nd with Young Recordings. Becoming a fan during my senior year of high school after signing to Brainfeeder Records, his 3rd album albeit his only one with the label The Epic went down as the best jazz record of the century so far proving the genre isn’t dead after all by embarking on an aptly titled 3 hour spiritual jazz experience. Kamasi’s last album Heaven & Earth was also 3 hours in length, expanding on the spiritual sounds from last time including the additional influences of jazz fusion or soul jazz & post-bop too. However after a 6-year gap, he’s making a comeback on Fearless Movement.

“Lesanu” begins with a 9 & a half minute spiritual jazz opener with horns, pianos & saxophones whereas “Asha the First” by Ras & Taj Austin of the group Coast Contraaccompanied by Thundercat on the hook fuses soul jazz & jazz rap together talking about light shining from the tree along with reassuring everyone their higher selves emitting & that nobody can run from impending doom. “Computer Love” performed by Patrice Quinn covers one of Zapp’s biggest hits & I understand given the rise in technology we’ve seen in recent memory, but then “The Visionary“ serves as a colorful 70 second instrumental breather with additional production from Terrace Martin.

D Smoke & Parliament-Funkadelic leader George Clinton link up on “Get Lit” fusing jazz rap with jazz-funk & psychedelic soul referring to themselves as children of the light in the nighttime on top of a flame not losing any light by lighting another just before “Dream State” co-produced with André 3000 gets back to the spiritual jazz fusion bag additional pulling inspiration from nu jazz, ambient music & post-minimalism. “Together” by BJ the Chicago Kid brings back the soulfully jazzy vibes from earlier singing about ruing the days his lover would gain if they didn’t break up just before the progressive lead single “The Garden Path”crosses over jazz fusion & soul jazz in a technical fashion.

“Road to Self (K.O.)” begins the last leg of Fearless Movement in the form of a 13 & a half minute electric jazz roller coaster ride that makes you feel like you’ve taken shrooms or a tab of acid moments prior while “Interstellar Peace (The Last Stance)” seems like the perfect fit to have playing in the background of the beginning of a sci-fi movie, particularly during the opening credits sequence. “Lines in the Sand” nears the LP’s conclusion with another astral/soul jazz hybrid referring to the sand-lines keeping everyone so far from the dream & that they can’t tell them what to thing that is until “Prologue” perfectly rounds everything out incorporating nu jazz & jazzstep undertones into this 1 final spiritual jazz/jazz fusion composition full of passionate, improvisational energy.

Heaven & Earth further proved that jazz music is very much alive with it’s larger-than-life compositions full of celestial grandeur & his distinct blend of jazz, Latin, funk, classical, hip hop & soul breaking ground for the genre’s present like The Epic. Fearless Movement offers something different with it’s terrestrial rhythms & collaborations from MCs, musical icons & even Kamasi Washington’s own daughter culminating in surpassing both DOMi & JD Beck’s debut Not Tight and even André 3000’s solo debut New Blue Sun as the best jazz album of this decade as of me writing this. You still get the predominant spiritual jazz fusion that Kamasi is known with additional elements of soul jazz, jazz rap, nu jazz, psychedelic soul jazz & jazzstep.

Score: 4.5/5

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Slimesito – “EVILSLIME” review

This is the 16th EP from Atlanta, Georgia rapper Slimesito. Notable for being a member of the quintet Jurassic Park, he would also drop 3 LPs as well as 15 EPs & a mixtape of his own. Highlights in his discography include his 4th EP Scarface Sito, his 9th EP Rich Slime, his full-length debut Vida Brazy, 11th EP Life of a Slime & lastly the Dedication duology hosted by DJ Phat. And now with Yonkers producer Evilgiane of the Surf Gang coming fresh off lacing The Hillbillies’ eponymous debut single, I had a strong feeling ahead of EVILSLIME that it could top everything else as the crown jewel of Sito’s discography.

“Designer Drugz” gets the ball rolling detailing Slimesito’s lifestyle over a plugg instrumental whereas “Right or Wrong” co-produced by Eera finds the 2 joining forces going into a cloudier direction with some hi-hats thrown in talking about sliding for the gang without caring who’s in the right or who’s in the wrong. “Bandoleros” kinda has this airy drill vibe to the beat referring to himself as a rebel prior to the booming “Mona Lisa” painting the block much like the iconic painting the EP’s artwork pays homage to.

K$upreme joins Sito on the psychedelic “Top Floor” flexing the penthouse status that both artists have earned at this point in their careers while the atmospheric drill hybrid “Make It Home” reminding everyone that he been had motion. “Bruise Wayne” works in these ominous synth melodies & hi-hats talking about being on the block no differently than Batman, but then “12 03 93” gives me a cinematic vibe instrumentally feeling like making shit snow although it’s summertime.

“Top Kapo” pushes near the end of EVILSLIME calling himself a top dog over a cloudy beat just before “No Stress” clashes hi-hats & low-register synth melodies refusing to stress over Ls by getting back in counting through all the racks. The closing track “Dr. Evil” finishes the EP with a more playful tone in the production & Sito talking about everyone calling him evil since they know he stay plotting, likening himself to the titular antagonist of the Austin Powers trilogy.

Giane’s increasing popularity in the last couple years has been making me extremely happy as someone who’s been paying attention to him for the past 3 years & not only has become EVILSLIME my new favorite Slimesito EP, but I’d even put it up there with RealYungPhil’s 5th EP Dr. Phil as one of the greatest projects that the Surf Gang member has fully produced for another artist so far since the end result is Evilgiane’s sound being used as a canvas for Sito to paint his masterpiece.

Score: 4/5

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Ed O.G. – “AudiO EDibles” review

Roxbury, Boston, Massachusetts veteran Ed O.G. joining forces with Los Angeles beatsmith Tone Spliff for his 5th EP. Signing to Mercury Records as the leader of Ed O.G. & Da Bulldogs, they would go on to put out 2 albums together before disbanding & Ed himself eventually established himself as a solo artist put out 4 EPs & 10 full-length LPs of his own. My favorites include his 3rd album My Own Worst Enemy produced by Pete Rock & his 6th album After All These Years. However, learning that Tone was hopping behind the boards for AudiO EDibles raised expectations in being Ed’s best EP.

After the titular intro, the first song “Catch Up” gets us started on some ominous boom bap shit talking about building this empire whereas “Act of God” works in these orchestral elements on top of kicks & snares asking who else do you know can pull off a feat like this. “Another Broken Heart” flips a soul sample advising listeners not to be fools & let them break your heart while the piano-driven “Hard 2 Get” talks about a woman that’s difficult to bag. “Achieve” keeps it boom bap explaining that a closed mind can’t be opened leading into the luxurious “Someday” calling to cease gun violence, but then “Move Mountains” serves as a dusty closer looking to do exactly that soon as he enters the zone.

That self-titled collaborative effort Ed O.G. did with Insight from a few years ago affirmed to me that both of them still very much haven’t lost a step & since then had been hoping for a solo effort from him that I would enjoy as much. AudiO EDibles, I can say gets the job done. Tone Spliff’s gives Ed some of the best production that he’s had in a while grounded in the traditional boom bap sound & the lyrics from the Roxbury emcee provides thought-provoking themes throughout.

Score: 4/5

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4Batz – “U Made Me a St4r” review

4Batz is a 22 year old singer/songwriter from Dallas, Texas gaining popularity this past winter off the single “date @ 8” earning co-signs from one of my top 10 producers of all-time Ye or formerly known as Kanye West to even Drake, who ultimately appeared on the “date @ 8” remix & signed 4Batz to OVO Sound for a 1-EP deal. Only a month later, the most interesting new name in R&B of 2024 is putting out an EP through gamma. only a week after PARTYNEXTDOOR’s latest album PARTYNEXTDOOR 4.

After the titular intro, the first song “stickerz “99””starts off with an alternative R&B cut with additional elements of trap soul and chopped & screwed leaving bitches screaming anything whereas “date @ 8” featuring Drake on the remix puts a bigger emphasis on the trap soul undertones from earlier giving their significant others $700 for them to get new nails & hair. “on god?” featuring Ye on the remix takes the PBR&B route once again throwing additional neo-soul undertones calling out those hard to please & after the “get out yo feelings ho” skit, “fckin u (18+)” featuring Usher on the remix crosses over contemporary & alternative R&B with trap soul being unable to stop fucking all night long.

“there goes another vase” starts the 2nd half of the EP smoothly delving into a tumultuous relationship where the artist recognizes partner’s toxicity & at the same time feels a deep attachment to her while the stripped-back “mad man” turns sex with this woman into a passion. “all we do is argue, argue” spaciously asks her why she be breaking his heart out here just before the final song & my personal favorite “i hate to be alone” is this beautiful closer talking about not wanting to be by his lonely.

You know you’re into something when you get the Ye co-sign & it really makes me excited to hear 4Batz go from here when his EP deal with OVO is fulfilled on a later date, regardless U Made Me a St4r further pushes him as one of the most exciting new faces in the alternative/contemporary R&B scene. You also get neo-soul, pop rap, trap soul & hip hop soul undertones with a hint of chopped & screwed so the Dallas singer/songwriter can pull off his passionate singing chops whilst displaying his abilities with the pen.

Score: 4/5

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Pro Dillinger – “Reasonable Dirt” review

This is the 6th full-length LP from Haverstraw, New York emcee Pro Dillinger. A member of the Umbrella collective as well as 1/2 of The Steiner Brothers, he has released a total of 5 mixtapes along with his last 5 albums & even 7 EPs. Favorites include the Finn-produced debut Pray for My Prey, the Machacha-produced Dirt Don’t Hurt, his 3rd EP MOSFoul, the Sting vs. Flair collab EP with Mickey Diamond & The Steiner Brothers’ eponymous debut. And with Dirty Work celebrating it’s 1-year anniversary this summer, the dirtiest of the Umbrella has brought Sean Kelly back to handle production for Reasonable Dirt much like Forever Foul.

“Bad Business” begins with a grand instrumental refusing to let anyone throw him off his focus whereas the funky “We Don’t Believe You” featuring Substance810 warns all these foul muthafuckas that there ain’t no more hiding & it’ll be lit when they catch ‘em. “So Guilty” goes into a jazzier direction with the beat talking about having murder on his mind, but then “Fall for Nothing” soulfully discusses wanting it all.

Blokkito joins Pro Dillinger for “Someday” jumping on top of this harmonious sample talking about being body snatchers & that they didn’t want them succeeding while “Home Team” delivers a smoother vibe overall to the beat telling everyone that they rockin’ with the best & he’s a part of bringing back the culture. Instrumentally, the song “Last Days” has this trippy mood to it so he can talk about becoming rich & going broke twice just before “The Change” incorporates another soul flip admitting that he’s caught up in the game.

“Selling Hope” featuring Big Trip weaves some pianos into the fold refusing to back down from any smoke that heads their way along with having the city on their backs & the squad chillin’ on a boat with everyone else bitterly watching from the background prior Reasonable Dirt’s title track finishing the album over synthesizers talking about rising from the soil, his amazing lineage & pouring beer on the flowers that’re growing from the sidewalk to make them stronger.

What we have on Reasonable Dirt is Pro Dillinger & Sean Kelly making a sequel album to Forever Foul that takes everything from the predecessor & turns it up to 11. Sean’s production still has the jazzy undertones from previously except you can hear that he’s grown as a producer over the course of these past couple years, Dirtius Jackson goes harder on the mic, there are a lesser amount of guests & Futurewave killed it with the mixing.

Score: 3.5/5

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