Big Hit – “The Truth’s in My Eyes” review

Big Hit is a 52 year old rapper from Los Angeles, California notable for being the father of one of hip hop’s most in-demand producers that we’ve seen in recent memory: 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. This February, his petition for a writ of habeas corpus was granted & became a free man few weeks ahead of 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 & now only less than a couple weeks until Christmas, they’re keeping it rolling except Hit-Boy is fully producing his dad’s official full-length solo debut album.

The title track is a symphonic opener to the album talking about keeping it gangsta so I ain’t got shit to hide whereas “Red Lotion” featuring Jay Worthy & RJ finds the trio boasting that they’re flamed up & burning forever on top of a drumless soul sample. “Load ‘Em Up” featuring the Baby Stone Gorillas sets out to load it the sticks, spin the block, load ‘em up & pull off in the Lotus truck leading into “Take Some Off of That” going into trap turf with co-production from Rogét Chahayed calling out those who ain’t cut from the same cloth as him.

“Extra Clips” gives off a smoother edge to the instrumental describing the way he lived in the streets proclaiming the LA County Sheriffs to be worse than the feds just before “Wigglin’” featuring Mozzy shifts gears by lacing a chill backdrop with hi-hats & even a g-funk beat switch during the end of it as both of them admitting they’re trappin’ again, but then “Broke the Mold” luxuriously disses all the copycats out here these days.

Big Hit’s son joins his dad on the mic for the booming lead single “A$AP Chauncey” looking to run it up while “Boo Bop” works in these strings & later keys accompanied by hi-hats dropping braggadocio on the lyrical front. “Shoppin’ Monster” featuring WWE Hall of Famer Snoop Dogg fuses elements of trap & g-funk so both of them can celebrate while the highlight “Man, I’m Rollin’” gives off a jazzier flare thanks to The Alchemist rockin’ shit that’s fresh off the showroom floor.

“Breaking the Ice” featuring Half-a-Mil & J. Stone weaves together pianos chords with kicks & snares so everyone can handle business while “The Pain is Deep” gives off a g-funk vibe once more admitting that if this is heaven, then he doesn’t even wanna see hell. “Inspiration” featuring Figg Newton & Killa Twan is a decent trap cut dedicated to everyone catching cases while “Speaking in Codes” featuring Benny the Butcher does that general sound significantly better advising that the sharks gotta learn to finesse around.

The penultimate track “Stay On” featuring Big Tray Deee formerly of the LBC Crew & Tha Eastsidaz finds the 2 joining forces over a funky boom bap beat as both of them make it known that they’ve paid their debts to society after spending time behind bars prior to “G’z Don’t Cry” closes out Big Hit’s debut LP that’s been almost a decade in the making by soulfully admitting that the titular rule is in fact a lie.

Now for those of you who just got into Big Hit this spring when he came home & put out Surf or Drown 2 with his son the next month for Father’s Day, there’s no way that you’re not gonna walk away from The Truth’s in My Eyes liking it more since you get a better look of who he is artistically & personally. Even though a few guests fall flat, the overall sound impressively ranges from boom bap to trap & g-funk on top of Big Hit’s passionate performances.

Score: 3.5/5

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Team Demo – “It’s a Demo” review

Team Demo is a DMV-based production crew consisting of DJ Dialtone, J. Cosell & Mr. Wise. They’ve produced for the likes of 50 Cent, Tha Alkaholiks & even the late Sean Price to only name a few. They just compiled a collection of previously released tracks earlier this year, but are now coming together for a full-length producer album of original material with Wais P on most of it. Kinda like how Ghostface Killah was prominently featured on Raekwon’s solo debut Only Built 4 Cuban Linx… & vice versa on Ironman.

“Quest Love Bounce” featuring Planet Asia & Skyzoo is a cinematic boom bap opener chockfull of hardcore lyricism whereas “Extras in the Pot” featuring Rome Streetz finds the 2 over some pianos, kicks & snares getting in their drug dealing bags. “5% Tint” featuring Che Noir & Hus Kingpin takes a soulful approach instrumentally wanting to take the lives of a couple opps leading into “Camera Flash” featuring Illa Ghee & Method Man finds the trio eerily talking about how you can pose like the flash of a camera itself.

Meanwhile, “Creep” featuring Montage Øne & MC Eiht gives off more of a minimal west coast sound as all 3 lyricists spit that g shit just before “Odee” featuring Termanology talks about running through the streets with it & a suspenseful boom bap beat. “Poli with the Plug” featuring Kingpen Slim & Vado ominously gets back on their hustler shit while “Do You Believe?” featuring Sauce Money angrily looks to make believers out of those who aren’t already.

“What You Don’t See” featuring Lil’ Fame & NEMS draws near the end of the LP dustily declaring that the things you don’t see is what you get turning the tables on “What You See is What You Get” by Xzibit prior to “Hallelujah” featuring The Bad Seed, Planet Asia & Ras Kass truly tying things up here with a gospel sample & a guitar so everyone is able to let off rapid fire bars in their own distinctive fashions for nearly 4 minutes.

If anyone enjoyed the joint “Crime Wave” off of 50’s final Shady/Aftermath album Before I Self Destruct that celebrated it’s 14 year anniversary last month, then you’re gonna want to check out Team Demo’s official debut. The production is raw paying homage to both the east & west coast which makes sense considering the list of guests that they bring along with them for the ride is generally consistent.

Score: 3.5/5

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BigBabyGucci – “When You Go to Sleep” review

This is the 20th EP from Charlotte, North Carolina recording artist BigBabyGucci. Getting his start in the summer of 2016 off his debut EP ART HOE Collection, he would continue to build a name for himself by putting out 19 more EPs as well as his last few albums & a mixtape along the way. But coming off one of his best LPs to date When U Wake Up, he’s closing out his 2023 by putting out a 9-track EP clocking in at 21 & a half minutes nearly a week after Calvin Tankman became the DPW Worlds Champion & The Motor City Machine Guns ended The Workhorsemen’s reign as DPW Worlds Tag Team Champions.

“Alone at Night” is a spaciously drumless opener talking about how he doesn’t know what’s wrong with him whereas “Full of Sin” admits that he believed he could find myself inside the drugs & never did in the end over a guitar-driven instrumental. “Night Shift” gives off a bluesy trap groove trying not to take anything serious for real prior to “Murder Shit” coming through in some Marni shit & that everyone knows for a fact he’s stuntin’ taking a futuristic approach to the beat thanks to Venny.

To start the 2nd half of the EP, “Genie in a Bottle” turns into mellower territory feeling like this woman was a part of him just before “Do or Die” refuses to fumble under pressure & simply call it fake over kicks & snares mixed with pianos. “Wanted 4 Murder” boasts that he’s wanted for killing the pussy over a moodier instrumental prior to “Provide 4 U” featuring Tony Shhnow talks about providing for their lovers so they never need bringing a dreamier vibe. “Icebreaker” closes out the EP continuing to make things atmospheric telling her to break the ice.

When U Wake Up still stands as my favorite full-length of the 3 that BigBabyGucci has put out & even though this EP was clearly supposed to be the deluxe version of that new album, I think him putting it out as a separate counterpart isn’t too bad either. We have him expanding on his versatility trying out some new sounds beyond trap & pop rap with alternative R&B, his performances/songwriting match the caliber he reached couple months ago & the Tony Shhnow feature was as entertaining.

Score: 3.5/5

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K-Rino – “7 Hour Block” review

K-Rino is a 53 year old MC from Houston, Texas notable for co-founding the South Park Coalition collective with Ganksta N-I-P now known as Brother NIP as well as his extensive discography. Highlights include Stories From the Black Book, Danger Zone, No Mercy, Solitary Confinement, Annihilation of the Evil Machine, The Maven & who could forget the 7-disc The Big 7? Anyway he just came off his 35th album Audio Optics last month & it was ok, but I was interested going into 7 Hour Block.

After the “Arrival” intro, the first song “Got the Game Twisted” is an incredibly chilling opener to the LP talks about witnessing people go mad for fast riches in front of his very eyes whereas “Bad Understanding” shifts into boom bap territory a bit admitting he has exactly that & absolutely no one can break the cycle. “Words 2 Live By” has to be a favorite of mine on the album working in more kicks & snares along with a soul sample breaking down that life ain’t life until you start living it through prior to “The Ghost Maker” gets in his hardcore bag over some pianos.

“Something Better” gives off a funkier groove explaining how sad it is for him to watch greatness reducing itself & being average musically ain’t something to be content with just before Lord Save Us” instrumentally kinda feels like a homage to Dr. Dre’s production style during the 2000s asking God to save everyone from all the war-makers & fraud capers. “Cut Throat” of course shoots for a more sinister atmosphere & confrontational lyricism, but then “Bout to Pop” mixes some piano chords & hi-hats explains that situations happen in life so your mind can adapt.

The track “Friend Zone” begins the encore of the album by drawing inspiration from jazz rap telling the story of a woman she met at a party with among a group that he was in while “If You Were Still Here” has this chugging guitar passage & weeping strings talking about the absence of the fallen weighing heavy & that you gotta make songs about this kinda topic time to time. “The Departure” wraps up Killer Rhymes Intellectually Nullifying Opponents’ 36th LP with an outro shouting out everyone who’s been rocking with him all this time.

This dude has been celebrating 4 decades of being in the rap game with a discography bigger than artists like KRS-One, E-40 & Tech N9ne. But in my opinion: 7 Hour Block has to be my favorite thing Rino has done since A Long Short Way nearly 3 years ago already. DJ Trajic’s production is consistently eclectic pulling from boom bap, trap & jazz rap with the H-Town veteran delivering a mixture of conscious & aggressive subject matter.

Score: 4/5

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B.G. & Gucci Mane – “Choppers & Bricks” review

This is a brand new collaborative mixtape between B.G. & Gucci Mane, one of whom hails from New Orleans, Louisiana starting as 1/4 of the Hot Boy$ & the other coming straight outta Atlanta, Georgia becoming one of what I like to call the big 3 trap pioneers. The only time we’ve ever really heard them together previously was in 2015 on the track “Try It Out” & with B.G. being released from prison this past fall, he & Wop are joining forces throughout the duration of Choppers & Bricks thus making the collab tape the first body of work from the Baby Gangsta ever since he came home.

“Talk” is a chilling trap opener produced by DJ Paul cautioning that shit’s gonna start getting real here pretty quickly whereas “Guwop & Gizzle” gives off a more suspenseful atmosphere instrumentally so they can both break down the significance of both their nicknames. The title track boasts that they got plenty of sticks & weight on them accompanied by a bouncy beat, but then “Cold” gives off a vibrant approach with the help of Mike WiLL Made-It reflecting on the days where they were both incarcerated.

The Atari-synths that Honorable C.N.O.T.E. hooks up throughout “My Bitch” aren’t too bad breaking down how much they spoil the special women in their lives leading into the spacious “Run a Bag Up” that ATL Jacob cooked up talking about making that paper. “Paperwork” makes it clear what they’re standing on over a solemn beat with co-production from 30 Roc, but then d.a. got that dope radiates a chilling atmosphere during “Idiot’s Worst Nightmare” declaring themselves to be exactly what these bitches fear.

“At This Point” has one of the weaker features on the tape from Lil Jairmy despite the bell-infused trap instrumental making it known that there ain’t no stopping for any of them while “Rewanksta” pretty much recreates “Wanksta” by 50 Cent down to Bandplay heavily sampling it. The song “Project Baby” featuring C-Murder finds the trio breaking down what it was like in the PJs for them while KLC gives “She Say She Love Me” more a dirty south feeling telling the baddies to let them see ‘em bend over. “Beautiful Life” happens to be a profound closer expressing gratitude that both of them are home.

I know B.G. said he wrote 7 or 8 albums worth of material during his time behind bars & stand by that we could be in for the best music that he’s released post-Cash Money if he gets the right producers & features. If anything, Choppers & Bricks could very much be the beginning of that. My favorite thing Gucci has done within the last few years & a consistently solid way for B-Geezy to reintroduce himself to everyone. The production’s better than Breath of Fresh Air & it’s fun hearing these 2 different worlds of southern hip hop colliding.

Score: 3.5/5

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Big K.R.I.T. – “Regardless, It’s Still Timeless” review

Mississippi emcee/producer Big K.R.I.T. is teasing bigger plans for 2024 with his 6th EP. Starting out by releasing a few mixtapes from the mid to late 2000s, he eventually signed to GoodTalk Records in 2010 & his 6th mixtape K.R.I.T. Wuz Here that same year landed him a joint venture with Def Jam Recordings along with a spot in the XXL Freshman Class in 2011. His first 2 studio albums Live from the Underground & Cadillacticain 2012 & 2014 respectively continued to show his potential, he would go on to form his own label Multi Alumni some time after. His first outing under the new independent label was his previous album 4eva’s a Mighty Long Time in October 2017, which is the best double disc hip hop album of the 2010s without question. Following that was the T.D.T. compilation, K.R.I.T. Iz Here which was an underwhelming sequel to K.R.I.T. Wuz Here given how excessively commercial it was in comparison to the rawness of the predecessor & finally K.R.I.T.‘s previous full-length D.R.D.D. (Digital Roses Don’t Die) leaning towards neo soul a bit. I nevertheless had my curious it’s about Regardless, It’s Still Timelesssince K.R.I.T.’s one of hip hop’s most important southern artists in recent memory.

The EP starts with a 5th installment to the “King” series that began on K.R.I.T. Wuz Here & last left off on It’s Better This Way looking back on starting in the trenches to eventually making it out over a woozy self-produced instrumental whereas “Set ‘Em Free” takes the synth-trap route looking let off the 100 rounds that he has saved just for his opps. Shortly after is Part 6 of K.R.I.T.’s famous “My Sub” series with a bass-line & hi-hats knowing they shakin’ for that drop & “Man on the Moon” sends it all off with a funky stream of social consciousness.

K.R.I.T.’s last couple albums have been underwhelming yet I still believe that he’s more than capable of bouncing back & Regardless, It’s Still Timeless really isn’t that bad of a 4-track, 11 minute EP preluding everyone for his upcoming 6th LP next year. It’s pretty cool that he spent half of it continuing a couple series of songs that’re popular within his established fanbase & the other half by going into an upbeat direction.

Score: 3.5/5

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Mickey Diamond – “Gucci Ghost 3” review

Detroit emcee Mickey Diamond is back with his 10th full-length LP. Emerging at the beginning of 2020 off the strength of his debut EP Bangkok Dangerous, the dude has since gone on to turn quite a few heads in the underground by building up the impressive discography for himself with his previous 9 albums alongside 7 EPs & a mixtape. But for the past year, Mickey has been consistent putting out some of the best material of his career thus far. This includes the Gucci Ghost album & it’s sequel produced by Big Ghost Ltd., the Ral Duke-produced Oroku Saki EP, the Sadhugold-produced Death Threat$ album & the Camoflauge Monk-produced Capital Gains album. However to come off Gone in 60 Seconds & Bangkok Dangerous 4, he’s surprise-dropping a 3rd installment of Gucci Ghost.

The first song “Live Fast” after the “Maurizio’s Dead, Somebody Shot Em” intro sets off the LP with a piano-driven boom bap instrumental living in the fast lane & looking to die free whereas “Nauti by Nature” works in more pianos, kicks & snares talking about shooting ya. “Gucci Underwear” weaves another piano-boom bap hybrid into the fold firing shots at everyone who’s been lamed out up to this point prior to “Icebergs” shifting into more lavish turf reminding that there’s dark matter scattered over everything.

“Patrizia’s” starts the 2nd leg of the LP by returning to the boom bap assuring that he could do this shit forever if he wanted to just before “Reggiani’s Revenge” ruggedly calls these computer thugs Microsoft & seeing all the dead people a.k.a. dead presidents that he’s stacked up for himself by now. After the “Murder for Hire” interlude, “Designer Caskets” dustily compares his flow to hot lava & “Aldo’s Ghost” ties up the Gucci Ghost trilogy by eerily disappearing into the vapors RKOing everybody as if he’s 14-time WWE world champion, 4-time WWE tag team champion, WWE Intercontinental Champion & WWE United States Champion Randy Orton.

Oroku Saki is the best EP that we’ve gotten from Mickey in 2023, but I firmly believe that Gucci Ghost 3 has now taken over Death Threat$’ spot for the best full-length he’s dropped this year & most certainly a late AOTY contender with only a couple weeks left until 2024 begins. Unlike the predecessor being more feature-heavy & the original Gucci Ghost only having a couple, it’s just Diamond & Big Ghost here continuing to elevate one another like they’ve been doing for the past year.

Score: 4.5/5

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Ruby da Cherry – “Existential Hymns for the Average Sigma” review

This is the 2nd solo EP from New Orleans emcee/producer Ruby da Cherry. Blowing up as 1/2 of the $uicideboy$ alongside his cousin $crim, they’ve built up an impressively extensive discography over the last decade & even have their own Virgin Music imprint G*59 Record$ with an ever-growing roster of artists. Budd dropped his full-length solo debut A Man Rose from the Dead in the midst of the COVID-19 to mixed reviews & as Ruby comes off Tragic Love Songs to Study to earlier this summer, he’s back at it with more Existential Hymns for the Average Sigma.

After the “¯\_(ツ)_/¯” intro, the first song “Excalibur” is a punk rock opener with Ruby singing that he knows he’s gonna find a way down the line whereas “I Was a Teenage Nihilist” following the “where y’at, duckboy?” interlude features faster instrumentation talking about the nihilism he faced as an adolescence. “Pearls Are Just Oyster Puke” after the “where y’at, duckboy??” interlude continues to take things heavier assuring that he’s still breathing & after the final “where y’at, duckboy???” interlude, the final song “Heroin As a Recreational Activity” is a punk rock closer talking about his past drug addiction.

tragic love songs to study to was a solid way for Ruby to properly introduce everyone to his pop punk alter-ego because he continues to delve further into the world of punk rock music recalling back to his Vapo-Rats days. His vocals & songwriting are still on point, but I noticed a couple heavier instrumentals in comparison to the previous EP last summer & it has me wondering if he’s gonna dabble with metal music in regards to his next solo EP.

Score: 3.5/5

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Bas – “We Only Talk About Real Shit When We’re Fucked Up” review

Bas is a 36 year old Sudanese-American rapper & songwriter born in Paris, France & raised in Queens, New York who emerged in 2011 by putting out his debut mixtape Quarter Water Raised Me. The 2013 sequel Quarter Water Raised Me 2 would catch the attention of J. Cole, who shortly after helped Bas become the 2nd act after Omen other than Cole himself to sign to his Interscope Recordsimprint Dreamville Records. He would introduce himself more to the Dreamville fans the next spring on the moderately received full-length debut Last Winter & the sophomore effort Too High to Riot couple years later won them over, as it’s still the most critically acclaimed body of work in Bas’ discography to date. His previous LP Milky Way in 2018 was also treated to mild reception as were the couple of EPs that he’s given us since then Spilled Milk & [BUMP] Pick Me Up, but the highlights on those last few projects had me holding out hope that Bas would reach the heights that Too High to Riot did once again.

“Light of My Soul” starts the LP with a drumless loop from Boi-1da sampling “We’ve Got a Way Out Love” by The Originals confessing that he has a problem makin’ other people’s problems his own whereas “Black Jedi” likens himself to Mace Windu shifting gears with it’s trap instrumental. “Choppas” talks about going round like the helicopter working in a cloudy backdrop & hi-hats just before “Home Alone” featuring J. Cole produced by T-Minus & Cubeatz serves as a vibrant dedication to the people that switched up on them, the women they miss, the ones they I love, the ones that stayed & the seeds that we growin’ although Bas feels like he’s been featured on his own track.

Meanwhile, “Risk” takes a smoother approach sonically detailing a relationship with a woman in which he took a risk with because she was almost too perfect at first until distancing herself from him leading into “Decent” featuring Amaarae talking about being 100% the same as they were when they started over a spacious trap beat. “Ho Chi Minh” gives a look at Bas’ emotional & mental state as well as his experience with substance abuse over a solemn instrumental, but then “179 Deli” featuring AJ Tracey dabbles with the UK drill sound a bit telling y’all to stay with them for the ride.

Cole returns on “Passport Bros.” for a mediocre pop rap/dancehall fusion with some afrobeats undertones & I say it’s mediocre because my biggest problem with it personally is that both of Bas’ verses feel underwritten although I’ll still take it over “Testify” featuring Sha Sha since it continues to expand on that dancehall vibe singing that they’re gonna “fuck each other right”. The atmospheric “U-Turn” featuring A$AP Ferg & Blxckie breaks down a woman who had them running back with Ferg having the better of the 2 guest performances prior to the final J. Cole appearance on the album “Papers Cuts” groovily asking if you dumb.

“Diamonds” looks to take a leap as artist have to continually explore & give more of themselves to feed the insatiable appetite of the audience on top of some summery acoustic passages while “Yao Ming” boasts that he got racks as tall as the iconic Houston Rockets player of the same name over soulful background vocals. The song “Dr. O’blivion” is more stripped-back thanks to Cole himself explaining that “she don’t want none of the madness you come with” while the penultimate track “Khartoum” is a powerful ballad about the ongoing war in Sudan featuring Adekunle Gold on the hook. “Wait on Me” ends the LP on a melodic note singing that he loves the moments you spending with him.

I remember upsetting a couple Dreamville fans after the Milky Way review because I still believe it’s the most commercial body of work I’ve heard from Bas, but We Only Talk About Real Shit When We’re Fucked Up happens to be the most I’ve enjoyed a project from the guy in about 7 & a half year. Those pop rap/trap elements from that previous album make their way over here once more except this time, he’s mixing them with some new sounds that he’s trying out like dancehall or afrobeats.

Score: 3.5/5

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(həd) p.e. – “Detox” review

(həd) p.e. is a g-punk outfit from Huntington Beach, California masterminded by Jahred Gomes. From their first 2 albums under Jive to their first stint on Suburban Noize in the mid-2000s, these guys have truly been making a name for themselves for over 25 years whether that be their eclectic sound or the more political lyrics on some of their recent output. They returned to Subnoize in 2019 for their 11th album Stampede even though it wasn’t generally received that well by both critics & fans alike, but the Broke sequel Class of 2020 returned to their roots & the subsequent EP Sandmine wound up being angrier. However to come off the Califas Worldwide compilation & their covers album 70s Hits from the Pit, M.C.U.D. & company are ending Suburban Noize’s 25 year anniversary by detoxing their 13th full-length LP of all original material.

“No Way Out” is a skull-smashing trap metal opener to the album declaring that they’re back in black whereas the title track returns to their g-punk roots singing that he knows just what you want. “Waiting” gives off a bit of a rap rock vibe addressing someone who’s no good for him, but then “Too Late” goes into a straight-up nu metal direction talking about how you need to count your blessings. Moving on from there, “This Dream” takes it back to the g-punk sound that they created reminding that the dream they have isn’t for everyone just before “Compromise” fuse elements of reggae, punk rock & hip hop refusing to give & take. “Rat Race” embraces works in another trap metal beat so M.C.U.D. can paint the image of a nightmare leading into the rap rock “Going Nowhere” promising they ain’t leaving anytime soon. “Pour My Wine” draws near the end of the album with a rap metal groove encouraging to light the blunt up & fill up his cup or glass with wine prior to “PCH” closes the album for a funky rap rock dedication to those doing time as we all know that life’s too short & time is continuing to fly by.

Class of 2020 to me wasn’t that bad of a sequel to Broke, but the way Detox pays homage to their g-punk origins by capturing the frenetic energy & signature elements of their distinctive sound is more than enough to satisfy anyone who obviously loves these guys. Ulrich Wild’s masterful mix & master seamlessly melds raw aggression, hip-hop influences & hardcore vibes to deliver a sonically cohesive experience. If this is how the 25 year anniversary of Suburban Noize Records ends, it’s a pretty ass-kicking high note.

Score: 4.5/5

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