Big Hoodoo – “The Hoodini Chronicles: The Redbook” review

Big Hoodoo is a 42 year old MC from Detroit, Michigan who originally came up as Doe Dubbla. Under that original moniker, he put out a double-disc full-length debut in 2008 called Stack’n & later followed it up with Hiatus in 2012. However it wouldn’t be until 2013 when Dubbla signed Psychopathic Records, put out his 3rd album Crystal Skull that summer & became the black magic practitioner that he is today. Now the last time we heard from Hoodoo solo-wise was in 2016 when he released asylum, which was pretty much a more refined version of Crystal Skull. But just a little over year after founding his own label Ear Drug Musik as well as teaming up with Anybody Killa to drop Tha Hav Knots’ debut EP, the man is now delivering his highly anticipated 5th album.

The opener “Juice” with Bam Beda sees the 2 talking about being grateful for making out the hood & getting lit when the pressure’s on over some keyboards, but then transitions into a Sada Baby type beat that isn’t too bad. The next song “HooDooinit” triumphantly celebrates his return over an anarchic trap instrumental while the track “Bitch I’m Gone” finds Hoodoo boasting over a sinister beat from Str8jaket.

“Hatchetman” is a full-blown Psychopathic anthem backed by a trap instrumental with some eerie keyboards while the track “7+3” hooks back up with Bam Beda to talk about murdering those who want beef with them over a solemn beat.

The song “Take Over” with Blac finds the 2 talking about running shit over a bass-heavy instrumental while the track “Ride High” talks about going at those praying on his downfall over a ghostly beat with a killer guitar riff. The song “Juggalo Love (Murder Medley)” with Ouija Macc sees the 2 talking about how juggalos don’t play over an instrumental with a creepy atmosphere to it while the track “RIP” talks those who tried to stop him & this is probably the most evil-sounding beat on the whole entire album.

“Against the Grain” recruits Hoodoo’s mentors the Insane Clown Posse to thank those who helped all 3 of their dreams come to fruition over a tranquil instrumental & then “Time of My Life” is an emotional finale as Hoodoo’s spitting some real life shit & the background singer throughout was a remarkable touch as well.

After a 4-year wait, this was very much well worth it because I think The Hoodini Chronicles: The Redbook is neck & neck with asylum for Big Hoodoo’s best work. His evolution throughout the past 7 years is quite evident as his lyricism has only gotten better with time & the production on here is just as raw. Great comeback effort.

Score: 4/5

Tory Lanez – “Daystar” review

Tory Lanez is a 28 year old rapper & singer/songwriter from Toronto, Ontario, Canada who blew up off his 2015 mixtape The New Toronto. He ended up signing with Interscope Records the following year, releasing a total of 4 albums under the major label before departing at the beginning of 2020. But after disappearing off social media for almost 3 months due to him shooting Megan Thee Stallion in the foot this past summer, Tory is back out of the blue with a surprise album.

“Money Over Fallouts” denies the fact that he shot Megan shooting over a keyboard-inflicted trap beat while the next song “A Woman” is a cringey auto-tune ballad about his heart being cold. The track “Friends Become Strangers” talks about those who turned his back on him over a spacious beat while the song “Sorry But I Had To…” is one of the better cuts on here as he talks about how no one can stop him over a mellow instrumental.

The track “A Poem from Me 2 You” goes a capella to speak on what fame really is about while “The Most High” is another highlight in the tracklisting where Tory gives praise to God over an araabMUZIK beat with some triumphant horns. The next 2 tracks “Look How GOD Works” & “Queen & Slim” are both tepid love songs in their own right even if Dez Wright co-produced the latter, but the track “What’s Kulture??” is another enjoyable moment on the album as Tory gets on the conscious side of things over a trap beat with some acoustics.

“Solar Drive @ Night” is an unlikeable simp anthem with a decent instrumental while the track “Bittersweet” talks about how he never meant to break this woman’s heart over a trap beat with some menacing piano-leads. The song “Things I Should’ve Said” talks about being fucked up over a woman over a horrid dancehall instrumental while the track “Just Got It Done” ponders about a falling out he had over an lavish beat.

The song “Jokes on Me” melodramatically talks about how he thought this woman would be more faithful to him over a moody instrumental while the song “Care for You” talks about Black children worldwide over another acoustic beat. The penultimate track “In the Air” talks about the fear of African-Americans over a dreary instrumental & then the closer “Life” talks about being newly improved over a beautiful piano instrumental.

Even though Tory Lanez has very much shown how talented he can be on his 5 Fingers of Death freestyle 2 & a half years ago, none of his projects have resonated with me in that same fashion & Daystar could very well be the worst of them all. It just seems as if he’s gaslighting the whole situation with Megan & it’s pretty sad.

Score: 1/5

JL – “The Devil Hates Sundays” review

This is the brand new album from Missouri emcee JL, who started out as a member of the B. Hood crew before signing to Strange Music in 2015. His full-length debut on the label D.I.B.K.I.S. (Do It Big Keep It Strange) that came out a few years ago was a proper introduction to the Strange fanbase & I really liked that Kontra-Band collab effort he did with Stevie Stone in 2018 too. But after teasing new music for quite some time now, JL’s officially back with The Devil Hates Sundays.

After the intro, the first song “Silver” makes numerous references to the titular color over an organ-inflicted boom bap beat from MIKE SUMMERS a.k.a. 7 (who produced about half the album) whereas the track “Sunday Morning” with Marley Young finds the 2 comparing them & their significant others to Adam & Eve over a euphoric beat. The song “Means to an End” with Tech N9ne sees both spitters talking about doing anything for better luck over a trap beat with some bells while the track “Ask for It” with LeezoSTG & Maez301 finds the trio talking about giving their significant others anything they want over a rubbery instrumental.

The song “Ahh Haa” talks about being high over a hyphy beat from Wyshmaster while the track “Who Raised You?” talks about how they don’t make ‘em like this over a beat with some bells & a background singer humming. The song “Flashing Out” is filled with clever Hollywood references over a cavernous instrumental from Dominique Sanders while the track “That’s Him” with Joey Cool displays an impeccable chemistry with one another over a monstrous beat.

The song “Sleep on Me” with Krizz Kaliko sees the 2 talking about being underrated over a bleak instrumental while the track “Petty Bop” does a good job of living up to it’s name both lyrically & sonically. The song “Common Sense” talks about him being one of a kind over a cloudy beat while the track “Coming Down” talks about being off of the high over a woodwind-infused beat.

The song “SOS” talks about being too far gone over a dense beat while the track “Voices” with Jehry Robinson sees the 2 talking about the internal conflict within them over a desolate beat. The song “MIA” talks about getting to the money over a woozy instrumental while the track “Moonwalker” links up with Suli4Q & the CES Cru finds the 4 talking about revenge over a somewhat quirky beat.

The song “If I Wasn’t” with Saigon & Starrz finds the 3 painting scenarios of where they’d be if they never made it in the rap game over an intoxicating instrumental while the penultimate track “Bat Shit Crazy” talks about his boo being as wild as him over a sensual beat. The album finishes with “Inner Demons”, where JL apologizes for how he is over an instrumental with some slick guitar-playing.

Overall, I think this is JL’s best work date. There are a couple of features that I personally could’ve done without, but the lyrics on here are at his most introspective with the religious theme only enhancing it & the production fitting each cut like a glove.

Score: 3.5/5

Ouija Macc – “Zodiac” review

This is the 4th EP from Las Vegas, Nevada rapper Ouija Macc. Coming up in 2017 as a protege of the Insane Clown Posse & signing him to their label Psychopathic Records, his 2018 full-length debut Gutterwater saw him putting his own spin on the SoundCloud aesthetics & has consistently been grinding since with videos as well as mixtapes like Waterdamage & Resistance: The Walk to Wasteland, he just dropped Resistance II: Hell’s Holotape back in May & now after putting out PRETTY/UGLY just a couple months ago, Ouija is teaming up with Ayshon for Zodiac.

The opener “Fucc Face” is a moshpit anthem with rambunctious instrumental while the next track “Pussy Murda” gets sexual over a skeletal beat. The song “Pew Pew” taunts his haters over a plinky instrumental while the title track talks about receiving head from a Cancer bitch over a druggy beat.The song “Vertigo” continues the shit-talking while the track “Something New” talks about how he’s been working like crazy over a beat with a dark atmosphere to it. The song “Trash Can” talks about being built as if he was a dumpster over a demented instrumental & then the closer “Can’t Even Tell” talks about those who he thought were on his side over a cloudy beat.

Even though I prefer Resistance II: Hell’s Holotape & PRETTY/UGLY, this EP is still enjoyable. It’s refreshing to hear Ouija work with a different producer again & he continues to present himself as a unique face on the Psychopathic roster.

Score: 3.5/5

Public Enemy – “What You Gonna Do When the Grid Goes Down?” review

Public Enemy is an iconic political hip hop outfit from Long Island, New York lead by Chuck D. Their first 5 albums are hip hop essentials as what Chuck & company were saying on all of them are still very much relevant today. They ended up leaving Def Jam Recordings in ‘98 after releasing the He Got Game soundtrack, but have put out a total of 10 albums independently. But with everything that’s happened in 2020, the group has seen fit to return to Def Jam for their 16th full-length album.

After the George Clinton intro, the first song “Grid” featuring Cypress Hill finds the 2 groups talking about the current digital age over a funky instrumental from my homie C-Doc while the track “State of the Union (STFU)” takes a jab at Donald Trump over a hypnotic boom bap beat from DJ Premier. After the “Merica Mirror” interlude, the song “Public Enemy Number Won” with the Beastie Boys & Run-D.M.C. is a modern version of “Public Enemy #1” off their 1987 debut Yo! Bum Rush the Show down to the Fred Wesley & The J.B.’s sample while the track “Toxic” continues to take aim at Trump over an doomsday-sounding beat.

The song “Yesterday Man” with Daddy-O ponders what happened to hip hop over a rap-rock instrumental & after the “Crossroads Burning” interlude, the following track is a star-studded sequel to one of PE’s most iconic joints: “Fight the Power”. The song “Beat ‘Em All” talks about being ready to fight over a dusty instrumental while the track “Smash the Crowd” with Ice-T & PMD discusses how great they are over a dynamic beat.

The track “If You Can’t Beat ‘Em Join ‘Em” is a noisy & repetitive interlude while the song “Go at Me” with Jahi talks about revolution over a beat with some more rock influences to it. The track “Rest In Beats” with The Impossebulls pays tribute to all the hip hop legends we’ve lost over a forlorn beat co-produced by Easy Mo Bee. Then before finishing with the “I’m Black” outro, the closer R.I.P. Blackat” is a Flavor Flav solo cut paying tribute to Clyde Bazile Jr. with a melancholic instrumental.

If anyone asks me, this is Public Enemy’s best effort in a while. The lyrical content is as stronger & thought-provoking than ever before, but what makes this stand out more than a handful of their output in the past 21 years is that it’s a lot more well-produced. However, I don’t get why 6 songs on here from the group’s previous album Nothing’s Quick in the Desert reappear on here. Nonetheless, definitely worth checking out for the current times.

Score: 3.5/5

eLZhi – “7 Times Down, 8 Times Up”

eLZhi is a 42 year old MC from Detroit, Michigan rising to prominence as a member of Slum Village shortly after the departure of J Dilla in 2002. Fast forward to 2008: His solo debut The Preface would go on to be a hometown classic & was followed up 8 years later with Lead Poison. Last we heard from eLZhi was in 2018 when he formed Jericho Jackson with Khrysis & dropped their critically acclaimed self-titled debut that same year but almost 3 years later, eLZhi is returning with JR Swiftz for his 3rd full-length album.

After the “Foolish” intro, the first song “Smoke & Mirrors” talks about seeing through the lies over a luxurious instrumental while the next track “EarlyBird NightOwl” talks about how they can’t bar him to death & likening himself to a fighter signed to the WME Group-owned UFC over a cloudy boom bap beat. The song “Hot Winter Cold Summer” talks about being a problem over a euphoric instrumental while the track “Light 1 Write 1” over a boom bap beat with a harp & occasional background vocals.

The song “Ferndale” talks about memories with a significant other over a slow instrumental while the track “Guns & Boats” with Fes Roc sees the 2 painting vivid street imagery over an atmospheric beat. The song “THUGGed Out Zombies” talks about racial injustice over a rock-influenced instrumental while the track “Potential” talks about how he wishes they could’ve seen that in him over a punchy beat. The song “G.O.D. (Gold, Ore & Diamonds)” talks about materialism over a meditative instrumental while the penultimate track “Master Class” talks about the lyrical level that he’s on over an eerie beat. The album finishes off with “JASON”, where eLZhi analyzes himself over a droney instrumental.

Man, this is on par with The Preface for his magnum opus & one of the greatest albums I’ve heard all year. The cohesion is off the charts, JR Swiftz kills it behind the boards, the themes of resilience being presented in eLZhi’s lyrics throughout sure need to be heard after all we’ve been through in 2020.

Score: 4.5/5

Da Cloth – “Da Fixtape” review

Da Cloth is a hip hop outfit from Rochester, New York consisting of Mooch, Rigz, M.A.V., Rob Gates, Times Change, Illanoise, Symph & Speed. They first started making noise in the underground in 2016 when the group put out The Fixtape & then Broad Day Kidnaps the following year, but their profile grew as each member starting putting out projects of their own. Whether that be Mooch’s Boss Sauce, Rigz’ Roach Gutta Slums, M.A.V.’s Hoodlum, Rob Gates’ Rob Like Get Robbed as well as their respective collab albums The Only Way Out & The Dark Side of Nature (the latter of the 2 both feature Big Ghost Ltd. production front to back). But to continue their prolific year, everyone’s getting back together for another collective mixtape.

The tape starts off with “Last Dose”, where Da Cloth paint some vivid street imagery about over a deadly instrumental. The next song “Count Us In” is a Mooch solo cut about how his crew is gonna be winning over a boom bap beat while the track “Back Door” talks about the block being hot over an eerie instrumental. The song “Ask Me Why” opens about the ugly shit they’ve been through over an weepy loop provided by Nicholas Craven & after the “Hardest Out” skit, the track “When the Studio Talked Back” sees Rigz going solo to demonically attack wack rappers over an gritty boom bap from Chup.

The song “Shake ‘Em” gets violent over a chilling sample while “Speaker of the House” sees M.A.V. on his own talking about turning nothing into everything over an instrumental with a depressing atmosphere to it. The song “All About the Money” lyrically needs no further explanation with spine-tingling beat from Eto while the track “Role Models” celebrates their success over a boom bap beat with a killer guitar passage throughout.

The song “Hobbies” is a Rob Gates solo cut about busting his gun for fun over a grim instrumental from V Don while the track “Too Much” with Tekk 9 talks about there being enough nonsense & bullshit over a beat with a somewhat whimsical feel to it. The song “31 to 62” gets on their hustling shit over an electrifying instrumental while the track “Stretched” gets back with Tekk 9 once again to call out the rats over a boom bap beat with a bleak piano loop.

The closer “Ready” shows how ambitious they are over a rock-flavored instrumental while the first bonus track “Da Big Fish” talks about being top dogs over a desolate beat. The other bonus cut “Made Me What I Am” then discuses how they became the men they are today over some icy keyboards.

We all know Griselda have been the current Kings of New York for quite some time now but if you ask me, Da Cloth is right behind them. Each member continues to stand out in their own unique way & given how much all 8 of them have evolved in the last 3-4 years, hearing the crew together again in full effect has made them stronger than ever before.

Score: 4/5

Wise Intelligent – “Omnicide” review

Wise Intelligent is a 50 year old MC from Trenton, New Jersey coming up as a frontman of the Poor Righteous Teachers, who put out 4 albums together before disbanding in the mid-90’s. Since then, the man has kept himself busy by putting out a number of solo projects. The latest being this new 4-track EP produced entirely by the Snowgoons.

The EP kicks off with the title track, where Wise Intelligent talks about a number of things from Jeffrey Epstein to Trump originally planning to hold a rally in Tulsa on Juneteenth over a woodwind-infused beat. The next song “Possibly?” ponders a number of things over an instrumental with a relaying, high-pitched vocal sample & an organ while the penultimate track “Before I Wake” talks about fighting the power over a shadowy beat. The EP then finishes with “His-Story”, where Wise Intelligent talks about the things people have said to him throughout his life over a symphonic instrumental.

Overall, this is a solid EP. I wish we got like 3 more joints, but the Snowgoons never disappoint behind the boards & everything that Wise Intelligent does a good job of tackling the issues that we face in the world today.

Score: 3.5/5

Lil Tecca – “Virgo World” review

Lil Tecca is an 18 year old rapper, singer/songwriter & producer from New York City who blew up in 2018 off the single “Ran$om”. It would later be included on his debut mixtape We Love You Tecca that same year & would receive lukewarm reception. Fast forward a couple years later, Tecca is delivering his full-length debut.

The album kicks off with “Our Time”, where Lil Tecca calls out people using him for his newfound fame over an outdated dancehall beat. The next track “Actin’ Up” talks about his shawty over a rubbery instrumental with some luxurious keyboards while the song “When You Down” with Polo G & Lil Durk finds the trio touching down on loyalty over a trap beat with some impassioned piano embellishments.

“Back It Up” talks about an ex of his over a flute-inflicted instrumental Leon Thomas III co-produced while the song “Chemistry” talks about his new chick over another boring dancehall beat. The track “Royal Rumble” compares his newfound fame to the annual event created by WWE Hall of Famer, the inaugural WWE Intercontinental Champion & WWE Hardcore Champion Pat Patterson over a hyphy beat whereas “Foreign” produced by Rio Leyva & Taz Taylor of Internet Money Records is less of a song & more of a contest with to ΠΔV to see who can bore you the most.

The track “Selection” is a half-assed piece about wanting this woman to be his best friend over a decent instrumental from Skrillex & DJ Scheme while the song “Take 10” is pretty much the same thing except the beat is more undistinguished. The track “Dolly” with Lil Uzi Vert finds the 2 getting braggadocious over an intoxicating instrumental while the song “Insecurities” talks about how he adores this woman no matter what over a cheerful beat from Nick Mira.

“Tic Toc” talks about how no one wants beef with him over an instrumental kin to “When You Down” that I mentioned earlier while the song “Miss Me” talks about how he’s that guy over a somewhat quirky instrumental. The track “True to the Game” with Guwop Reign sees the 2 talking about them never changing over a violin-tinged instrumental while the song “Closest to Heaven” gets back on the romance shit over a woozy beat.

The track “Level Up” talks about hoping this woman means it when she says she loves him over a more soothing instrumental while the song “No Answers” talks about a chick acting stupid over an unexciting beat. The penultimate track “Last Call” over an acoustic trap instrumental from Cxdy & then the album ends with “Out of Love”, where Tecca talks about how fucked up the world is over a trap beat from Internet Money with a gorgeous piano loop.

I don’t mean any disrespect to the kid at all when I say this, but I think this album just goes to reveal Lil Tecca as a 1-hit wonder. The production choices are mostly bland & the rapping is more underwhelming than it’s ever been to the point where it just puts me to sleep. Pasto Flacco on the other hand is someone to look out for.

Score: 1.5/5

Krizz Kaliko – “L.I.F.E. (Legend Immortal Forever Eternal)” review

Krizz Kaliko is a 46 year old rapper & singer/songwriter from Kansas City, Missouri known for being a Day 1 signing to Strange Music along with Kutt Calhoun. He’s put out a total of 6 albums & 2 EPs through the label since, with the latest prior to this being G.O. (God’s Order) in 2016. And even though that record was predominantly R&B, it was still damn-near perfect. However after a nearly 5-year hiatus, Krizz is returning with his 7th full-length album.

Things start off with “21, where Krizz & Tech N9ne talk about celebrating their birthday over a lively beat from Wyshmaster. The next song “Little” with Stevie Stone sees the 2 talking about having trouble on their minds over a nocturnal trap instrumental while “The Recipe” tries to seek answers from God over a suspenseful beat. The track “S.O.B.” calls out the frauds over a druggy instrumental while the song “Get Chose” talks about him freaking out.

The track “Borrowed Time” talks about how life is catching up to him over a moody N4 instrumental while the song “Bitches I Know” talks about how he be popping over a beat with some plinky keyboards. The track “Follow the Drip” links back up with Tech talk about how to find them over a monstrous trap instrumental while the song “What Do You Mean?” with King Iso finds the 2 talking about their grind over a skeletal beat.

The track “You” talks about being bottled up over a forlorn instrumental while the song “Drunk White Girls” with CJ Hicks is a humorous club banger backed by an off-the-wall beat from MIKE SUMMERS a.k.a. 7. The track “Let You Tell It” talks about how he’ll never leave the rap game over a druggy beat while the song “Amen” talks about being 95% here over a beat with some tavern sounding piano chords.

The track “Didn’t Need Woes” looks back on his childhood over an instrumental that kinda has a jazzy feel to it while the song “Foolish” with Rittz sees the 2 getting reckless over a cavernous trap beat. The track “Avoiding Mirrors” with Jelly Roll & Merkules finds the trio talking about being all fucked up over a chaotic instrumental while the song “Mad” with JL sees the 2 clapping back at people talking shit behind their backs over a trap beat with some keys & a rubbery bass-line. The closer “Coloring Book” talks about how they can never get him right over a dim instrumental & then the bonus cut “Understood” with Tech finds the duo talking about how they don’t sleep over a violin-inflicted beat.

Been a long-time coming but at the end of the day, this is a great comeback effort for Krizz. It’s got everything you love about him: Great rapping, even greater singing, well-written verses/hooks, banging’ ass production suiting the tone of each song & some well-incorporated features. Legend definitely solidifies Krizz as an OG of the culture & here’s to more albums from him in the near future. Welcome back, Kali!

Score: 4/5