Seth MacFarlane – “Lush Life” review

Seth MacFarlane is a 51 year old actor, animator, writer, producer, director, comedian & singer from Kent, Connecticut notable for being the creator of Family Guy on the Fox Corporation’s flagship property & American Dad! set to move back to the network it premiered on in 2026 after a decade on the Discovery Global-owned tbs. He’s also known for his directional debut ted during the end of my freshman year of high school voicing the titular character & airing a prequel series on the Comcast Corporation subsidiary NBCUniversal owned peacock. Couldn’t forget to mention the 7 vocal jazz albums he has put out under Republic Records & getting to perform lost arrangements for his musical idol in Reprise Records founder Frank Sinatra over the course of his 8th LP.

A rendition of “Give Me the Simple Life” introduced from the film Wake Up & Dream almost 8 decades ago next winter really opens up on the Lush Life from there whereas “I Never Felt This Way Before” waits & ponders where the love of his life is over some delicate string sections. The title track essentially serves as a cover of a jazz standard Billy Strayhorn wrote in the early/mid 1930s prior to “Flying Down to Rio” giving a big band vibe for the theme of a nonagenarian pre-code musical.

“How Did She Look?” feels like a counterpart to a song Joan Merrill made in the 40s asking about the well being of his ex-fiancée that he hasn’t seen in over a year or so after someone he knew ran into her while “Who’s in Your Arms Tonight?” wants to know who’s listening to lies coming out of lips divined over a harmonious choir behind. “A Wonderful Day Like Today” fuses big band & vocal jazz defying any dark clouds to hover on top of him just before “When Joanna Loved Me” covers a composition Tony Bennett popularized.

7 Hills of Rome gets its flowers to start the 3rd & final act of Lush Life with Seth’s own version of “Arrivederci Roma” performed in the 1958 musical leading into “Hurry Home” setting the worrisome tone with some woodwinds & chordophones asking tor his partner to return back as quickly as she can because of him feeling all alone. “Ain’tcha Ever Coming Back?” & “No More Shadows” both tie up the full-length with covers honoring the memories of both Peggy Lee & Erroll Garner respectively.

For a collection of arrangements originally written for Come Fly With Me & Only the Lonely that were left on the cutting room floor, the Fuzzy Door Productions founder gears up for The Naked Gun 4 next month starring the likes of Liam Neeson & the previous WWE Champion Cody Rhodes to name a couple with a vocal jazz album surpassing Music’s Better Than Words at the start of my freshman year of high school. Seth MacFarlane’s warm expressive vocals breathe new life into these carefully preserved outtakes like it’s a time capsule opened for the first time ever.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Sada Baby – “The Black Tape: nWo” review

Sada Baby is a 32 year old rapper & singer from Detroit, Michigan becoming amongst Detroit trap’s biggest names in 2017 off his first couple mixtapes Skuba Sada & D.O.N. (Day One N***a). Fast forward to the beginning of 2019, he signs to Asylum Records for his 4th tape & major label debut Bartier Bounty to widespread praise. He has since put out 11 more mixtapes, with my favorites of the being being Skuba Sada 2 along with his final Asylum offering Bartier Bounty 2 & Bartier Bounty 3. A good potion of Sada’s output in recent memory since the evolution of the subgenre he helped popularize has left most divided & his 16th tape albeit Hitmaker Music Group debut had me hopeful that it would make up for some of the lackluster additions to his discography.

“nWo” named after the WWE Hall of Famers hops over a Detroit trap instrumental to talk about not having the opps in mind because he doesn’t have any whereas “Bloxkside” turns up the bass a bit flexing that he’s too real in the field to be faking shit. “Klip Hamilton” works in some bells so he can compare himself to Rip Hamilton with the stick until “Chuck Money” featuring Kamaiyah talks about knowing those who’ll die by the bankroll.

As for Konjunction Junction”, we have Sada over some pianos & hi-hats suggesting you better hit the road if you don’t pull up the show or studio if he invites you just before “Blood Kristie” refuses to fuck with the lame shit everyone else around him be celebrating. “Bitch” might have to be my least favorite track on the tape with the way he continuously repeats the word throughout leading into “Bloodmerikan Idol” keeping a gun on him since he won’t even budge to do shit the same way he did it.

“Kevin Nash” gives his flowers to the 2-time WWE Hall of Famer, former 5-time WWE world champion, 11-time WWE tag team champion, WWE Intercontinental Champion & TNA World Tag Team Champion bringing a funereal Detroit trap vibe to the table instrumentally while “Speed Run” talks about your death winding up on Google. “Spint” produced by Helluva sticks out as a highlight heavily basing itself around the concept of “slimes” being fake pieces of shit while “Eastside Orkhestra” talks about smoking a pussy with his dog.

The song “Tokyo Drift” sets of the encore of Black Tape nWo showing some Mobb undertones meshing that with the Detroit trap style he’s become widely known for bucking anyone around him who be tryna act tough when they really ain’t & after “No Lies Told” swaps out the secondary Mobb influences in favor of cloud rap counting up $150k until his phone blows up, “Malcolm Mays” atmospherically finishes with a comparison to Lou-Lou from Power Book III: Raising Kanan.

Couldn’t tell you when or if Sada plans to make a full-length debut studio album when you look at his mixtape catalog extending with the course of time, but Black Tape nWo improves on the average feedback Bridge Kard Blessings got over 2 months ago & contains some of the better material I’ve heard from the Detroit trap sensation in quite a while. The 1 guest he got compared to the 3 on the predecessor was all he really needed & he sounds the hungriest he’s been since leaving Asylum.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Eto & Flee Lord – “RocAmeriKKKa III” review

Rochester, New York emcee/producer Eto teaming with Queens emcee Flee Lord for their 3rd collaborative studio LP. Both of whom have become prolific in the modern day east coast underground hip hop scene & crossed paths with each other on several occasions over the course of time, most notably on RocAmeriKKKa in the fall of 2019 & RocAmeriKKKa II on Devil’s Night the following year. They’ve both spent the next 3 & half years continuing to carve their own paths with their solo careers, finally linking back up to finish the RocAmeriKKKa trilogy.

The intro is mostly Flee Lord hopping over a slowed down instrumental with a hint of psychedelia sprinkled in talking about coming from the state where you’re either wearing it or you’re buying it whereas “Cash Conversion” bring the pair together over a mellow yet dusty beat that Eto cooked up himself blasting anyone with no questions asked. “Digi Scales” featuring Conway the Machine works in some pianos to talk about their days moving weight while “Broken Phone Deals” hooks up a funky organ flip admitting the fast life didn’t change them.

“Kitchen” featuring NEMS maintains a boom bap vibe continuing to talk that Pyrex shit just before “Power” ominously boasting that they stay gettin’ litty without a chaperone. “Zip of Badu” featuring Vel 9 unites the trio so they can dustily talk about keeping the lips sealed during convos regarding money while “Moral of Struggle” featuring Starz Coleman takes on the message of hardships. “Self Crowned” featuring Mummz has one of my favorite instrumentals from godBLESSbeatz making the backdoor the entrance & “The Ones That Stayed” produced by DJ Green Lantern shouts out the people who never switched up.

Rather than having Eto fully handle the production by himself like he did on RocAmeriKKKa II over 4 & a half years ago, RocAmeriKKKa III takes it back the essence of the original RocAmeriKKKa by enlisting other producers to handle the musical soundscapes for a vast majority of it setting the bar of their chemistry as high as they’ve set it for their own solo careers presently when you think of them individually leveling up their craft since turning heads in the late 2010s. Be sure to catch them live at The Paramount in Los Angeles on July 18 for an exciting night for RocAmeriKKKa fans.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

T.F. – “The Green Bottle” review

Los Angeles, California emcee T.F. enlisting Khrysis to produce his 6th LP. Initially hearing him on “Tookie Knows, Pt. II” off ScHoolboy Q’s magnum opus Blank Face LP, he subsequently dropped his debut EP No Hooks only 7 months later, which was followed up by his full-length album ErThangSkanless & then a 2nd EP called OktoberFest. After appearing on Flee Lord’s 8th EP Hand Me My Flowers produced entirely by Buckwild & put out 2 more EPs on his own, T.F. eventually signed to Lord Mobb Music & put out Blame Kansas produced by both Mephux & Roc Marciano. Over 3 years since the latter, The Green Bottle had already built up more than enough excitement from my perspective due to the singles.

Following the intro, the first song “Ordells Kangol” was a funky soul hybrid to officially start us off talking about taking the whole entire world down not too long after giving it to him whereas “Handle Bars” featuring Flee Lord & Smoke DZAfinds the trio bringing it hardcore over a dusty woodwind instrumental. “Get the Money” works in some pianos finding himself trying to do whatever it takes to make some bread while “Lawry’s” soulfully thanks everyone for fuckin’ with him.

Bun B joins T.F. for a homage to former No Limit Records signee “Mr. Serv-On” talking about what it was like for him growing up listening to Da Life Insurance instead of Lil Uzi Vert prior Baccarat Tumblers” featuring Westside Webb very well possibly being the only track during The Green Bottle that I could care less for. “Air Heads” hooks up a chipmunk soul sample explaining that he got the best of both worlds until “What It Is (TGB)” talks about the best kind of love to him.

“Nostalgia” featuring Curren$y sees the pair linking up over a soulfully drumless beat so they can discuss needing a stylist & wistfulness at the exact same time while “Street Lights” heads for a smoother direction to the beat talking about where the street dudes be hangin’ at even in broad daylight. “Line It Up” chops up more soul samples boasts that there ain’t no blemishes on his name how he came up in hip hop while “Runnin’ in Place” returns to the boom bap talking about the machine being in motion. The final song “God Speed” prior to the outro finds himself feelin’ like his success happened overnight.

Bonding over their love of chess helping each other with sobriety, The Green Bottle overcomes the moderate reception 80z Babies & Feelin’ the Power both went on to receive with an album I can say with the utmost confidence is the most consistent I’ve heard T.F. since Blame Kansas. Khrysis’ production on this one makes a variation of his soulful funk sound tailored for the west coast lyricist to musically back the stories he has to tell.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Hexxx – “Suerte” review

Los Angeles, California emcee Hexxx making a comeback after 2 years with his 3rd EP. First emerging in the underground back in the fall of 2016 off his debut EP Samhain, he would go on to follow it up 3 years later with his 2nd EP West Coast Wicked Shit prior to his full-length debut studio album Demon Season & the sophomore effort Tales of a Cursed G becoming west coast wicked shit classics in their own rights. 22 months have passed & he’s putting out Suerte without any warning preluding his upcoming 3rd LP. Also in time for the Endeavor-owned TKO Group Holdings division WWE’s upcoming Worlds Collide V event with their new subsidiary Lucha Libre AAA Worldwide (AAA) purchased from the Peña–Roldán family last month featuring performers from their Anthem Sports & Entertainment-owned partner promotion Total Nonstop Action (TNA) Wrestling. Hoping that the 2nd reign of the longest reigning AAA Mega Campeon El Hijo del Vikingo doesn’t get ended so quickly by the current WWE Speed Champion Chad Gable over a week after former 2-time NXT Champion & NXT North American Champion Trick Williams became the new TNA World Champion shockingly ending Joe Hendry’s reign.

“High Noon” was a Memphis/trap intro with some lyrical content built upon the gangsta lifestyle Hexxx has made a name of himself off of whereas “Payback” works in a trap instrumental with a vocal sample to talk about the concept of revenge. “Drama Under Palm Trees” eerily keeps the trap vibes going always keeping a hammer by his side while “Street Lights” talks about what it was like for him growing up in the dark.

After an interlude from Zach Holmes of the Paramount Skydance Corporation subsidiary MTV-owned Jackass franchise, “Switchblade” pulls from the early 90s g-funk scene tryna get high & paid simultaneously while “Shoot2kill” talks about his state of mind being to hustle forever leavin’ opps flatlined. “Jin” officially concludes Suerte with 1 more trap joint assuring that he’ll crush your skull.

It’s been so long since Tales of a Cursed G came out & whatever the west coast wicked shit trailblazer has in store on his next full-length body of work, Suerte reaffirms he hasn’t lost a step after taking a year off to tour. It’s more trap-based in terms of production other than minor influences of g-funk & Memphis rap, but Hexxx is still very much embracing the gangsta rap themes only a tad bit heavier than he did on the last couple albums he put out in the earlier parts of the current decade.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

WTM Solid – “Killa $eason” review

This is the surprise 5th EP from Detroit rapper WTM Solid. A member of the WRLD Tour Mafia. he also embarked on a solo career of his own beginning a few years back with the debut EP Originatour followed by both Matter of Time & What’s the Difference?. His previous EP Bigg a little over 13 months ago as well as the subsequent full-length studio debut album Imagine That at the start of this year elevated himself as an individual amongst the rest of WRLD Tour, making a return 4 months later in time for Killa $eason.

“Honda or Ferrari?” gets the ball rollin’ with a Detroit trap intro produced by Carlo Anthony unnaturally talking about seeing goats whenever he looks at himself in the mirror & after the title track homages the former Dipset leader & current It Is What It Is co-host Cam’ron, the song “Different Town” humorously asks for the pronouns of these bitch ass dudes hating.

Starting the 2nd half, “Hate When Girls Die” dabbles with plugg a little interestingly promising you want see any snakes around him since he cut the grass with a chopped & screwed effect on his vocals until “$.A.$.R. ($uper Awesome $uper Rich)” creates a new acronym using the Slam A Slut Records initials. Finally, the close “Ws in the Chat” finishes the EP comparing bystanders to cops due to the way they be on his dick.

In an effort to make a point that he can make a whole 6 track EP better than most Detroit trap rappers’ whole entire careers, Killa $eason takes Solid’s penmanship even farther than he did on Imagine This when that initially dropped 4 months ago. I didn’t really expect a whole lot in terms of production since he & the rest of Slam A Slut are pretty well known in Detroit trap, but he really sharpens himself lyrically & keeps making his case of what makes him stand out out individually compared to the rest of the group.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

9 Vicious – “B4FN” review

The newest YSL Records signee 9 Vicious coming straight outta Atlanta, Georgia preluding his upcoming 3rd album For Nothing with a new EP. Breaking out last summer off his debut single “U Fancy”, he would go on to further introduce himself on B4SA & the debut album Studio Addict helped him gain more exposure to the point where his Young Thug signed him to YSL after B4TM dropped & Tumblr Music wasn’t that bad of a debut for the label other than “Clout Demons”. Over a couple months later, B4FN gives a taste of what the LP’s gonna be.

“So For Nothing” was a delicate trap intro produced by 406ahmad looking back on when he was suicidal during his college days & having to read the Bible after putting his trust in God whereas “I Miss You” cloudily talks about missing his ex. “Movin’ On” works in a plugg instrumental finding himself not looking back on his previous flings while “Fuck Yo Gang” with Patrick Garza talks about these opposing “gangs” ain’t being shit. “Me N Slime” flexes that he & the whole squad stay stealing hoes until “A Song” finishes with a 2-parter asking why his partner’s love is this crazy.

Putting the “Clout Demons” controversy aside, 9 Vicious’ popularity in the trap underground has grown enough to the point where he & Opium’s newest signing ApolloRed1 are putting out a collab tape soon called YVLFN. But if For Nothing is gonna sound anything remotely like B4FN, it could really reach or surpass Studio Addict in his discography. What he delivers here is a mix of that debut & The Life of Pablo.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

untiljapan – “Trompe-L’oeil” review

untiljapan is a 19 year old recording artist from Atlanta, Georgia putting out 5 EPs & was featured on “light ice” off Sk8star‘s 2nd mixtape whole new meaning until his own full-length studio debut album Safe Travels established him as an up-&-comer in trap, emo rap, cloud rap, alternative R&B & neo-psychedelia. Diorvsyou most recently had untiljapan on “west” off his newest EP Paussus.99 few weeks ago, with the elusive underground trailblazer signing to Interscope Records & generating buzz surrounding a sophomore effort.

“Shoot for the Moon” was a regalia intro shouting out the people in his life who’ve shown him love & the women who took him in whereas “Yayo / White Paris” shakes it up with a 2-parter flexing that he made it snow out in France with all that white powder in the street. “More Moët” hooks up a crooning sample giving a glimpse of his $1M habits prior to “Born 2 Be Great” sampling “Bonnie & Clyde” by Tink talking about working all day.

Moving on from there, “Kiss tha Ring” works in another sample & turns up the bass to tell his girl he’s on a plane to go see her just before “Broad Day” cautions of the people around you who’ll eventually try & fuck you over in the end when you least expect it. “Wolf in Sheep’s Clothing” gets on some drumless rap rock shit unable to get the thought of homicide out of his head leading into “Watch Yo Back” talks about how sad it is the real players ain’t in the game no more.

“1 Helluva Drug” cacophonously gets in his breakup bag talking about an ex-girlfriend being a memory after she blocked his number while “Pyramidz” produced by Nosaint & ReidMD of Vanguard Music Group was a great cloudy trap single throwing a hint of alternative R&B in too talking about life moving fast with the squad. “Just Breathe” heavily builds itself around a harp & acoustics not showing away from sending shots to the soul if he has to while “Coast 2 Coast” talks about his colleagues being in the east & the west.

The song “Die Like This” begins the final minutes of untiljapan’s sophomore effort albeit major label debut sampling “Larabar” by Wet addressing individuals who didn’t like exactly how hot he broke out in the music scene & “Goodbye, Come Again” closes the LP with a Moses Ideka sample speeding on the highway since he’s in the fast lane along with blowing up the phone of a woman he told he loved on the verge of puttin’ him down.

“Mercedes. 2005” starts the deluxe run sampling “Indecision” by Sampha talking about having a close call & asking where he stands with a flight attendant while “Tightropes” flips “Ropes” by Scott James asking if she remembers the night he said he wouldn’t ever leave her. Clayco chops up “DNM” by Mk.gee & “enemy” by Charli XCX for my favorite bonus track “Old Vices. New Cities.” becoming my favorite 2-parter by a mile & “London Nights” samples “How Many Miles?” by Mk.gee looking for love during the evening riding around.

Often cited as one of the most promising artists in underground trap today, his major label debut elevates himself from his debut celebrating it’s 2 year anniversary this fall & catapulting himself in the same conversations as his Interscope labelmates Destroy Lonely & Nettspend. In terms of production, he completely comes into his own artistically & his feature-less performances are a testament to some of his recent guest appearances.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

BigBabyGucci – “Internet Explorer” review

Right here is the 6th album Charlotte, North Carolina recording artist BigBabyGucci. 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 5 full-lengths & a couple mixtapes along the way. When U Wake Up, When You Go to Sleep, Baby 5 & the heavily alternative ANTI have all become his strongest material of the 2020s although I can’t the same for Isolation 2.5 a month after the latter. 6 months later, he’s redeeming himself with Internet Explorer.

“Full House” experiments with this synth-trap intro talking about the crib being packed & vacant simultaneously whereas “Switch ‘Em Down” keeps the synthesizers in tact flexing that he ain’t giving fucks no more. “I Don’t Like My Conscience” industrially advises there isn’t any easy street to take when asked to go down a road he’s already traveled while “Dusse” eagerly talks about his excitement for the check hitting.

Meanwhile on “Remedy”, we have BigBabyGucci over a more glitchy instrumental to discuss being out of his mind just before “My Worst is His Best Day” talks about being in the same place as he’s been at for a while & someone he knows not getting sick of switching gangs. “Freakhoesripspeakerknockers” shouts out the freaky bitches on top of refusing to take any Ls & hoping you run from the stray bullets, but then “Bags in the Wynter” talks about a girl wanting to fuck him because her last one didn’t.

“Trap Kitchen Gucci Ramsey” was a wavy end to the first half of Internet Explorer airing out a certified geeker for talking shit & wanting a feature from him while the rage-inducing “Yea Yea” suggests he might change the weather by making it rainy with the bands he has these days. “Vendetta Music” gives off a psychedelic approach providing the soundtrack for the 17 fans he claims he has seeking vengeance while “Can’t Go Back Home” talks about not letting anyone get too close to him without tripping on anything.

Moving on from there, “Hell Yea Brother” heads for an industrial direction once again prevailing through any hate that others try to send his way while “Tryna Be Me” gets even heavier with the synths talking about the envious type wanting to follow in his footsteps. The latter half of “Tales from Houston” has an acoustic pop rap flare to it following a boastful start while the pluggy “Tainted” talks about aiming his gun at your chin.

“Stain My White Tee” draws closer to the conclusion of Internet Explorer swearing that the new girl he’s been seeing hasn’t ever met anything like him in the past flexing he’s more slicker than here & “My Mama Don’t Recognize Me” sends off the LP with 1 final synthesizer heavy cut talking about being unrecognizable to his own mother, his hard to please demeanor & getting closer to his dreams of making it.

ANTI over 6 months later was a great capitalization on his versatility since he went for a more alternative direction on there & Internet Explorer has pushed himself into an experimental route considering the industrial hip hop influences on here occasionally venturing out in favor of pop rap or plugg & a hint of rage sprinkled in. Dude really pushes his artistic boundaries on this one & I respect him greatly for that.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Little Simz – “Lotus” review

London, England, United Kingdom emcee, singer & actress Little Simz releasing her 5th album a month after its initial date. Getting her start at the beginning of the 2010s, she would go on to drop 4 mixtapes & 10 EPs alongside all of her previous LPs. GREY Areashowed some serious artistic evolution & S.I.M.B.I. (Sometimes I Might Be Introvert) wound up being my 2021 Album of the Year, even giving a perfect 10. The follow-up No Thank You barely made it on my Best of 2022 list since it came out days after my 26th birthday, finally giving space for the Lotus to bloom.

“Thief” essentially starts off by dissing Inflo after giving her a £1.7M loan in 2023 that she has yet to pay back whereas “Flood” fuses post-punk, art punk, afro-rock, psychedelic rock & experimental hip hop asking to be kept away from Satan’s palm walking a wicked ground. “Young” was my least favorite single of them all despite the blend post-punk & new wave with dance-punk & chap hop in addition to the humorous lyrics, but then the crooning “Only” talks about about solely having love in her heart.

Neo-soul, jazz rap & pop rap collide on “Free” highlights the power of love to set people free in contrast to fear just before “Peace” strips the drums completely so she can talk about finding her peace of mind. “Hollow” keeps it drumless suggests the individual she has in mind is for the cult instead of the culture referring to gaslighting as the work of a deeply insecure person while “Lion” goes for a jazz rap vibe talking about caring less of what they say.

“Enough” warns to not make her pull the plug since she’s fed up bringing a dance vibe to the table instrumentally leading into “Blood” featuring Cashh & Wretch 32 talking about family being their armor in the muddiest of waters. The title track predicts a long night ahead if she’s gonna get high going from being in hiding to the mountains while “Lonely” talks about the loneliness she feels making 4 versions of Lotus as a result. “Blue” ends with 1 more drumless cut advising to carry on with the light at end.

One of my homies Oojadan out in New Orleans once said to me that Little Simz deserves the same amount of respect that Doechii’s getting & I can agree on it since she has a flawless album in this decade. Nevertheless, Lotus reflects the evolving artistry of the London trailblazer & showcasing life’s intricate phases through neo-soul, conscious hip hop, jazz rap, afro-funk, experimental hip hop, afrobeat, psychedelic soul, post-punk, art-punk, afro-punk, pop rap, dance-punk, chap hop & new wave.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!