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

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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

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The High & Mighty – “Sound of Market” review

The High & Mighty is a duo from Philadelphia, Pennsylvania consisting of emcee Mr. Eon & deejay/producer DJ Mighty Mi. Signing to Rawkus Records, the Eastern Conference Records founders’ 1999 debut Home Field Advantage would become an underground classic & notably had an Eminem verse on it right when he started to become an international superstar. The Highlite Zone & The 12th Man were also well received when they came out during the first half of the 2000s, reuniting after 2 decades for their 4th album & signing a new distribution deal with Soulspazm Records in the process.

“2 Man Crew” was a gritty choice of an intro mixing hardcore hip hop & turntablism ripping it up as if the world renowned never took 20 years off whereas “Zounds” talks about his mental being unable to be fucked with as long as they’re back. “Pinky Tuskadero” featuring Kool Keith soulfully sends a message to the people all over the world just before “6ers & Squires” featuring Skillz aggressively talks about how they can’t be stopped.

Breeze Brewin’ teams with The High & Mighty on “Super Sound” heads for a boom bap direction so both parties can paint lyrical visuals together leading into “The Rose Bowl” featuring Your Old Droog hopping over a soul sample from The Alchemist talking about being pimps on a hoe stroll decked in polo. “Dubbs Up” featuring King T works in some g-funk undertones showing a boastful side to them while “Prism” featuring Large Professor & Tash cultivates from the rooftops over a cavernous boom bap beat.

After the “Mighty’s Big 5 (Live from the Palestra)” turntablism interlude, the Smut Peddlers reunite on a piano-driven instrumental during “Most In Outs” talking about never being cancelled while “I. Goldberg” featuring MC Serch & Sadat X continues to bring it hardcore over more boom bap production. “Funk ‘O’ Mart” featuring Chubb Rock dedicates itself to a record shop where DJ Tat Money once worked while “Spaceport” featuring Chill Rob G & Copywrite suggests to hide your kids when they ride the rhythm.

“Highest Degree” featuring O.C. kicks off Sound of Market’s final moments referencing former NWA World Tag Team Champions, 2-time IWGPタッグチャンピオン, the inaugural 2-time TNA World Tag Team Champions, WWE Hall of Famers & former 18-time WWE tag team champions The Dudley Boyz while “2 High Whiteys” caps off the comeback with a blues flip heavily revolving around a line in “Acknowledge” by Masta Ace stemming from a misunderstanding that Eon & Mighty Mi had dissed Ace at one of their shows a quarter of a century ago when that wasn’t even the case. Can’t exclude the Stu Bangas joint “Be Excited” featuring Esoteric either since 7L & Esoteric have been compared to these guys.

Discovering these guys after hearing the Eminem verse on their debut as a kid, it’s so awesome to see The High & Mighty joining the likes of LL Cool J or MC Lyte to name a couple releasing some of the best music in their whole careers in the mid 2020s adds to their longevities & the Eastern Conference fans can rejoice. DJ Mighty Mi’s boom bap production still sounds great today as does Mr. Eon’s passionate hardcore performances & the guests range from O.G.s to newer underground artists.

Score: 4.5/5

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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

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Lil Wayne – “Tha Carter VI” review

New Orleans, Louisiana emcee, singer/songwriter, record executive & entrepreneur Lil Wayne continuing one of his most beloved sagas on his 14th studio LP. Signing to Cash Money Records at the very age of 9, he would go on to become 1/2 of The B.G.’z as well as 1/4 of the Hot Boy$ & 1/6 of the Cash Money Millionaires. His first 3 solo albums Tha Block is Hot, Lights Out & 500 Degreez were average at best but we then found him improving in the mid 2000’s with Tha Carter, Tha Carter II, Dedication, Dedication 2, Da Drought 3 & my personal favorite Tha Carter III. He then started his own label Young Money Entertainment & followed his magnum opus up with a God awful “rock” album Rebirth along with the mediocre I Am Not a Human Being. He was able to bounce back in 2011 with Tha Carter IV, but things looked rough once again with the horrendous I Am Not a Human Being II in 2013 & then being entangled in legal issues with Cash Money from 2014-2018. Wayne eventually broke free from Birdman & was able to release Tha Carter V in 2018 to celebrate his 36th birthday returning to form. Funeral however was a step-down in comparison & Tha Carter VI has finally come over 5 years later.

After the “King Carter” intro, the first song “Welcome to Tha Carter” was a soulful boom bap intro eating rappers he’s already heard as if they’re appetizers whereas “Bells” samples “Rock the Bells” by LL Cool J to boast how hot he’s been on the mic for 2 decades almost. “Hip Hop” featuring Jay Jones works in a trap instrumental from Infamous & Einer Bankz with a vocal sample for a representation of the culture that I’d like more without Jay’s verse while “Sharks” featuring Big Sean & Jelly Roll finds the trio talking about snakes not always hiding in the grass over a guitar-based beat from Boi-1da.

“Banned from New Orleans” featuring Nicki Minaj on the remix gets in their dirty south bag flexing that they’re sellin’ chromes to bricks out here leading into “The Days” recalling being in a hospital bed after one of the countless epileptic seizures he’s had since childhood blending rap rock & boom bap together. “Cotton Candy” by ColleGrove interestingly fuses jazz, trap & pop rap all into 1 for a collab that’s primarily compared to most of what was on Welcome to ColleGrove even with the reference to former IWGPヘビー級チャンピオン as well as a 10-time WWE world champion & former UFC Heavyweight Champion in both TKO Group Holdings divisions Brock Lesnar just before “Flex Up” continues with a mildly boastful cloud rap cut.

One of my least favorites easily has to be “Island Holiday” & not because of the subject matter of getting away on vacation, but rather because of the performances heavily slathered in auto-tune. “Loki’s Theme” turns up the rap rock influences courtesy of DJ Clue? of all people to my surprise talking about getting it out the mud while the acoustic “If I Played Guitar” throws it back to “How to Love” down to the sung vocals a little except not as good.

“Peanuts 2 N Elephant” links up with Lin-Manuel Miranda of Hamilton fame for a spiritual successor to “6 Foot 7 Foot” featuring Cory Gunz with what sounds like a Crash Bandicoot level while “Rari” hops over a joyous trap instrumental from Wheezy talking about driving around Los Angeles in a sports car. “Maria” featuring Wyclef Jean hooks up an opera sample from the latter discussing a party girl waking up in the underworld while “Bein’ Myself” stays true to himself over a soulful Mannie Fresh beat.

The song “Mula Komin’ In” featuring Wayne’s son Lil Novi has little to no presence from Weezy F. Baby other than his verse at the backend of it although I very much appreciate what he was trying to do giving more exposure to Novi’s own music career while “Alone in the Studio with a Gun” featuring Kodak Black & MGK sticks out as the worst collab here since Young Money General washes both of the guests on it. “Written History” finishes C6 with spoken word passages from the late WWE Hall of Famer Muhammad Ali speaking on his legacy in hip hop while “Momma Don’t Worry” featuring Lil Baby advises their mothers not to stress out since they birthed real ones over an ATL Jacob instrumental.

Some will argue that him signing Drake & Nicki has tainted Wayne’s legacy considering “Big Foot” & “The Heart 6” have both been mocked equally as much as “Ghoulish”, to which I understand completely. Anyway, I went into Tha Carter VI with fingers crossed that it would reach the level of quality as Tha Carter V did 7 years ago & it makes me sad to call this the weakest installment of the series. Weezy can very much rap his ass off & I won’t deny that, my issues are more towards some of the guests & production choices.

Score: 1.5/5

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McKinley Dixon – “Magic, Alive!” review

McKinley Dixon is a 29 year old MC & singer from Richmond, Virginia introducing himself in the early mid-2010s off his first couple EPs Nappy Headed & Peter Truman followed by the full-length debut album Who Taught You to Hate Yourself? & The Importance of Self Belief. The spring of 2021 marked his breakthrough in the underground largely due to For My Mama & Anyone Who Look Like Her, which Beloved! Paradise! Jazz!? elevated a couple summers later & his 5th LP hopes to tie up some loose ends of it’s predecessors.

“Watch My Hands” was a brief 106 second drumless intro splittin’ through seasons hopin’ all parts eventually collide whereas “Sugar Water”featuring Quelle Chris heads for a jazz rap/neo soul approach instrumentally offering their souls so they can finally have peace. “Crooked Stick” featuring Ghais Guevara takes a bit of a boom bap direction with the beat flexing their legacies are eternal despite the envious wanting to sabotage until the experimental 2-parter “Recitatif” featuring Teller Bank$ dismisses the notion of being civilians.

The sequel to “Run, Run, Run” works in some pianos & live drumming confident he’ll be celebrated when his squad step back on the street & after “We’re Outside, Rejoice!” turns the jazz rap influences back up again hoisting up the child born under the sun advising they hide all cracks in their voice when yellin’ at the sky, “All the Loved Ones (What Would We Do???)” featuring ICECOLDBISHOP & Pink Siifu is this funky, cloudy hybrid talking about their mamas beating each other’s asses if they don’t stop playin’ with ‘em.

“F.F.O.L. (Fist Full of Light)” featuring Teller Bank$ blends these woodwinds & brass usin’ the generational words of their grandfathers just before “Listen Gentle” takes pennies from his thoughts & turns it into $100K. The title track suggests you get in the whip with him because of his plan to make it so his homies stay immortal & “Could’ve Been Different” featuring Blu finishes with them staring out the window, pray their wings can hold their frame.

Magic, Alive! feels the breathtakingly concluding trilogy chapter that For My Mama & Anyone Who Look Like Her began & Beloved! Paradise! Jazz!?bridged telling the story of 3 kids who lose their best friend & facing the subsequent turmoil. McKinley & his guests’ consciously abstract performances contemplate what constitutes magic in all forms meshing the sounds of jazz rap occasionally influenced by the lo-fi hip hop pioneer & one of my top 10 producers ヌジャベス, neo-soul, urban contemporary gospel, orchestral music, experimental hip hop, industrial hip hop, hardcore hip hop, rap rock, cool jazz, drumless & cloud rap.

Score: 4.5/5

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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

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Destroy Lonely – “See U Soon </3” review

Atlanta, Georgia recording artist Destroy Lonely preluding his 2nd mixtape </3³ with his 12th EP. The son of former Disturbing tha Peace Records signee I-20, he’s released a total of 11 EPs since originally breaking out through SoundCloud in 2019 prior to Playboi Carti signing alone to his Interscope Records imprint Opium Records to surprise drop his last tape No Stylist in light of his ongoing tour with fellow label-mate Ken Carson last summer followed by the full-length debut If Looks Could Kill. Love Lasts Forever was disappointing in comparison & hoped See U Soon </3 would at least surpass it.

“Nylon” produced by Clayco throws it back to Lone’s early days for an intro preluding his upcoming 3rd album Drop Dead Gorgeous whereas the cloudy “SDP” courtesy of Cade homages an interlude off Travis Scott’s sophomore effort Birds in the Trap Sing McKnight that I personally find the original version of being far superior to the shortened final version you can hear on whatever streaming platform you use.

The instrumental on “See Ur Face” kinda feels reminiscent of “Tryna Get Down” by Carti despite the themes of love while “Super Serum” keeps his head up after some personal stuff he dealt with in 2024 unbeknownst to the public. “SRTBBL” featuring Ken Carson finishes by showing a back-&-forth chemistry over a beat from F1LTHY of Working on Dying ahead of the 00pium Twins’ upcoming collab tape.

Some feel that Lone’s output since his label deal hasn’t really lived up to the hype </3 & most of those in his fanbase will find themselves satisfied with what See U Soon </3 has to offer giving a taste of what </3³ will sound like when he feels the time is right for him to put out the tape: A return to his roots musically except he has a new perspective of things since he’s gotten older & the popularity continually growing.

Score: 3.5/5

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Niko B – “people” review

Brand new EP from Newport Pagnell, Buckinghamshire, England, United Kingdom recording artist Niko B. Starting at the very beginning of this current decade off the strength of his debut single “Marry Berry”, he popularity began to grow exponentially a few months later after putting out his next track “Who’s That What’s That” & the full-length debut album dog eat dog food world last spring being well received enough where people were recommending it to me. A whole year later, Niko’s preluding an upcoming sophomore effort by holding fans off with people.

“Hairclips” was a tight hip house intro telling this woman he’s hitting on how much he loves her hair being able to tell she doesn’t give a fuck by the way she cuts it while “I Like the Way You Talk Looking at Me” fuses hip hop with house & funk music asking if his partner enjoys how he speaks when they’re making eye contact with one another. “What Am I to Do?” rounds out peoplewith 1 more hip house jam talking about optimism being amazing from his perspective.

You know? It’s actually pretty awesome that people dropped on the same day as Little Simz’ brand new album Lotus because Niko B a lot like Simz sticks out to me as one of my favorite UK hip hop artists of the current decade. The production on this one is prominently centered around the hip house sound & you get to see a more optimistic side of Niko.

Score: 4/5

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D2X – “Boy in the Blue Hoodie” review

Chicago, Illinois emcee D2X coming off his first EP The Hunger Era last summer to put out a 2nd one. Releasing his full-length studio debut album The Color Blue in the spring of 2021 & later the sophomore effort Hotel 1105 a couple summers later. Like I said earlier: The Hunger Era was essentially a love letter to the Windy City that made him sending bigger shockwaves in the underground than his first couple LPs did & was wondering if Boy in the Blue Hoodie could reach or surpass that same level.

The harps at the start of “‘Twas the Day” are pleasant to the ear until the chipmunk soul instrumental comes in full effect making way for the Chicago MC to tell the story of a young boy’s dream & finding his peace in mine for the next album whereas “Light Up the Lake” takes a jazzier approach with the horns & a soulful sample making a love letter to a better version of himself. After the spoken word jazz “Miles Away” interlude, “Blue Ocean Water” sends off the tale of the Boy in the Blue Hoodie with a beat kin reminiscent of The Heatmakerz calling himself a future hall of famer.

Understandably, D2X’s continuation of The Hunger Era goes from paying homage to the City that made him giving the world an idea of where he’s from to a more introspective side of himself letting people inside of who he is as a person & his background. One of the coolest things Boy in the Blue Hoodie is that he balances the jazz rap sound he’s always been known for with the chipmunk soul style of production that RZA, Ye or formerly Kanye West, Just Blaze & as I mentioned earlier The Heatmakerz have all pioneered & popularized retelling his life’s story.

Score: 4.5/5

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