Willie Nelson – “The Border” review

Willie Nelson is a 91 year old musician, singer/songwriter, actor & activist from Abbott, Texas known for being one of the main figures of the outlaw country subgenre & being 1/4 of The Highwaymen. Standouts in his vast discography include Shotgun Willie, Phases & Stages, Red Headed Stranger, Stardust, Spirit & Teatro. Looking to celebrate a month after his birthday though, Buddy Cannon is producing the 75th full-length solo LP of material from country music’s favorite stoner.

The title track that starts us off with a decent cover of “The Border” by Rodney Crowell whereas “Once Upon a Yesterday” works in some acoustics, pianos so Willie can passionately sing about getting older reminiscing that we were all children working hard at play at one point in our lives. “What If I’m Out of My Mind” has a peppier country flare to it finding the girl of his dreams & after “When I Wrote This Song for You” covering Larry Cordle, the harmonica/guitar laced “Kiss Me When You’re Through” addressing a woman who told him she wouldn’t want him if he was the last person on Earth.

“Many a Long & Lonesome Highway” covers Rodney Crowell once again to start the 2nd leg of the album, this time the lead single off his 6th album Keys to the Highway leading into “Hank’s Guitar” telling a story from the perspective of the late great Hank Williams’ very own guitar. “Made in Texas” was a solid choice of a lead single paying tribute to his home state, but then the bluesy/country hybrid “Nobody Knows Me Like You” sings about Annie D’Angelo being the only person who knows him best. “How Much Does It Cost” ends the album with a powerful country ballad asking the cost of freedom.

As I stated when I reviewed Beyoncé’s new album Cowboy Carter couple months ago: Country music one of those genres that I’m not the biggest fan of altogether with some exceptions & Willie who did an interlude for B on the 2nd act of her ongoing trilogy is most certainly one of them. Nearly 7 decades in the game & The Border elevates everything that made A Beautiful Time his best album since Teatro to new levels. Buddy improves his production from Blueglass’ to help efficiently tell the inner struggles & outer life stories of a border guard.

Score: 4/5

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Oddisee – “And Yet Still” review

Oddisee is a 39 year old MC/producer from Washington D.C. whom I got introduced to through his incredible 7th album & Mello Music Group debut The Good Fight almost a decade ago weeks before my high school graduation. I also happen to enjoy his work with Diamond District, the Odd Seasons mixtape series, his 4th EP Alwasta & The Good Fight’s successor The Iceberg. He just returned last summer by releasing his 9th LP To What End & only 16 months later, Oddisee is taking no time to slow down whatsoever by officially releasing his 6th EP as we near the end of 2024’s halfway point.

“Had to Improve” officially begins the EP with a hypnotizing self-produced instrumental talking about taking some time off in order to step up his craft using a drill flow whereas “Live from the DMV” throws it back to the mid 90’s with the 2 stepping, house party vibes. “Words on Fire” mixes crooning background vocals with kicks & snares talking about the world being out of rhythm this day in age while “Thankful For” merges a 4/6 Moroccan inspired rhythm with jazz rap & a promising message. “Give Way” fuses soulful rock, hip hop & spoken word to tackle themes of acceptance, but then the title track mellowly ends the EP talking about nothing being certain.

To help get the summer started, Oddisee presents a modern hip hop EP inspired by myriad of genres & musical styles with each song revolving around a different understanding of the fact that we have to wake up & make a living no matter what’s going on. His love to all genres really culminates within the production during the 19 minute offering, displaying his range artistically without any guest appearances whatsoever. If this is to hold us off until a potential 10th full-length sooner than later, it’s surely an eclectic one.

Score: 4/5

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Big Hit – “Blacks & Whites” review

This is the sophomore full-length LP from Los Angeles rapper Big Hit. The father of 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. Last February, his petition for a writ of habeas corpus was granted & became a free man on 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 & put out a debut album of his own The Truth’s in My Eyes only 6 months later. Blacks & Whites here raised my expectations after learning Hit-Boy was producing half of it & most importantly, The Alchemist doing the other.

“Drug Tzar” is this murky boom bap opener to the album talking about being a drug star as opposed to a rap star whereas “Only Weight I Feel” works in more kicks & snares reminding that he’s the one who sold these cats the news & gave them the rules. “Godfather, Pt. 2” featuring Boldy James is this piano-boom bap hybrid with both of them calling out the cross-artists out here just before “Heartless” goes drumless revealing that he’s suited up ready for y’all.

Moving on from there, “Foreclosure” takes the heinous route instrumentally cautioning that you better count your fingers when you shake his hand while “Temperature Check” kinda has an atmospheric flare to the beat talking about being ready for war. The title track featuring The Alchemist & Hit-Boy themselves finds the trio lavishly keeping everything black & white prior to “Champion” coming through with a warmer vibe talking about being a winner.

“Count Your Blessings” featuring Figg Rarri, Killa Twan & LongBodyy brings the quartet over more keys as they discuss keeping track of one’s blessings while “Sly, Slick & Wicked” featuring Hit-Boy’s son & Big Hit’s grandson C3 soulfully talks about disliking these n****s. “Dirtball” nears the conclusion eerily explaining that everyone else can’t keep up with him while “Gank Move” featuring Hit-Boy’s sister & Big Hit’s daughter HitgirlLena cloudily samples “Murderer” by the titular Detroit duo to end the LP detailing the gangsta lifestyle.

Big Hit’s been steadily getting his name back out there ever since coming home from the pen, but Blacks & Whites as I had anticipated takes himself to a whole new level & dethrones The Truth’s in My Eyes as the best album of his discography thus far. Hit-Boy & Uncle Al’s production are like yin & yang with their own distinctive styles, complimenting Big Hit’s gangsta lyricism stronger than the debut we got last winter.

Score: 4.5/5

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Sean Peng – “Insomniac’s Dream” review

Here we have the sophomore effort from Bristol, England, United Kingdom emcee Sean Peng. Known for being 1/3 of the Creatures of Habit & 1/4 of NLP, he made his solo debut Crazed Conductor in 2016 under Lost Scroll Records & is coming off his Creatures brethren Illinformed fully producing his 2019 debut album Trips to the Medicine Cabinet succeeding the Controlled Experiment extended play preluding it in 2017 to run it back for a dissection of an Insomniac’s Dream through Illin’ for Meds Records.

“Inebriated Halfwits” featuring Jack Jetson starts with both of them over a jazzy boom bap talking about not seeing clearly regarding what they wanna do whereas “Stranger Than Fiction” stays in the basement instrumentally addressing the people who’re afraid to face the truth. “Broken English” takes a moment to represent the crowd of people who feel broken down leading into “Better the Devil” featuring Crossbow T marking my least favorite guest appearance despite the theme of Satan being a cloak within the mirrors & smoke.

Ramson Badbonez joins Sean on the jazzy “Sick Society” talking about people losing themselves all for a hit of notoriety just before “Hidden Messages” soulfully speaks of not stressing regarding the end because he’s already see the signs & symbols. “House of the Dead” spends 92 talking about being surrounded by zombies over more prominent kicks & snares while “Raw Syllabics” featuring O.A.B. soulfully compares their minds to timeless relics off psychedelics.

“Squid Games” featuring Jack Jetson references the popular Netflix series of the same name set to end after 2 more seasons in 2025 while “Rise of the Underground by the Creatures of Habit talks about underground hip hop becoming popular due to acts like Griselda being accepted by the mainstream for example. “The Abyss” brings a ghostly boom bap atmosphere to the table putting us inside the shoes of a person residing inside the pits & “Is This Real?” wraps things up asking himself if he’ll wait to leave behind the sadness in his life.

Almost 3 months after his Creatures of Habit partner-in-rhyme Eric the Red had made his Illin’ for Meds Records debut with his 4th album Painting da Town Red, it makes sense for Sean Peng to follow suit putting out a Trips to the Medicine Cabinet follow-up reaching the same bar it’s predecessor made still residing behind Caught Red Handed regarding Lost Scroll’s top 2 projects. Illinformed’s jazzy boom bap production feels unparalleled putting it against Sean’s last full-length, but it’s refreshing the latter moved on to newer concepts rather than still dissecting prescription drug abuse.

Score: 4/5

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BADBADNOTGOOD – “Mid Spiral 3: Growth” review

This is the 4th EP from Toronto, Ontario, Canada instrumental band & production team BADBADNOTGOOD. Consisting of drummer/vibraphonist Alex Sowinski as well as bassist/keyboardist Chester Hansen & multi-instrumentalist Leland Whitty, they formed in 2010 over their shared appreciation for the late MF DOOM & of course Odd Future. Their first 2 full-lengths BBNG & BBNG2 further gained traction for blending original material & covers until III fully won me over near the end of my junior year of high school after Tyler, The Creator introduced me to them through shouting the band out on “Lone” off his sophomore effort Wolf. The Odd Trio also produced what I consider to be Ghostface Killah’s most underrated album Sour Soul approximately 9 months later & Leland was promoted from touring member to official member the next summer on IV. Matthew Tavares departed in 2019 & their XL Recordings debut Talk Memory subsequently came out couple years later. However, BADBADNOTGOOD are looking to close the Mid Spiral trilogy on Growth.

“First Love” is this colorful intro to the 3rd & final final installment of the Mid Spiral saga bringing back the jazz-funk influences that were throughout Chaos a couple weeks ago whereas the next track “Audacia” moves on there working in some funky bass licks, horns, saxophones & even an organ to near closer to the halfway point. “Celestial Hands” bridges the EP with a jazzy composition that feels reminiscent of “I’d Rather Go Blind” by the late Etta James at some points & “Ways of Seeing” pulls inspiration from the Houston psychedelic rock trio Khruangbin a bit prior to the final song “White Light” ending Mid Spiral with a smooth jazz instrumental for you to light a blunt to. The bonus track “Best Left Unsolved” last but not least cooks up a groovier jazz flare for 5 & a half minutes.

What we’re seeing in the world today is truly heartbreaking when taking in consideration of everything going on in Rafah & across the world really, but I’m faithful about the trilogy of new EPs from BADBADNOTGOOD here will achieve Easy Feelings Unlimited’s goal of giving hope & momentary joy to those in a dark time who so happen to need it. All 3 chapters Chaos, Order & Growth when you combine them as a whole displays the odd trio expanding their signature jazz fusion sound by pulling from jazz-funk, jazz-rock, easy listening, samba-jazz, post bop & smooth jazz.

Score: 4/5

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Insane E – “Scales” review

Insane E is a 39 year old MC & graphic designer from East Palestine, Ohio starting out as 1/4 of the No Clue Crew in the early 2000s before branching out in favor of a solo career releasing The Fine Line at the very end of that decade. Subsequently, he became the Head of Graphic Design for Majik Ninja Entertainment & a graphic designer for the label’s founders Twiztid in November 2013 only 11 months after the demented duo had departed from Psychopathic Records to do it themselves. And to commemorate the 10 year anniversary of E’s sophomore effort The Art of Blaowww, I was eagerly waiting for the Astronomicon graphic designer’s 3rd album.

“In the Balance” kicks off the LP on some rap rock shit produced by Fritz the Cat opening your mind & taking a look inside whereas “Tell Me Do You Really Care?” heinously talks about hoping everyone’s paying attention to him since the end is near. “Ain’t No Stoppin’ Me 2099” is a remix version of a highlight track off E’s solo debut The Fine Line, but then “Limitless” moves forward passionately talking about keeping your head up & giving it all you got.

The trap metal vibes on “Alien” suit the lyrical content of not fitting in or not belonging just before the anthemic “Chambers” featuring Zodiac MPrint finds Blaze Ya Dead Homie & The R.O.C. assisting E in running around circles chasing after what they’re looking for. “Get a Clue” takes an ominous trap route hoping that someone out there can hearing him crying leading into “Excedrin” marking a turn into boom bap territory talking about passing the over-the-counter medication to him.

“Welcome to My Gallery” fuses trap with metal once again coming to terms that he’s simply an artist searching for his inner self while “Brainwashed 2099” is another remix, this time of a Gemini Projekt track off the duo’s only album Experiment 17. “Scapegoat” brings a futuristic flare to the beat from Godsynth not giving a fuck about who hates him since he’s only moving faster up the ladder that he’s been climbing while “Bury It” featuring Jamie Madrox goes full-blown rap rock feeling like they’re losing their sanities.

We get more guitars & hi-hats on “Time” so E can ask how long will it take until Father Time starts crumbling down on us all while psychedelic “Life by Design” wants to know if everyone is living by default or design. “Let It Burn (No Return)” grimly talks about being past the point of no return while “Next Level” featuring Mr. Grey has this morbid trap groove to it discussing that they’ve been waiting too long to move up & move on.

“Homesick” nears the climax of balancing the Scales working in a stripped-back sound altogether with some acoustics courtesy of Stir Crazy talking about how there will always be a part of him back home & that the family he’s started meaning the world to him ahead of “Shift” properly concluding the album fusing electronic music & trap asking if you can feel him now.

Over a decade since we last heard from him on The Art of Blaowww & roughly 15 years that he began carving a path for himself as a solo artist, Insane E has returned to provide what I consider to be my new favorite solo effort of the 3 in his entire discography. It’s more well-produced than his last couple LPs were, he sounds focused addressing more personal subject matter & we get stronger feature performances on top of it.

Score: 4/5

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Shenseea – “Never Gets Late Here” review

This is the sophomore effort from Jamaican singer/songwriter & deejay Shenseea. Putting out a handful of singles since 2015 like the Vybz Kartel-assisted “Loodi” or “Run Run”, she then signed to Interscope Records prior to the pandemic & got her biggest push yet after appearing on the “Ok Ok” remix off Ye or formerly known as Kanye West’s final Def Jam album DONDA. Her debut album Alpha further solidified Shenyeng as dancehall’s most exciting new artist & had a feeling Never Gets Late Here was going to improve on the departments in which Alpha lacked.

“Face Lift” starts by signing over a cloudy trap beat from London on da Track & FNZ about continuing to keep going wherever life leads her whereas “Hit & Run” featuring Masicka goes straight dancehall explaining that you couldn’t get them to settle down. “Tap Out” brings a hypnotic groove to the table instrumentally trying to find out how long you can last with her, but then “Neva Neva” goes for a pop reggae vibe refusing to say never & not wanting to feel any pressure.

Meanwhile on “Die for You”, we have Shenyeng returning to the dancehall sound talking about dying for her lover just before “Keep a Place” brings a traditional reggae flare thanks to Supah Mario hoping her exes’ memories of her aren’t fading. “Dolla” once again turns back into bashment turf explaining that money is better than sex itself prior to “Loyalty” talking about her new man being a real O.G. atmospherically stripping down roots reggae with an increased emphasis on pure rhythm.

Coi Leray pops up for the funky “Flava” so both of them can talk spicy while “NaNa” takes the anthemic route aesthetically singing about someone waiting all his life for her & shining like the summertime every single day of the year. “Red Flag” featuring Anitta is this dancehall/Latin pop crossover explaining that men who don’t have it being a turnoff for them while “Stars” passionately encourages to leave them in the sky.

As the conclusion of Never Gets Late Here gets closer, the penultimate track “Heaven on Earth” asks where her paradise is over a warm trap instrumental that is until “Work Me Out” featuring Wizkid officially ties up the LP mixing dancehall with afrobeats talking about only being here for 1 night only getting 1 invite to give sexercise & burn them out.

Couple years after we get a proper introduction to Shenseea, she’s celebrating summer early following it up with a vibrant fusion of rhythms & genres showcasing distinctive style further demonstrating her songwriting prowess & knack for crafting infectious melodies that result in a truly unique musical experience.

Score: 3.5/5

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Sexyy Red – “In Sexyy We Trust” review

One of the most polarizing, controversial & popular artists in hip hop today Sexyy Red coming straight outta St. Louis, Missouri ringing in Memorial Day Weekend by releasing her 3rd mixtape following her appearance on the WME Group-owned TKO Group Holdings division WWE’s developmental brand NXT. Getting her footing in penning a diss track towards an ex-boyfriend who cheated on her, she subsequently dropped her debut single “1,000 Jugs” in 2018 & eventually her debut mixtape Ghetto Superstar on Christmas Eve 2021 to subpar reception. Last summer however was when she went viral as a result of her gamma.-backed sophomore tape Hood Hottest Princess, which received more mixed responses in the public eye including from myself on the contrary to Anthony Fantano giving it an 8. My interest peaked after learning couple months back that Tay Keith was fully producing her upcoming debut album since he & Sexyy Red have always brought the best out of one another much like Future & Metro Boomin’ since Tay laced some of her biggest hits such as “SkeeYee”, but is preluding it in the form of In Sexyy We Trust.

After the “Tim Talking” intro, the first song “She’s Back” is this admittedly obnoxious trunk-rattling opener about her return whereas “Boss Me Up” produced by Tay Keith really gets the tape started from the piano-driven instrumental to Sexyy’s boisterous lyrics. “U My Everything” featuring Drake uses the exact same sample Metro Boomin’ used for “BBL DRIZZY BPM 150.mp3” earlier this month further validating Kendrick Lamar’s line on “euphoria” where he said “When I see you stand by Sexyy Red, I believe you see 2 bad bitches” leading into the synth-laced strip club anthem “Ova Bad”.

“Get It Sexyy” was a fun single mixing trap, crunk, Memphis rap & snap together so she can energetically do her dance while “Fake Jammin’” has a rubbery quality to the beat calling out everyone who ain’t jammin’ shit like they say they are. “Outside” hooks up some vibraphones & hi-hats courtesy of Mike WiLL Made-It not shying away from making it clear that she stays out here, but then VonOff1700’s verse on “Sexyy Love Money” is almost as laughable as Drake’s despite the ominous piano chords throughout & the lyrics breaking down everything that Sexyy Red herself loves.

Meanwhile on “Sport”, we have Sexyy talking about killing these hoes over one of the weaker instrumentals on the entire tape even with the weak reference to former NXT North American Champion Bronson Reed that is until “TTG (Go)” bounces back eerily dropping braggadocio. The song “Lick Me” featuring Lil Baby richly talks about cunnilingus while the penultimate track “Awesome Jawsome” turns the bass up a bit more encouraging to shake your dreads between her legs. Funny enough, “It’s My Birthday” ends In Sexyy We Trust with what “Ratchet Happy Birthday” by Drake off Scorpion should’ve been.

People online tend to clown on Fantano for giving Hood Hottest Princess an 8 all these months later & even I myself would tell you that it’s a strong 5 to a light 6 on it’s best day, but I also find it ironic that literally every single redeemable quality he saw in that previous tape is EXACTLY what I see in this new one right here. If you wanna get into Sexyy Red, In Sexyy We Trust completely outshines her earlier work. Once you get past a few underwhelming guest performances, rhetorical production mostly handled by Tay Keith is a lot more detailed than what she’s done before & she can be humorous at times.

Score: 4/5

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Coi Leray – “Lemon Cars” review

New Jersey rapper & singer Coi Leray teaming with Mike WiLL Made-It for her 5th EP & Island Records debut. Growing up as the younger brother of Sosshouse Records signee Chavo & the daughter of Benzino, she began to carve a path of her own with her debut mixtape Everythingcoz along with her first 2 EPs Everythingcoz 2 & Now or Never even though they were mediocre to me personally. She then signed to Uptown Records last spring after being relaunched by Republic Records & put out her major label debut Trendsetter not too long after which had a few of her strongest tracks yet, but the bad mostly outweighed the good & the same applied to Coi considering “Self Love” off the Spider-Man: Across the Spider-Verse soundtrack could be my favorite song of hers yet. Lemon Cars on the other hand was destined to wipe both her LPs in terms of quality after announcing Mike WiLL’s heavy involvement.

The title track starts with a full fledged synthwave beat & Coi fucking around showing you what’s in store whereas “Can’t Come Back” is a futuristic pop rap jam talking about kicking her ex to the curb. “We Time” has an atmospheric trap flare to it expressing her need to spend more time with her new man while “Wanna Come Thru” goes into a bit of a psychedelic direction telling a guy who thinks he’s a psychic to put his pride to the side. “Coke Bottle Body” featuring Skilla Baby works in organs & hi-hats for a dedication to the slim baddies, but then “Poster Girl” kinda has this trippy rock edge to it talking about being the one her mans sees in his dreams

Coi most certainly has talent as proven by “Self Love” or her feature on Busta Rhymes’ latest album Blockbusta even though it was step down from E.L.E. 2 (Extinction Level Event 2): The Wrath of God, but she really took me by surprise here much like the new Sexyy Red tape In Sexyy We Trust did earlier on in the weekend. Mike WiLL Made-It’s production is exactly what she needed since the overabundance of samples on Coi or the tackiness of Trendsetter’s & her performances are notably better too.

Score: 4/5

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Niko B – “dog eat dog food world” review

Niko B is a 23 year old recording artist from Newport Pagnell, Buckinghamshire, England, United Kingdom emerging at the very beginning of this current decade off the strength of his debut single “Marry Berry”. His popularity began to grow exponentially a few months later after putting out his next track “Who’s That What’s That”, now finally ready to unveil his full-length debut album only 3 years & 7 more loosely released songs later building up anticipation for this very moment to come.

“Trespass Coat” is this EDM-driven opener talking about learning a couple steps despite not really liking to dance that much whereas “I’ve Smoked Weed 9 Times & Have Had 1 Good Experience” playfully breaks down why weed simply isn’t for him. “ur a bundle of joy!” takes the groovier route instrumentally calling Milton Keynes the city of roundabouts, but then “boarded the plane” bringing a quirkier vibe talking about sitting in row 9 of a flight.

Moving on from there, “tom did” mellowly asks if anyone wants it prior to “miniclip” featuring KIRBS mixing cloud rap & UK drill so both of them can talk about winning any game they play. “it’s not litter if you bin it” delves further into smoother sounds saying that he’s fighting too many fights pondering if they would make him lose by filming him fighting while the pillowy “i’m just a pretty face” talks about being too hardcore.

“dagenham to barking” kinda has this deconstructed club quality to the beat referencing former 3-time WWE world champion, 5-time WWE Intercontinental Champion, WWE United States Champion, 3-time TNA World Champion, ΩCW Heavyweight Champion, 9-time WWE Tag Team Champion, 3-time WWE Hardcore Champion, ROH World Tag Team Champion, HoG Tag Team Champion, 2-time ΩCW Tag Team Champion, 2-time TNA World Tag Team Champion & The Crash Mundial Parejas Campeon Jeff Hardy while the rythmic “what counts as fine?” talks about not doing things because he dislikes it. The delicately produced “14 days” nears the conclusion of Niko’s debut explaining how hard these past couple weeks have been without seeing an unnamed person in his life & the melodic “who’s in designer” closes the LP addressing someone he doesn’t recognize anymore.

Stemming from being in awe of everyone around him, the UK hip hop scene’s newest face makes his introduction to a wider audience enjoying his dog food because he likes it as opposed to everyone else around arguing & in competition. The versatility ranges from UK drill to indie pop & his storytelling is reminiscent to The Streets’ first couple albums, yet he very much meshes it all into his own approach & style.

Score: 3.5/5

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