Shah Leezy – “Shiraz” review

This is the full-length debut from Staten Island emcee Shah Leezy. Coming up in 2018 off his debut EP Live at the Mecca, the man has gone on to release 5 more since then with the latest being The Iron Sheik Tape last winter. But for Shiraz, he’s enlisting GetLarge to fully produce it from start to finish & bringing some of his favorite artists from the city for the ride.

The “LuZ’s Intro” kicks off the album with a somber piano loop saying he’s givint classics until he goes idle whereas “Habibi King” weaves in some hi-hats & horns talking about chasing freedom. “Fear’s the Key” is a symphonic trap cut getting on the more boastful tip, but then Greezi Amlin & innocent? tag along for the soulful “Life’s Crazy” basically letting the title speak for itself,

Meanwhile on “Jamez Bondz”, we have Shah over some dusty drums & humming talking about chasing missions like the world famous spy just before “Pulp Fiction” delivered a viciously off-the-top freestyle over a rich instrumental. “Vince’s Revenge” talks about being a ram then a goat leading into Iso Indies comeing into the picture for the classy “Carlito” to bring back the braggadocio.

LDog Day Afternoon” is a thunderous hustler’s groove while the song “Wolf of Wall Street” is basically his allegory on wax. The title track takes a jazzier turn getting on his top dog shit & finally, the “LuZ’s Outro (Cheers)” rounds it out on a cheery note by dissing everyone who’s jealous of his success.

As much as I loved The Iron Sheik Tape, I think Shah is really starting to level up on this. really interesting to hear him give us a year of his life with this much heart & the overall sound of the album that GetLarge provides is uniquely detailed.

Score: 4/5

La Lo East – “Section 8” review

La Lo East is a 41 year old MC from Buffalo, New York who came up last Black Friday off the full-length debut Fuck the Middle Man. This was followed-up by the debut EP Buffalo over the spring right before Thanksgiving last month, East decided to prelude his sophomore album by dropping a 2nd EP.

After the titular intro, the first song “Life Like This” sets off the whole EP with a soul sample saying he’s bout that paper whereas “Can’t Fuck wit Me” works in some strings challenging anyone who wants smoke with him. “Advances” takes a moodier turn thanking the man above for such & after the interlude, Drama2BR tags along for the downcast “Change” to call out those switching up on them. The final song “Glorious” has some jazzy undertones to the beat as he ends the album by talking about staying getting to the money leading into an 11-second outro.

From front to back, this is a pretty impressive EP. The lyrical topics throughout it’s 22 minute run range from personal shit to braggadocio & each song in terms of sound pretty much differs. Whenever his sophomore album comes out, I can definitely see him continuing to level up.

Score: 3.5/5

Cult of the Damned – “The Church Of” review

The Cult of the Damned are a hip hop collective from England, United Kingdom consisting of Blah Records founder Lee Scott, BeTheGun, Sly Moon, Salar, Bill Shakes, King Grubb, Tony Broke, Black Josh, Stinkin’ Slumrok, Bisk, Sleazy F Baby, Col. Mustard, Dr. Zygote, Sam Zircon & Reklews. Properly introducing themselves as a unit in 2015 off an eponymous debut EP, a sequel would come in the form of their full-length debut Brick Pelican Posse Crew Gang Syndicate & are getting back together for a sophomore effort.

“Ahem!” begins with this 5 minute posse cut asking over a guitar-driven boom bap instrumental from Nobodies Home if anyone listening has been picking this important signal whereas “Internal Error” talks about being the modern day No Limit Records & everyone else being their children. CLBRKS joins the Cult on “Worship” referencing WWE Hall of Famer, 14-time WWE world champion, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & WWE’s current COO Triple H. just before “WTH” finds the B-Movie Millionaires with BeTheGun & Milkavelli talking about them being sick in the head.

BeTheGun brings Sly Moon & Stinkin’ Slumrok besides him on the mic during the piano boom bap crossover “Rotation” realizing the has-beens they used to kick it with amounted up to nothing leading into “Norman’s Theme” talking about them being averagely normal as they come. “AB NO (Red Leicester)” dismantling little league MCs who want to battle them knowing they wouldn’t stand a chance while “W.Y.T.B. (What You Talkin’ ‘Bout?)” ends the 1st half with the Cult posing that very question to people flapping their lips.

“Gung Foo” hits us with another posse cut to start the 3rd quarter continuing to spit battle raps over a boom bap beat while “Skid Row” hilariously disses an adversary claiming to be all the knowledge when they don’t know a damn thing about them at all. “Step” featuring Danny Lover has a bit of a cloudier tone instrumentally talking about their need of succeeding & rewriting the whole game plan while “Good News” featuring Bang On! grittily obliterates rappers with basic penmanship.

To get The Church Of’s last leg going, “Castles” talks about being better off staying inside & smoking weed because of their bent-up whips while “Rear View” fuses jazz rap & boom bap so they can speak of seeing things a lot more clearer than they did previously. “Henny Shots” comes through with a 2-parter where the entire squad’s having a toast & “Brick Pelican’s Lament” finishes by having King Grubb holding down the outro for a solo track of his own.

Diminishing the grime undertones of Cult of the Damned 2: Brick Pelican Posse Crew Gang Syndicate significantly, the 2nd album from the Children of the Damned’s spiritual successor takes themselves beyond their self-titled EP & their previously mentioned debut for a great follow-up to the Cult of the Damned’s early output. The boom bap production’s darker than Brick Pelican Posse Crew Gang Syndicate’s, the inclusion of outside guest appearances was only a matter of time & every member’s verses remind me of the almighty Wu-Tang Clan in that they’re all unique swordsmen of their own category.

Score: 4/5

Kut 1 – “Live Wires 2” review

Kut 1 is a producer/DJ from Melbourne, Australia who came to my attention a couple years back when he dropped the split EP The Icons with Neek the Exotic & 9. He eventually dropped a full-length debut of his own called Live Wires last spring & now 20 months later, we’re being treated to a sophomore effort picking up right where the last album picked up.

“Guerrilla Season” by Recognize Ali sets it off with a faint soul sample flexing his rapping prowess whereas “Get Mine Regardless” by Jamal Gasol, Rome Streetz & Saipher Söze somberly details shining through the struggle. “Minute Details” has some cool piano embellishments even Kadeem sounds like he barely has a pulse, but then “It’s a Lifestyle” by Supreme Cerebral has an icy instrumental talking about making money & drinking Rosé.

Meanwhile on “Who Do I Trust?”, we have Agallah over a much eerier beat tackling the concept of trusting nobody but yourself just before “Raised Around Wolves” by O.C. dejectedly talks about how seasons change & some things simply don’t. “Best Served Cold” by Thamson.P weaves in some synthesizers to go at the studio gangstas’ throats leading into “All Love” by Ruste Juxx heinously talking about eating his competition up. “Take a Picture” by KXNG CROOKED sumptuously speaks on being real with the shit whereas “That’s a Muthafuckin’ Fact by Flashius Clay incorporates a harp talking about being invincible on the mic.

The song “Make a Dolla” by Sadat X gets back on the boom bap tip calling out those who claim their hustle is great while the penultimate track “Sodom & Gorrah” by Sleep Sinatra brings in some nefarious horns talking about burning every joint down. “Chopping Block” by Ciecmate & Big Foot finishes the album by showing a back & forth chemistry on top of a beat that sounds like something taken out of a horror flick.

Not as great as The Icons was, but that’s not to say I didn’t enjoy this at all because Live Wires 2 is in fact a solid album from front to back. Much so like the predecessor in my opinion. Despite a small handful of guests missing the mark in terms of performances, I think he’s stepping up his production game quite a bit.

Score: 3.5/5

Big Left – “Slaughter of the Innocents” review

Big Left is a 47 year old MC from Queens, New York who broke out in 2002 off his debut EP Who’s Left?. This was followed up in 2007 with the debut mixtape World War III & then after his short tenure in La Coka Nostra, he finally unleashed his 1st full-length Walking Dead on Devil’s Night almost a decade ago at this point. But after coming out of a hiatus & signing to Force 5 Records, Left is making a comeback in the form of his sophomore album.

“The Reaper” starts it all off with some killer guitar riffs getting in his murderous bag whereas “Fuck ‘Em” with Aztek the Barfly weaves in some keyboards & dusty drums talking about not playing with the paper. “Flavor” is a violin-infused boom bap cut flexing his lyrical abilities just before the Tekk-assisted “Move Back” brings in some haunting organ harmonies talking about knocking motherfuckers out.

Meanwhile on “Pardon Me”, we have King Relik tagging along with Big Left for a thunderous party anthem just before “The Compendium” hauntingly expresses to be acknowledged as one of the greats when he’s gone. “1 Take” has a more vibrant trap sound to it rapping his ass off nonstop for 2 minutes, but then “50 Caliber Bangs” finds Napalm Drop linking up over a synth-heavy boom bap beat talking about staying underground.

The song “Force 5 Syndicate” is an anarchic Force 5 posse cut while the penultimate track “I Tried” melancholically opens up about him attempting to look inside himself. “Get It” with Masamoon then closes out the album on some beautifully ignorant, disrespectful shit.

Left’s been putting it down for the culture for a long time now & Slaughter of the Innocents really proves that he hasn’t lost a step. Hell, I think it’s the best thing he’s ever done! It’s well-produced, the guests are well-picked, he sounds completely rejuvenated & destroys mics like he never took time off.

Score: 4/5

Mr. Cliffnote – “Note to Self” review

Mr. Cliffnote is a 42 year old MC from Detroit, Michigan who came up in ‘06 off his eponymous debut mixtape. He would then form the duo Sidenotes with the homie B-Side a little bit after that & went on to drop the sophomore tape Path to Notification only a few summers back. But with his born day coming & going almost a month ago, Cliff is dropping a debut EP to warn listeners up for Path to Notification 2.

“Godspeed” is a soulful opener going at the throats of wack rappers whereas “The Dirty Bomb” goes into boom bap territory about letting you hear some crazy shit. “Hello Nurse” incorporates some vocals harmonies awkwardly trying to get sensual just before “The Melody” weaves in an organ talking about being given the strength he needs.

Meanwhile on “When We’re Together”, we have Cliff taking another jab at a love joint except this one’s much better down to the DJ Dez instrumental while the song “Visit the D” smoothly talks about a bitch coming to Detroit just to kick it with him even though I’m not too crazy about the hook. The penultimate track “Live On” goes back into boom bap territory to get optimistic & “Gunz” rounds it out with a trap banger about gun control.

Coming away from Note to Self, it’s a solid prelude to Path to Notification 2. The more romantic cuts are either hit or miss but when he’s on his battle rap shit or speaking on real life, it’s actually really compelling. I also think range of sounds throughout the production is a pretty nice touch as well.

Score: 3.5/5

Insane Clown Posse – “Yum Yum Bedlam” review

This is the highly anticipated 16th full-length album from Detroit horrorcore duo, Juggalo Championship Wrestling founders & the longest reigning JCW World Juggalo Tag Team Champions the Insane Clown Posse. Consisting of Violent J & Shaggy 2 Dope, but very few know that 3 other members came & went during the first 5 years of the group’s inception. Not only would The Duke of the Wicked & the Southside Strangla go on to create seminal wicked shit albums like The First 6, but they gained an extremely loyal fanbase in the process & their self-owned Psychopathic Records became an independent hip hop powerhouse as the label’s roster continued to grow. They dropped a prelude EP earlier this year called Yum Yum’s Lure to widespread backlash amongst the juggalos, so J & Shaggs decided to redo the whole album from scratch & drop it in time for the 28th annual Hallowicked show.

After the intro, the first song “Here Comes the Carnival” kicks off the album celebrating the titular mythology that ICP is known for over a feel good rap rock instrumental from Brian Kuma whereas “Wretched” follows it up with a morbid trap banger produced by Devereaux about Violent J being fucked up in the head. The wicked clowns later go back & forth with each other for the highlight “Clown Drippin’” basically putting their own spin on swag referencing former IWGPヘビー級チャンピオン as well as 10-time WWE world champion & former UFC Heavyweight Champion Brock Lesnar, but then “Gangsta Code” reuses the beat Mike P. made for “Movin’ On” off of Boondox’ 4th album Abaddon talking about living & dying by the streets.

Meanwhile on “Queens”, we have the clowns delivering an ode to all the juggalettes out there over a mystical trap beat from Mythic Mindz just before “Panic Attack!!!” works in a guitar for J to talk about going off the walls mentally for 7 minutes. “Fuck Regret” creepily declares remorse as the Devil’s work, but then “Insomnia” takes a more cloudier route detailing J’s struggles with such as announced at the Gathering a couple months back.

“Heart & Soul” is a wack cover of the T’Pau joint of the same name while “The Drunk & The Addict” goes back to the trap direction with the help of Shaggytheairhead telling the story of ICP themselves being dependent on booze & drugs. “Don’t Touch that Flower” sees Str8jaket bringing in an acoustic guitar advising to be cautioned by the Yum Yum Flower while “Slap Nuts” is a more heavier cut talking about cats falling for their jokes.

I love how J uses “Bitch I’m Fine” as a chilling way of responding to those worried about his heart failure diagnosis while the song “Carnival of Lights” is a warm look at the camaraderie of the juggalo family. The penultimate track “Ain’t No Time” vulnerably addresses an ex of his over a guitar while “Something to See” ends the album on a sweeter note looking back on their careers up to this point from their music to their wrestling career since they’ve previously appeared in ECW, WWE, WCW, ROH & TNA on top of their JCW accolades.

Despite all the ups & downs we’ve experienced to get here, Yum Yum Bedlam has to be my 3rd favorite Joker’s Card in the 2nd Deck right behind Bang! Pow! Boom! & The Mighty Death Pop!. Sonically, it’s really cool to hear them fuse the rock elements from The Great Milenko & mixed them together with some of the more trap-flavored cuts from Fearless Fred Fury. Conceptually, the themes of loyalty are displayed with an incredibly unique & profound perception.

Score: 3.5/5

Limp Bizkit – “Still Sucks” review

Limp Bizkit is an infamous rap metal band consisting of frontman Fred Durst, drummer John Otto, bassist Sam Rivers, guitarist Wes Borland & DJ Lethal on the turntables. $3 Bill, Y’all$ & Significant Other are both certified classics in their own rights, but Chocolate St★rfish & the Hot Dog Flavored Water kinda signaled the beginning of the end as I was 50/50 on it personally. Results May Vary would go on to rightfully become one of the worst albums ever made & even though The Undeniable Truth was a step in the right direction, Gold Cobra wasn’t it at all other than the Raekwon-featured bonus cut. But after a 10-year hiatus, Durst & the gang are returning for their 6th album.

“Out of Style” is an empowering opener produced by Purps responding to those who called the band washed up whereas “Dirty Rotten Bizkit” follows it up with an absolute headbanger about ripping shit up. “Dad Vibes” comes off a little cheesy to me even though I fucking love the hook leading into “Turn It Up, Bitch” working in a bass-line & drums to talk about how everyone needs some hardcore shit.

Meanwhile on “Don’t Change”, we have an acoustic ballad encouraging listeners to stay true to yourself just before the ghostly “You Bring Out the Worst in Me” addresses a lover of his. “Love the Hate” hilariously pokes fun at the backlash their post-Chocolate St★rfish output got, but then “Barnacle” is a bit more melodic telling the leeches to stay away from him despite being repetitively structured.

“Empty Hole” is another acoustic cut addressing an ex of his while the song “Pill Popper” serves as a badass shot at the corruption in the pharmaceutical industry. The penultimate track “Snacky Poo” almost has a boom bap quality to it spitting some battle raps & for a closer, “Goodbye” couldn’t have finished it off any better taking a poppier route talking about elevating his quality of life on down the road.

Given that I’m not too crazy about “Dad Vibes”, I didn’t really go into this album expecting very much. However, I’m surprised by how much I genuinely enjoyed it. I think the production is more refined compared to Results May Vary & Gold Cobra, but I really can’t get enough of how self-aware Fred Durst comes off through his songwriting & vocals.

Score: 3.5/5

Rev. Fang Gory & Sutter Kain – “Violence Solves Everything” review

Rev. Fang Gory is an MC from Detroit, Michigan who came up in 2007 off his full-length debut E’ville Dead. This was followed up with The Last Gryndhouse on the Left & A.A.S.K (Afro-American Serial Killer) throughout the previous decade but after a 5-year hiatus, he’s joined Sutter Kain’s independently owned Never So Deep Records & is enlisting him to fully produce a collaborative album between the 2.

After the “Violence” intro, the first song “Let That Bitch Die” is a rock/boom bap crossover to start off the album quenching for blood whereas “Black Nazi” provides some social commentary & the screams in the background of those dusty drums make it sound much more darker. Donnie Darko tags along for the confrontational “Tooth & Nail” weaving in a thrash metal sample in the background just before “Death Poll” comes in with an aggressive riot starter.

Meanwhile on “You’re My Vengence”, we have Black Sunday on top of some pianos calling out the cats biting leading into both of them sticking around for the trap banger “44” talking about being strapped at all times. The song “Death Comes in Many Forms” finds Naymez coming into the picture with Sutter for a pessimistic diss towards the bitch-made dudes out there while the penultimate track “The Killing” weaves in a chipmunk soul sample talking about a serial killer. The album ends with “Tales from the Kabbalah”, which is Fang Gory over a wailing guitar riff about being psycho.

For those who’re fans of both parties, I can argue that it’s some of their best work yet. I felt like the features were a little too much since it takes up about half the album, but the dude is on a whole ‘nother level lyrically as Sutter Kain. As for the production, he says true to his signature ghetto metal sound throughout which just absolutely stellar.

Score: 3.5/5

Megan Thee Stallion – “Something for thee Hotties: From thee Archives” review

Megan Thee Stallion is a 26 year old rapper from Houston, Texas who rose to prominence in the spring of 2019 with the release of her debut mixtape Fever. I myself was very impressed with how it displayed Megan’s knack for catchy songwriting, dirty south/Memphis inspired production & a unique personality. Her popularity began to rapidly increase last year off her 3rd EP Suga & the full-length debut Good News but in light of Megan on the verge of graduating from Texas Southern University with a bachelor’s degree in health administration, she’s compiling together a bunch of old freestyles & some unreleased joints to celebrate.

“Tuned In” sets the compilation off with a bouncy Juicy J & OG Parker instrumental clapping back at those speaking ill of her name whereas “Megan Monday” takes a more rubbery approach rightfully flexing her spot as the illest female rapper in the mainstream (not the illest overall, don’t get it twisted). After the “Trippy” skit, “Southside Forever” eerily details her famous lifestyle just before “Outta Town” works in a xylophone & some snares telling people to call her Dr. Miami the way she bodies cats.

Meanwhile on “Megan’s Piano”, we get a fitting keyboard loop throughout with a bass-line on top of it & Megan talking about making moves in silence leading into the “VickeeLo & DinoBtw Skit”. Following this is the kinky “Eat It” with a bombastic Murda Beatz/FNZ instrumental & then Buddah Bless works in a chipmunk soul sample for “All of It” talking about wanting a scammer.

“Warning” thunderously cautions all the broke dudes out there while “Kitty Kat” almost takes a funkier approach & even though I appreciate the message behind it calling her haters pussies, the hook is annoying. After the “Tina Snow” interlude, “God’s Favorite” admirably weaves in a down-tuned guitar instrumental despite sounding underwritten & the DJ scratches throughout the grimy “Lemme See It” are really cool talking about being a female pimp.

I think the vocal sample throughout “Opposite Day” really enhances the energy of it saying she likes making bitches mad & “Freakend” gets back on the raunchy shit with a bit more moodier sound. “Bae Goals” is a touching dedication to her boyfriend Pardison Fontaine, but then “Pipe Up” melodically talks about both of them making their own paper & being in love.

The track “Bless the Booth” brings in an airy backdrop & a rubbery bass-line calling out those who see her as a threat while the final song on the comp “Thot Shit” is a decent little strip club banger. But to end the entire thing, “To Thee Hotties” comes through with a spoken word outro thanking all of her fans for sticking by her throughout all these years.

I still maintain my claims that Megan is the illest female rapper in the mainstream right now but truth be told, I wasn’t really expecting much from this compilation to begin with. Lo & behold: I’m kinda on the fence with it. I think the freestyles are a reminder of how lyrically skilled she is, but the outtakes have slightly more hits than misses.

Score: 3/5