Sa-Roc – “The Sharecropper’s Daughter” review

Sa-Roc is a 38 year old MC from Washington D.C. who’s dropped a total of 6 albums a rarities compilation, 2 EPs & 2 mixtapes throughout the the first half of the previous decade before signing to Rhymesayers Entertainment in 2015. But after several years of singles, we’re finally being treated to her debut on the label & her 7th full-length album overall.

The opener “EmergencE” tells her haters to look at her now over a quasi-jazzy instrumental whereas the next track “Gold Leaf” flexes her prowess over a boom bap beat with a well-incorporated flute. The song “Rocwell America” with Styles P sees the 2 tackling the corruption in our country over a beat with a somewhat mystical vibe to it while the track “Something Real” talks about wanting to get to know her partner over a sample of Alicia Keys’ “You Don’t Know My Name”.

The song “Hand of God” talks about proving one’s authenticity over a boom bap beat with an old school video game feel to it while the song “Deliverance” talks about elevating in a stress-free zone over a nocturnal instrumental from Evidence. The song “Lay It Down” talks about counting your blessings over an operatic beat while the title track over a funky, psychedelic beat. “The Black Renaissance” with Black Thought is a phenomenal ode to the Black Lives Matter movement with a piano-inflicted beat while the song “r(E)volution” talks about nothing’s gonna change but them over some popping drums & what sounds like a bass guitar.

The track “Goddess Gang” talks about being royalty over some horns & plinky keys while the song “Forever” talks about being a star over an slow beat. The track “40 & a Mule” comes through on the battle bar tip over a beat with a nice, faint background vocalist while the song “Dark Horse” talks about how they can’t deny her strength anymore over a thumping instrumental. The album finishes with “Grounded”, where Sa-Roc talks about being right about herself over a J Dilla inspired boom bap instrumental.

To me, this is Sa-Roc’s magnum opus & I think it further solidified her as one of the illest female spitters hip hop has to offer currently. The production is a lot more refined in comparison to her previous efforts & the listener gets a great look into her upbringings.

Score: 4/5

21 Savage – “Savage Mode II” review

This is the brand new & highly anticipated album from London, England, United Kingdom born albeit Atlanta, Georgia raised rapper, songwriter & occasional producer 21 Savage. Coming on my radar by appearing on the iconic 2016 XXL Freshman Class list, he continued to make a household name for himself in the current trap landscape by dropping his 2nd EP Savage Mode with Metro Boomin’ producing it in it’s entirety shortly after. Then came his full-length debut Issa Album & an incredible collab album he did with Offset called Without Warning the following year, but it wouldn’t be until the end of 2018 where 21 dropped his most mature work to date with i am > i was. Fast forward a little over a month later, he was arrested by ICE after it was revealed that he was born in the UK & stayed in the US on an expired visa. Luckily, he was freed 10 days later & has been laying low for the most part since then. However, 21 is reuniting with Metro for a sequel to Savage Mode.

After the Morgan Freeman intro (who narrates the whole album), the first song “Runnin’” talks about buying a Hollywood bitch over a best sampling of Diana Ross’ “I Thought It Took a Little Time (But Today I Fell in Love)” while the track “Glock in My Lap” talks about being strapped everywhere saying y’all more pussy than Tesla CEO, SpaceX founder & Neuralink founder Elon Musk over a haunting instrumental from Honorable C.N.O.T.E. & the So Icey Boyz. The song “Mr. Right Now” with Drake sees the 2 getting raunchy over a wavy beat while the track “Rich Nigga Shit” with Young Thug finds both of them getting materialistic over a spacious instrumental.

The song “Slidin’” spits that gun talk over a ghostly beat while the track “Many Men” is pretty much his own version of 50 Cent’s “Many Men (Wish Death)” down to sampling the actual joint itself. After the “Snitches & Rats” interlude, the actual “Snitches & Rats” song itself Young Nudy take aim at 6ix9ine then the track “My Dawg” pays tribute to Nipsey Hu$$le over a trap beat with some melancholic keyboard passages.

The song “Steppin’ on N****s” gets bloodthirsty over a beat that kinda has a dirty south feel to it while the track “Brand New Draco” gets boastful over a vibrant beat. The song “No Opp Left Behind” talks about corrupt cops over an instrumental with an apocalyptic atmosphere to it while the penultimate track “RIP Luv” talks about giving up on romance backed by a mournful beat with some co-production from Zaytoven. The album finishes with “San N Done”, where 21 ponders if this new chick is gonna ride for him over a nightly instrumental.

We all know that many sequel projects don’t exactly live up to the hype of the predecessor, but this is definitely an exception. 21’s maturity is very much present on here as it was on his last full-length album about 2 years ago & Metro Boomin’ manages to remind listeners of his place as one of the greatest producers in the trap subgenre.

Score: 3.5/5

Lord Goat – “Final Expenses” review

Lord Goat is 46 year old MC most known for being a member of the seminal New York underground quartet Non Phixion. His 2004 solo debut The Art of Dying is a certified underground classic & it wouldn’t be until 9 years later when it was followed up with Electric Lucifer. He just dropped Coffin Syrup back in March & now 7 months later, here we are with a brand new EP produced entirely by Stu Bangas.

The opener “Red Asphalt” talks about murder over an icy instrumental whereas the next song “Infernal Majesty” with Vinnie Paz sees the 2 talking about being top notch spitters over an unsettling boom bap beat. The track “Devious” talks about how psycho he is over an ominous instrumental while the song “Mystics in Bali” with Ill Bill finds the 2 talking about Satanic antics over a grimy beat.

The track “AGC” with NEMS sees the 2 bragging & talking their shit over a demented instrumental while the song “Live from Mexico” with Blizz, Ill Bill & Spit Gemz finds the 4 talking about mobbing on dudes over an frightening beat. “The Neighborhood” with Apathy sees the 2 talking about what it was like growing up in their hometown over an hair-raising instrumental while the penultimate track “John Stamos” talks about engaging in criminal activity over a spooky beat. The EP finishes with “Glasses Onion”, where Lord Goat & Recognize Ali talk about carving up their competition over a heinous instrumental.

I think Final Expenses is the best thing that Lord Goat has put out ever since he returned to the rap game & I’ll even say it’s right behind The Art of Dying for his magnum opus. He sounds as relentless as ever on the mic & Stu Bangas does a great job at providing a great musical backdrop for him as well.

Score: 4/5

TR Dee – “Trapped in My Bag” review

TR Dee is a rapper from Ypsilanti, Michigan notable for being 1/3 of the ShittyBoyz alongside Babytron & Stanwill. Signing to Detroit music executive Lando Bando’s own The Hip Hop Lab Records as a group & as solo artists, the time for him to become the 3rd & final member of the trio that co-founded the Dog $hit Militia to branch out on his own has arrived with him releasing a debut mixtape a little over a couple months since Stanwill became 2nd at bat with his highly acclaimed debut EP $camwill.

The title track starts with some 808s & bells talking about nobody else from the city being able to fuck with him whereas “On a Boat” hooks up a more uptempo Detroit trap instrumental to admit he hasn’t been the same since Kobe Bryant’s death. “Wakanda” featuring Kasher Quon talks about their only fear being going broke while “Groove” suggests glasses for those who ain’t seeing the Ws they’re catching.

“Me vs. Me” goes for a cavernous Detroit sound talking about himself being the only competition while my 2nd favorite song “Big Show” by the ShittyBoyz produced by Danny G references current AEW performer & commentator as well as former 7-time WWE world champion, 11-time WWE Tag Team Champion, WWE Intercontinental Champion, WWE United States Champion & 3-time WWE Hardcore Champion Paul Wight.

Danny G sticks around for another standout track “Run To” promising that he’ll ball until he can’t anymore while the funereal “It’s Not Easy” talks about living today up because he might not see tomorrow over more 808s & bells. “Malice at the Palice” refers to the most infamous NBA brawl of all-time but once the 2 & a half minute “Party Pooper” bodies a Stanwill instrumental pulling from electro, “Billie Jean” ends by sampling the hit Michael Jackson single of the same name.

Similarly to Bin Reaper last Halloween season & $camwill a few months earlier, Trapped in My Bag counts down the 4th quarter of what’s been an unbearable year for many others by proving that TR Dee has as much of a promising solo career as Stanwill despite Babytron becoming the most popular ShittyBoy of the 3. In terms of the production, we’re still getting some creatively used samples brought into the fold & the Ypsilanti native holds his own weight to warm up for Sleeve Nash this Halloween.

Score: 4/5

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

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

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

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

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

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

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

Score: 4/5

Tory Lanez – “Daystar” review

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

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

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

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

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

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

Score: 1/5

eLZhi – “7 Times Down, 8 Times Up”

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

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

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

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

Score: 4.5/5

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

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

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

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

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

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

Score: 3.5/5

Ouija Macc – “Zodiac” review

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

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

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

Score: 3.5/5

Armani Caesar – “The Liz” review

Armani Caesar is a 31 year old rapper from Buffalo, New York with a couple of mixtapes under her belt already. She just signed with Griselda Records at the beginning of 2020 after being featured on Westside Gunn’s FLYGOD is an Awesome God II, Armani is now making her debut on the label with a brand new EP.

After the “Sissy Intro”, the first song “Countdown” takes aim at those who think they can double-cross her over a boom bap beat from JR Swiftz with an old timey piano sample whereas the track right after “Macs 10s for Everybody” looks back on when she used to struggle over a sumptuous instrumental. The titular song shows off some clever wordplay over a lush beat while the track “Gucci Casket” with Conway the Machine sees the 2 rightfully proclaiming themselves as bosses referencing WWE Hall of Famer, former 6-time WWE world champion & WWE Intercontinental Champion Randy Savage over a boom bap beat with some twinkling keyboard arpeggios.

The song “Drillarama” with Benny the Butcher finds them flexing over a vibrant trap beat from the 808 Mafia, but then they hook back up on the track right after “Simply Done” to give the listener some facts over some nostalgic DJ Premier production. The song “Yum Yum” gets raunchy over a rubbery beat while the track “Palm Angels” talks about how her new man makes her ex look like shit over a sensual instrumental from Animoss. The song “Ginger Rothstein” charmingly brags over a glamorous instrumental & then the EP finishes off with a short freestyle on top of the instrumental to one of my personal favorite songs of all-time: “Searching” by Roy Ayers.

I was curious to hear what Griselda would do bringing a female spitter on the roster & Armani manages to hold it on her own pretty well. In contrast to her previous efforts, the sound on here is a lot more boom bappy as to be expected from the camp & her lyricism has improved as well. She can only go up from here if you ask me.

Score: 3.5/5