Cactus Jack Records – “JACKBOYS” review

Houston, Texas record label Cactus Jack Records dropping off a brand new showcase EP. Founded in 2017 by trap music’s current mastermind Travis Scott, they’ve been steadily building itself up since its foundation by signing those from Sheck Wes to Don Toliver & Luxury Tax. However when it seemed like Travis was gonna take 2019 off due to the massive success of ASTROWORLD last summer, he’s finally showcasing his camp as a whole with JACKBOYS as a late Christmas gift ahead of UTOPIA.

The EP starts off with a remix to “HIGHEST IN THE ROOM”, which was an obvious leftover from ASTROWORLD. However in this case, Rosalía & Lil Baby both add redundant verses. Then after a 47 second “intro”, we get into the first actual song “GANG GANG”. Where Travis, Sheck & Don get with Luxury Tax to talk about their brotherhood over a woozy trap beat from WondaGurl. The track “HAD ENOUGH” by Don, Offset & Quavo sees the 3 talking about being fed up with this promiscuous woman over a spacey beat while the song “OUT WEST” sees Travis & Young Thug getting sexual over an abrasive Buddah Bless beat. The penultimate track “WHAT TO DO?” by Trav & Don is them describing how they would treat their significant others over a trap beat with a plucky acoustic lead then there’s the closer “GATTI”, where Travis gets with Pop Smoke to talk about people cappin’ over a dark yet bouncy instrumental.

These record label showcase projects are never really all that great to begin with, so it shouldn’t come as a surprise that this is a mediocre EP. Travis himself sounds lively as always, but almost everyone else involved seems to be playing it safe both instrumentally & performance-wise. That being said, I’m still really looking forward to what LaFlame is gonna do next year.

Score: 2.5/5

Sunday Service – “Jesus is Born” review

Sunday Service is a gospel outfit lead by Chicago, Illinois’ very own Kanye West. The group was put together earlier this year when the latter became a born-again Christian & he has been going all around the world with them for his weekend live performances of the same name. Kanye just released his gospel debut Jesus is King exactly 2 months ago to polarizing reception & even I myself felt like it was his 2nd weakest album thus far, right behind Yeezus. Reason being because the music on that album was fine, but the mixing was just so horrendous. And just when we thought he wouldn’t drop Jesus is Born over here when it was announced the day before Jesus is King came out, Ye actually stood by his word this time around.

The album starts off with “Count Your Blessings”, where a choir sings about being more positive in your life. The song right after “Excellent” is about how great God is over an organ while the track “Revelations 19:1” is a musical version of the titular Bible passage over some settle piano passages. The song “Rain” completely ruins the SWV joint of the same name & while the track “Balm in Gilead” has a calming instrumental, it sounds like Kanye & company wrote it in less than a minute.

The next 3 songs are all redundant Christianized versions of “Father Stretch My Hands”, “Fade” & “Ultralight Beam” off of Kanye’s 2016 album The Life of Pablo whereas the track “Lift Up Your Voices” talks about giving praises over some low-pitched keyboards as well as handclaps. The song “More Than Anything” speaks on how the only person they love most in life is God & I actually love how the instrumental gets more layered as it progresses.

The track “Weak” talks about how strong their love for God is over some horns later transitioning into an smooth instrumental while the song “That’s How the Good Lord Works” touches down on not questioning God over a beautiful piano instrumental. The track “Sunshine” is all about how Jesus makes their day over some plinky piano chords & intense live drumming & despite the song “Back to Life” having an upbeat instrumental & that I actually like, there’s not much for me to write home about lyrically.

The track “Souls Anchored” talks about being set free over a skeletal instrumental while the song “Sweet Grace” talks about how great His glory is over a more lush instrumental. The track “Paradise” is a ballad about how accepting God will make you at peace while the song “Satan, We’re Gonna Tear Your Kingdom Down” is a decent anti-Hell anthem. The album finally ends with “Total Praise”, where the choir predominantly sings the word “Amen” for 3 & a half minutes.

I was really hoping that Kanye would refine what he did on Jesus is King for this new album, but boy I was wrong. In fact, I’d argue that this actually worse than his last album was. I have nothing against gospel music whatsoever & I’m happy that Ye is at peace with himself, but it just seems rushed & that everyone involved threw in as many tracks as they could.

Score: 2/5

Boldy James – “Boldface” review

Boldy James is a 36 year old MC from Detroit, Michigan who blew up on the scene with his Alchemist produced 2013 debut M.1.C.S. (My 1st Chemistry Set). He then landed a contract with Nas’ independent label Mass Appeal Records, but sadly went to prison for a while. Boldy eventually made his comeback a couple years ago with his House of Blues mixtape & now it seems like he’s trying to rekindle the flame with Uncle Al on his 3rd EP.

It all starts off with “Ill Advised”, where Boldy gets mafioso over a symphonic instrumental. The next song “Method of Madness” continues the lyrical themes of the previous cut over a grimy trap beat while the track “Summer Nights” gets reflective over an instrumental with a harmonious sample. The song “Dinavolino” with The Cool Kids gets homicidal over an intimidating instrumental & even though the closer “My 1st Offense” recalls the first time he got popped over a funky beat, it’s way too short.

If this is just an appetizer for a main course, then I’m all for it. Boldy sounds like he never even left really whereas The Alchemist’s production still fits his gritty pen-game like a glove. Would love to see them make another album together because even though this only runs it 15 minutes, they still recapture what made M.1.C.S. (My 1st Chemistry Set) so great in that short amount of time.

Score: 4/5

Price of Fame – Self-Titled review

Price of Fame is a hardcore hip hop duo from New York consisting of Lil’ Fame on production & the late Sean Price on the mic. Both of whom have solidified themselves as icons in the underground for their output as members of M.O.P. & the Boot Camp Clik respectively. But with Christmas coming next week, Fame has put together an album for the fans of unreleased Price songs that he produced.

After the intro “A Few Words from Sean Price & Mrs. Price”, the first song “Big Gun vs. Lil Gun” finds Sean getting with M.O.P. to of course talk about weapons over some funky guitar licking backed with drums. The track “Center Stage” is an energetic crowd mover while the song “Boston George” with Tek sees the 2 talking about how hard they are over an organ-inflicted beat. After the “Sit Yo Ass Down” skit, the song “Pigs” with Steele touches down on corrupt cops over a boom bap beat with some horns.

The track “They Ain’t Fucking with Us” is a gruesome Heltah Skeltah reunion while the song “Remember the Time” sounds like it could’ve been on that Metal Detectors EP that Illa Ghee dropped with Sean last year. The track “Wait for It” with Fame sees the 2 getting bloodthirsty over some drums & horns while the song “Peter Pop Off” with Rim, Teflon & I-Fresh sees the 3 talking about how they don’t play games is over a chilled out instrumental. Then the closer “Enemy of the State” with Fame as well as Conway the Machine & Guilty Simpson sees the 4 spitting battle bars over a Godly instrumental.

For as long as it took, this was well worth it. Not only are Sean Price’s bars cutthroat as always, but Lil’ Fame reminds us about his skills behind the boards are just as great as he is on the mic. If you’re a hardcore fan of BCC & M.O.P, then you won’t be disappointed.

Score: 4/5

Cam’ron – “Purple Haze 2” review

This is the 7th & allegedly final album from Harlem veteran Cam’ron. Coming up as a member of the Children of the Corn, he eventually signed to Epic Records for a solo career in the late 90’s/early 2000s with his first 2 albums Confessions of Fire & S.D.E. (Sports, Drugs & Entertainment). Once the contract expired, then came Cam’s biggest exposure: forming his own group The Diplomats as a well as signing to Roc-A-Fella Records & Def Jam Recordings in 2001. His next 2 albums Come Home with Me & Purple Haze would become his most sought out bodies of work, but Cam would leave The Roc & sign to Asylum Records in ‘05 due to the poor promotion of Purple Haze. Cam would yet again release 2 albums with Asylum before parting ways, Killa Season & Crime Pays. Since then he’s only put 2 mixtapes but to end the 2010s, he’s delivering the long-awaited sequel to what I believe to be his magnum opus.

The opener “Toast to Me” gets celebratory over a Heatmakerz instrumental filled with high-pitched vocal samples whereas the next song “Medellin” talks about still being the man over a spacious trap beat. The track “Losin’ Weight 3” is a touching conclusion to the titular trilogy of the same name & even though the song “K.O.P.” has a cool synth-heavy boom bap instrumental, Cam’s melodic delivery is horrendous. The track “I Don’t Know” with Wale sees the 2 getting playfully flirtatious over a sensual beat while the song “Big Deal” pays tribute to Hud 6 & Bloodshed over a grand instrumental.

The track “Fast Lane” is Cam victoriously flexing over a celebratory instrumental while the song “The Right One” reflects on where he came from over a luxurious instrumental. The track “This is My City” with Max B sees the 2 paying tribute to NYC over blissful piano instrumental while the song “Keep Rising” talks about sex over a funky instrumental. “The Get Back” not only has a cheery instrumental, but Cam’s bars on here are really charming as well. Especially the one at the start of the song about this girl he slept with telling him that she has a yeast infection & he responds by saying he “doesn’t bake bread”.

The track “Just Be Honest” talks about keeping it real over an instrumental with an old school groove to it referencing the WWE while the song “Ride the Wave” gets raunchy over a slow instrumental that suits the mood. The track “Killa Bounce” talks about how he can’t keep the ladies off him over an hip house beat. The penultimate track “Believe in Flee” talks about being hopeful over a beat with a grim key-board lead & then there’s the closer “Straight Harlem”, where Cam gets with Jim Jones & Shooter to talk about how they’re the realest in their hometown over an instrumental with some ominous strings & horns.

If this truly is the last time we’ll ever hear the man, then I can’t be mad at it. Cam sounds focused, the features mostly compliment him & the production’s a lot harder than it was on Crime Pays. A lot of sequel albums fail to live up to the hype of the original, but this is definitely one of the more solid ones out there.

Score: 3.5/5

Bub Styles – “Smoke Crudo” review

Bub Styles is a veteran MC from Brooklyn, New York that first came on my radar in 2017 with his debut EP Long Nights, Cold Winters in 2017. This was followed up with his sophomore EP Boar’s Head Bubs, Cold Cut King that came out earlier this year & if that wasn’t enough, Bub is teaming up with Philly producer Level 13 for his 3rd EP over here.

The EP starts off with “Lamb & Onion”, where Bub gets mafioso over a luxurious sample. The next song “Loose Blunts” continues the lyrical themes of the previous joint over a woozy beat while the song “By the Way” with ARXV sees the 2 telling their competition to get with the times over a soulful boom bap beat. The penultimate track “Bubble Goose” with Fastlife, Ren Thomas, Effyoo & Madhattan Mayor is a decent East Coast posse cut & then the closer “Hold Up” gets sexual over a smooth sample.

Personally, this is Bub’s best work to date. The features could’ve been better, but Bub’s gritty lyricism & husky voice fits with Level 13’s classy production pretty well for the most part. If they plan on collaborating more in the future, than I’m all for it.

Score: 3.5/5

KXNG CROOKED – “Gravitas” review

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KXNG CROOKED is a West Coast veteran from Long Beach, California that got his start signing to the infamous Death Row Records in the early 2000’s. Eventually, he left the label in 2004 after they shelved his debut & released a handful of mixtapes that helped grow his profile. This was enhanced by his membership in the now defunct supergroup Slaughterhouse, who would go onto release their 2009 self-titled debut with E1 Music as well as their 2012 sophomore album welcome to: OUR HOUSE with Shady Records before imploding on themselves in 2015. He has gone on to release 4 studio albums since then & for this new one, Bronze Nazareth has been enlisted to produce it in it’s entirety.

The “Emperor’s Arrival” intro finds Crook comparing himself to royalty over some triumphant horns while the next song “Outer Limits” with Hus Kingpin & Killah Priest sees 3 flexing their pen-game over a grimy boom bap beat. The track “From Slavechains to Handcuffs” with Bishop Lamont, Compton Menance & Ras Kass sees the 4 getting conscious over a boom bap over an alluring sample & after the “Still” interlude, the song “I Can Still Remember…” talks about the struggles of the hood over an orchestral instrumental with an intense drum loop. The track “Westside Willie” with P.U.R.E. & Planet Asia sees the 3 interpolating the 1999 Nas joint “Hate Me Now” over an instrumental that enhances the overall charisma while the song ” Change Ur Beliefs” with Bronze & the late Kevlaar 7 sees the 3 getting triumphant over a blissful beat.

After the “Precious Moments” interlude with WWE Hall of Famer Snoop Dogg, the song “French Connection” with Bronze, La the Darkman & TriState sees the 4 getting mafioso over a vintage soul sample. The track “Soul Drenched” talks about having his 3rd eye open over a soulful beat & then after the “Get Me Rich” outro, we are treated to 3 decent remixes to 3 different songs that’ve been previously released. First one being Ghostface Killah’s “Buckingham Palace” off that Lost Tapes album he did with Big Ghost Ltd. that came out last October, second one being “King Kong” off of Forever MC’s self-titled compilation with It’s Different from last March & then “Fresh from the Morgue” off of Bronze’s 2011 sophomore album School for the Blindman.

This is a solid effort from Crook overall. There’s way too many features & I can do without the remixes, but Crook reaffirms his status as of the illest MCs to come out of the LBC whereas Bronze Nazareth accompanies him with rich & colorful production.

Score: 3.5/5

Atmosphere – “Whenever” review

This is the surprise 10th full-length album from revered Minneapolis, Minnesota emcee/producer tag team Atmosphere. Who’ve released a handful of classics through their label Rhymesayers Entertainment including Lucy Ford, You Can’t Imagine How Much Fun We’re Having, Sad Clown Bad Dub 9 & then of course God Loves Ugly. Last time we heard from them was with Mi Vida Local last October, but they’re finishing off the decade with Whenever.

The opener “Bde Maka Ska” finds Slug talking about serenity over a boom bap beat with a killer guitar lead whereas the next song “Push Play” tells the story of him meeting this chick over a tense instrumental. The track “Postal Lady” talks about a day in the life of Slug over a sensual funky beat while the song “Love Each Other” talks about if he was woman’s lover over a buttery instrumental. The track “Romance” talks about just that over a spacious instrumental while the song “Dearly Beloved” with Mujah Messiah as well as Rhymesayers co-founder Musab continues the themes of love over a smooth instrumental.

“The Hands of Time” vents about heartache over what I believe is a sitar sample while the titular song with Gifted Gab, Haphduzn & MURS is a decent 4 minute cypher with a warping instrumental. The track “Lovely” is another funky romance anthem while the song “Son of Abyss” talks about how he can’t believe he used to love this chick over a gloomy beat. The penultimate track “You’re Gonna Go” talks about this chick who he’s not afraid to admit he loved over a piano instrumental & then there’s the closer “The Ceiling”, where Slug talks about working his whole life over a ghostly instrumental.

This was a pretty solid effort from the duo. Ant’s production is really mellow & the album’s theme of reclamation is invigorating. Really looking forward to see what the 2 are gonna be doing going into the new decade.

Score: 3.5/5

City Morgue – “As Good as Dead” review

City Morgue is a trio from New York City consisting of ZillaKami & SosMula on the mic as well as Thraxx on production. I first caught wind of them last summer due to ZillaKami’s verse on Denzel Curry’s TA13OO, but the group’s full-length debut that followed shortly after Hell or High Water completely stopped me in my tracks. Mostly because prior to that album, I never heard anyone fuse trap with metal music in the way that they did. They’ve gone rogue since then, but they’re finally re-emerging with their sophomore effort over here.

It all starts with “Neck Brace”, where Zilla & Sos interpolate the classic Death Grips track “Guillotine” over an abrasive trap beat instrumental from Thraxx. The next song “Inferior” talks about how they’re better than their competition over an trap metal beat from Mike Dean while the song “DRAINO” with Denzel Curry sees the 3 talking about self-medication over a slower instrumental. “The Give Up” talks about suicide over a somber acoustic instrumental while the song “Thresh” goes out to everyone who be stuntin’ & the beat on this one sounds like something out of a horror flick

The track “Splinter” talks about killing snitches over an frightening instrumental while the song “Minimiyza” finds ZillaKami & IDK talking about their enemies over a slow guitar riff & some snares. “The Balloons” sees the duo reuniting to vent about their personal struggles over a druggy beat while the song “Soul Burn” is a SosMula solo cut about always being strapped over a distorted instrumental.

The track “16 Toes” is a ZillaKami solo cut about standing strong over a legitimate hard rock instrumental while the song “WOAH” finds Sos talking about his criminal past over a trap beat with some plinky keyboards. The track “DIRTNAP” of course talks about murdering people over another killer trap metal fusion while the song “C4” talks about rioting of the precious cut over a chaotic instrumental.

The track “Babywipes” touches down on violence over a dark, cavernous beat while the song “Mouthgard” talks about build & destroy over an eerie trap instrumental. The penultimate track “Screaming at the Rain” talks about depression over another trap beat with some downtuned guitars & then the album ends with “Peeling Scabs”, where ZillaKami talks about his family as SosMula talks about the system over a gloomy acoustic guitar lead.

To me, this is just as dope as the trio’s debut. It’s like 8 minutes longer & a lot of the beats are ok, but I like how they brought in a couple outside features to break up the monotony & Mike Dean’s mixing is absolutely phenomenal.

Score: 3.5/5

Mooch & Rigz – “The Only Way Out” review

This is the brand new collaborative album between New York emcees Mooch & Rigz. Who’ve been doing songs together on various projects for a few years now, but are now teaming with Big Ghost Ltd. to take it to the next level.

After the “Stuck” intro, we get into the first song “77B Savage”. Where Mooch & Rigz vividly detail life in the hood over an eerie boom bap beat. The track “3am” with M.A.V. sees the 3 describing what goes on in the late night hours over a spine-chilling instrumental while the song “Re-Up” talks about selling drugs over a boom bap beat with some twinkling keys & an orchestral sample to add the grittiness. The track “Custom Shit” lyrically speaks for itself over a psychedelic guitar lead while the song “We Took Ya Licks” gets violent over a funky bass-line & the drum playing on here is epic.

The track “Summer School” reflects on everyone who doubted them as kids over a jazzy instrumental while the song “Another Day” is somewhat reminiscent of the classic Biggie joint “Everyday Struggle”. The track “Deadbents” talks about how the duo met over some a boom bap beat with some icy keyboards while the song “Sleep wit It” gets mafioso over a grim instrumental. The track “Fall Outs” talks about learning from your mistakes over a gloomy instrumental while the song “Tit for Tat” with Tekk9 sees the 3 talking about trouble with the law from their own perspectives over a cold-blooded beat. The album then ends with “Flag Day”, which is a decent posse cut backed with a triumphant-sounding instrumental.

Personally, this is Mooch & Rigz’ best work to date. The natural chemistry between the 2 is showcased fantastically & the production that Big Ghost Ltd. brings to the table enhances their lyricism to the point where the album plays out like a movie. Really looking forward to where they’re gonna take things in 2020.

Score: 4/5