Bernadette Price – “A Widow’s Cry” review

This is the official full-length studio debut album from Brooklyn, New York emcee & the current Ruck Down Records CEO Bernadette Price. The widow of the late Sean Price of the Boot Camp Clik & Heltah Skeltah, she’s made a few appearances on songs in the past whether it be her late husband’s posthumous offering Imperius Rex or even with the likes of RJ PayneRim, the Snowgoons, Ruste Juxx & Vic Spencer. With the 10-year anniversary of Sean’s passing approaching this summer, Duck Down Music Inc. has finally decided to allow the world to hear A Widow’s Cry.

After the Keisha Plum intro, the first song “Drama Time” featuring Ruste Juxx produced by Stu Bangas is this horn-inflicted boom bap cut warning that people ain’t slick as they think they are whereas “Real Life” featuring Smif-n-Wessun & Terror Van Poo ominously finds everyone getting serious topically. “Flatlined” featuring Terror Van Poo links up with Vinny Idol behind the boards to continue kicking it hardcore & after an interlude, “Bars” featuring Ruste Juxx & Terror Van Poo shows off their lyricism over a Khrysis instrumental.

The title track ominously warns that she’s gonna make everyone remember her for good leading into “Gloomy” featuring Terror Van Poo grimly talks about them moving like they gonna stick ya ass up for the loot instead of doing so sensitively as if it’s a love movie. After another interlude, “Sean’s Gone” soulfully remembers her late husband that tragically left us almost 10 years ago already & “Shut da Fuck Up” featuring Sean Price himself silences everyone over a boom bap beat from Da Beatminerz.

Santana Fox keeps it in the basement sonically during “Skully” assuring that everyone still out here delivering while “No Love” featuring Terror Van Poo reunites the pair so they can make it clear that they ain’t your muhfuckin’ friend. “Now Ain’t the Time” featuring Terror Van Poo soulfully declines any thoughts coming their way that isn’t theirs whatsoever & ahead of the outro, the final song “Do About It” featuring Rock & Terror Van Poo ends by suggesting y’all should’ve been believing in Bernadette.

Being able to hear her working with all those artists that I mentioned at the very beginning has really come full circle on A Widow’s Cry since her official debut LP establishes herself as an artist along with honoring the memory of her husband that left us way too soon. The production is primarily grounded in the traditional boom bap sound, recruiting the right beatsmiths & guests to join her in transforming her vision into a work of art.

Score: 4/5

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Keri Hilson – “We Need to Talk” review

Keri Hilson is a 42 year old singer/songwriter, producer & actress from Decatur, Georgia breaking out in the contemporary R&B world when Timbaland signed her to Mosley Music Group & Interscope Records in the late 2000s for her full-length studio debut In a Perfect World… & the sophomore effort No Boys Allowed. Making her comeback after 15 years, her 3rd LP right in front of us marks the beginning of a new trilogy & her independent debut since she’s not on a major label anymore.

After the “Grateful” intro, the first song “Naked (Love)” passionately starts with a spacious R&B singing about having to find herself since 2010 whereas “Searchin’” featuring Method Man mixes hip hop & R&B from the boom bap instrumental to the romantic lyrics. “Somethin (‘Bout U)” continues with this 6-minute R&B ballad about finding something fascinating regarding the person she’s seeing currently & the lead single “Bae” gives off a trap soul vibe singing about what she loves her partner to call her.

“Scream” blends together trap soul & pop music for a single revolving around intercourse leading into “Whatever” promising to show her lover exactly what she’s made of & all she can do. “Weigh Me Down” has somewhat of a dancehall flare to the beat keeping her head in the clouds & her feet on the ground, but then “Say That” finishes We Need to Talk by making it clear that you have to tell her if you want her heart.

Being somebody who highly enjoyed Keri’s first 2 albums more than others did, We Need to Talk marks her highly-anticipated return with the 1st entry of a brand new trilogy that has me eager regarding the next 2 installments. The production pulling from trap soul, contemporary R&B, pop music & a hint of hip hop music well enough proving that she doesn’t need Timbo exploring themes of love, drama & redemption.

Score: 3.5/5

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Mozzy – “Intrusive Thoughts” review

In front of us is the 10th studio LP from Sacramento, California emcee Mozzy. Becoming a fan of in the summer of 2017 off his debut 1 Up Top Akh & he went on to be featured on the soundtrack for Black Panther only 6 months later & drop 6 more full-lengths through his EMPIRE-backed Mozzy Records prior to Memphis veteran Yo Gotti landing him a contract with Collective Music Group/Interscope Records. His major label debut Survivor’s Guilt was more poignant than what Mozzy had done previously & Children of the Slums last spring exemplified growth in his rap career & personal life, although Brash Dummies became a letdown. 8 months later, some Intrusive Thoughts of his are becoming let out in the open.

After the “$FlyMoney2X” intro, the first song “Press Play” is this nervous opener talking about never taking a weekend off & never leaving his dogs despite what people say online whereas “Death Before Dishonor” featuring EST G finds the 2 hoping a gangsta shot them if they happen to die in their sleep. “Under Oath” works in more traffic music influences talking about the slums having a hold of him while “Katta Clips” dabbles with Detroit trap throwing it back to a deep cut in his catalog “Dear XXL”.

Lil Poppa joins Mozzy on the sample-driven “Nightmares” talking about it being hard to sleep at night trying to be doing alright leading into the solemn although much necessary “Keep Callin’ My Name” getting some pain off his chest lyrically. “7 2’s” continues the introspection feeling fed up with seeing graduation pictures whenever he checks the news, but then “Role Model” talks about him not trying to become someone others should take examples from.

“Pac Proud” hooks up these prominent piano chords gives his flowers to the late west coast icon 2Pac & speaks on being unable to forget the trenches since he’s a child of it throughout while “Hella Hyphy” taps in with his Northern California roots embracing the hyphy subgenre Keak da Sneak pioneered. “Who Want War?” featuring Polo G gives off a bloodthirsty trap vibe asking if anyone wants beef with them while “10%” advises to ask him why he signed to CMG.

E Mozzy & Maine Musik appear for “Modify It” catchin’ somebody lying about catching a body while “Reputation Everything” featuring Celly Ru breaks down their name around the street being everything to them. “Blood Diamonds” featuring Peysoh blends nervous music & gangsta rap themes together for a collab that makes up for the latter 2 while Tsu Surf gets his own solo cut with “Free Surf” calling for his freedom. “No Fabrication” finally ends the album brushing off any notion that his life is all cap.

Similarly to his CMG debut, Intrusive Thoughts doesn’t shy away from the trials & tribulations that drive some of Mozzy’s most memorable recordings bouncing back from the mediocre reception of Brash Dummies with his best since Children of the Slums. He continues his journey towards inner peace attempting to silence his unquiet mind & move forward from his traumatic youth in Oak Park in addition to imparting some knowledge on how to keep your mind strong enough to navigate street life & emerge with your soul intact.

Score: 3.5/5

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G Perico – “L.A. Gangster” review

Los Angeles, California gangsta rapper G Perico enlisting Larrance Dopson of 1500 or Nothin’ to produce his 5th mixtape & having DJ Drama hosting it. In the past 13 years, his last 4 tapes along with over a dozen EPs & 5 studio LPs. The last time Drama hosted a project was Hot Shot celebrating it’s 2-year anniversary last month & I found that to be pretty decent like a good portion of Perico’s output in recent memory, except L.A. Gangster could surpass the predecessor & maybe become an important entry in the dude’s whole entire discography.

After the “Go Shop” intro, the first song “Street Lights” is this west coast trap opener with lyrics painting images of the gangsta lifestyle whereas “Gangsta” featuring E-40 finds the 2 coming together to discuss being a whole different pedigree. “Commas” brings a jazzier vibe to the table assuring it’s all about the checks just before “Resume” featuring Kamaiyah basically gives middle fingers to anyone no good tryna hang with them.

“L.A. Real Estate” gets back on the trap tip instrumentally explaining what people out in the west be gangbangin’ for leading into “Lil Homies” featuring Dody6 giving their kudos to all their friends on the come-up at this moment. “L.A. Takeover” conceptually needs no further explanation since the Innerprize’s statement is being made loud & clear while “Hey” talks about people living their lives & ain’t ever getting it.

The song “Sold Out” kicks off the final leg of L.A. Gangster with a nervous flare buying out everything in his path while “No Interruptions” talks about people giving him fake love only because of his wealth. “Lost Time” works in some fingersnaps & a guitar refusing to lose any more valuable time in his hands, but then “Thankful” featuring Keith Rice ends the tape with both of them expressing their gratitude for a myriad of things.

Building on both artists’ previous individual successes, L.A. Gangster surpasses Hot Shot as a sequel & I could even make the case of it being the best thing I’ve heard from G Perico in recent memory. Larrance Dopson’s production throughout is the most consistently well-crafted batch of beats that he’s rapped on in a while delving into themes of persistence on L.A.’s streets, personal victories & hurdles.

Score: 4/5

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RMC Mike – “The 6” review

Flint, Michigan recording artist RMC Mike enlisting The World Famous D-Boy to fully produce his 4th EP. Signing a joint deal with Rio da Yung O.G. & Peezy’s own labels M.I.N.E. Entertainment & #Boyz Entertainment alongside EMPIRE Distribution, his first couple EPs Rookie Season & Sophomore Season established himself as in the Detroit trap scene until his full-length studio debut Junior Season elevated it further. His last EP Ghetto Season was good & his 2nd album it preluded Senior Season was ok, returning to embark on a trip to The 6.

After the “Walk a Mile” intro, the first song “I Remember” is this trippy Detroit trap intro shrugging off those calling him a rapper insisting he’s an artist whereas “Venting” talks about selling out every show because he’s a main attraction. “5am on Fenton Road” featuring Louie Ray vividly takes us to the Flint streets in the early hours of the morning while “U Never” cloudily shouts out his late grandfather who recently passed.

“Radric Davis (Get It)” featuring Bossileni Jagg goes for a darker Detroit trap vibe instrumentally paying homage to one of the big 3 trap pioneers Gucci Mane & prior to the “Walk a Mile” outro, the final song “Get Yo Roll On” featuring Iced Up Records signee Krispylife Kidd officially closes out the EP with them fucking up the whole zone.

Can’t necessarily blame RMC Mike for taking 2 years off because having Sophomore Season & Ghetto Season as my favorite EPs of his respectively, The 6 will most certainly accommodate for the primarily moderate reception Senior Season got. I found myself enjoying The World Famous D-Boy’s production for giving the Detroit trap style that can feel repetitive to some a refreshing take & of course Mike maintaining his signature mix of savagery, humor & rampant trash talk.

Score: 3.5/5

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The Underachievers – “Homecoming” review

The Underachievers are a duo from Flatbush, New York consisting of AKTHESAVIOR & Issa Gold of the Beast Coast collective & the Clockwork Indigo sub-unit. They’ve put together a total of 4 mixtapes & 4 albums in the past 15 years, with my personal favorites being the Brainfeeder Records-backed Indigoism & the full-length debut Cellar Door: Terminus ut Exordium. Taking 6 years off to pursue their solo careers, The Underachievers are reuniting for a brand new EP of material clocking in at not even 24 minutes.

After the intro, the prominent organ all over the first song “Losing Feathers” produced by Issa Gold is a great way to set off their comeback effort touching the sky for the sole purpose of making themselves feel alive whereas the acoustic-boom bap crossover “Vices” talks about feeling like the world against us sometimes. “Brand New” shifts into trap turf a bit speaking the way they feel giving a fuck less who gets offended while the grisly “Wisher” expresses anger towards someone who thought he was slick.

“Megatron” works in this crooning instrumental explaining that you have to find your own way this day in age while “Sweepers” dabbles with trap again talking about cleaning shit up very well with the heaters they’re carrying on them. “Have Nots” returns to the boom bap keeping their ears to the block & having to switch up the load prior to “What is This Place?” rounding everything out realizing the enemy inside is the demons we try to hide.

Focusing on establishing themselves individually, The Underachievers have finally come back to where it all started & one that many longtime fans of the Beast Coast members will find themselves enjoying. The reflective themes & complex lyricism these guys became known for are in full effect, the production is stronger then Lords of Flatbush 3 was when they were last together & they ultimately sound happy to be returning to form.

Score: 3.5/5

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Lik – “Necro” review

Lik is a death metal band from Stockholm, Stockholms län, Sweden consisting of guitarist/bassist Niklas Sandin, guitarist/vocalist Tomas Åkvik, drummer/vocalist Christofer Barkensjö & bassist Joakim Antman. Following their full-length debut Mass Funeral Evocation, they would sign with Metal Blade Records furthering the acclaim in the form of both Carnage & Misanthropic Breed respectively. 5 years later, the band’s getting back together to put out their 4th full-length studio LP.

“Deceased” is this death metal intro feeling like the living dead waking up whereas “War Praise”homages the style of bands like Dismember taking us through the horrors of conflict. “They” paints the image of demon’s spawn who wait, watch, hunt & kill addicted to the taste or flesh prior to “Worms Inside” turning up the tempo a bit assuring the torturing nightmare is real & slowly becoming numb.

The 2nd single “Morgue Rat” crosses over standard death metal with elements of melodic death metal singing about their funeral obsession forever feed the band’s carnal lust just before “Shred into Pieces” kinda goes for a grindcore vibe abiding by the sickness. “In Ruins” easily sticks out the slowest track here talking about now being the time to die while “The Stockholm Massacre” takes inspiration from the Stockholm Bloodbath that occurred centuries ago.

“Fields of Death” pushes further towards the final moments of Necro throwing it back to the days of Mass Funeral Evocation explaining that the meadows of demise are eternally endless reigning chaos & awaiting their turn to perish, but then “Rotten Inferno” closes the LP showing Lik’s appreciation for Autopsy’s groundbreaking sophomore effort Mental Funeral talking about living solely to feel the pain of others suffering.

Gloriously returning to action standing loud & proud over so many imitators, Necro is the musical equivalent of a classic shock-horror movie that’s drenched in blood & gore packed with over-the-top extremities. On the other hand: It could most likely be the weakest of the 4 albums Lik has put out despite it’s bigger number of highs & lows primarily due to the meat & potatoes presentation of both death metal & melodic death metal.

Score: 3.5/5

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Wiz Khalifa – “Kush + Orange Juice 2” review

This is the 23rd mixtape from Pittsburgh, Pennsylvania rapper, singer/songwriter, actor & entrepreneur Wiz Khalifa. Following his first 2 albums Show & Prove and Deal or No Deal as well as his 8th & 9th mixtapes Kush & OJ and Cabin Fever respectively, his Atlantic Records-backed 3rd album Rollin’ Papers established him as a star & stoner’s icon as did the Mac + Devin Go to High School film & soundtrack. Taylor Allderdice would also receive acclaim, although a lot of what he’s released since has been hit or miss with the biggest hits being Fly Times: The Good Fly Young & the Stoner’s Night collab tape with Taylor Gang Records signee & Three 6 Mafia co-founder Juicy J a few years back. Wiz Owens felt disappointing last summer & Kush + Orange Juice 2 finally arriving on 4/20 weekend only feels right.

The intro hops over this laidback instrumental for Wiz to talk about the kush making him move progressively slower whereas “How We Act” featuring O.T. Genasis produced by Cardo, DJ Quik & Jason Martin formerly known as Problem goes full g-funk for their main bitches. “Crime, Bud & Women” suggests there’s nothing left to do if you stay away while “5 Star” featuring Gunna was a cool pop rap single that Mike & Keys laced with Dominique Sanders.

“Top Down” featuring Jason Martin & Ty$ finds the trio cloudily talking about them rather looking out for their people just before “Pimps n Hustlers” featuring Luh Tyler shows a Mobb influence to the beat dedicating this one to both of those kinds of people in the streets. “I Might Be” featuring LaRussell remembers when all they wanted was 100 bands leading into “What’s Hannin’?” taps in with DJ Fresh to hang with the real ones & throw up gang signs.

Curren$y makes an appearance on “Jet Taylor” representing both Jet Life Recordings & Taylor Gang with Terrace Martin & TM88 giving off a delicate tone instrumentally, but then Wiz Khalifa gives Max B his own 3 & a half minute song assuring that’ll never stop grinding. “Red Eye” shows a bit of a reggae influence getting everyone around him as stoned as he is while “My Influence” featuring Juicy J flexes the Hollywood moves they makin’.

“Take Your Time Get Paid” featuring DJ Quik delivers another g-funk heater going out to everybody who be making money at their own pace while “Cashed Out” featuring Larry June atmospherically claps back at anyone envious of not being in their respective positions. “Got It All” featuring Chevy Woods boasts they have everything others want while “Just to See You Smile” reflects on a special person in his life who’s no longer here with him.

Conductor Williams strips the drums during the chipmunk soul “Super Duper High Outro” for Wiz to drop a brief verse & shout out everyone involved in the tape while “Keep Ballin’” starts the deluxe run talking about the money calling him. Mike WiLL Made-It samples “Throw Your Sets” by the Tear da Club Up Thugs & Crucial Conflict during “Khalifa’s Home” giving a fuck less what others say while “Hide It” gets in his pop rap bag again.

“Bring Your Lungs” featuring Smoke DZA flexes that both of them do it bigger than the Brooklyn Nets’ home arena Barclays Center or the Los Angeles Lakers’ home arena the Staples Center & the final bonus track “Hit It Once” finishes Kush + Orange Juice 2 sampling “White Clouds” by 福村浩 talking about the weed he smokes being the type of shit a vast majority of stoners would wanna hit.

Coinciding with the original Kush + Orange Juice’s 15 year anniversary earlier in the week, the sequel arrives like a visit from a friend from long ago who’s stayed the same other than growing up & becoming wealthier. The production mostly handled by Cardo matched with DJ Quik’s engineering makes the chill soundscapes significantly more terminal joined by a loaded roster of guests who haven’t changed much in the past decade & change speaking on more of the Taylor Gang touchstones you know & love: jet-ski races, beach picnics, fat joints, drop-tops, crab rolls, hot-boxing Ferrari F8s.

Score: 4/5

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Too $hort – “Sir Too $hort: Freaky Tales” review

Too $hort is a 58 year old MC, songwriter, producer & record executive from Oakland, California known for being a west coast pioneer within the last 4 decades. Born to Mack, Life is…Too $hort, $hort Dog’s in the House, Get In Where You Fit In & Gettin’ It (Album #10) all stick out in his extensive catalog. This fall will mark 8 years since The Pimp Tape & he’s finally returning with the 21st full-length studio LP he’s actually been teasing since roughly 2022 or so only 2 & a half years after Mount Westmore’s debut Snoop, Cube, 40, $hort.

“Still Mackin’” samples the “Dope Fiend Beat” off Born to Mack to talk about his longevity in the rap game whereas the uncanny trap-flavored title track discusses always winning in the end & all the bitches knowin’ his name. “You Don’t Know” dabbles with Mobb music thanks to Ant Banks talking about these hoes not having an idea as to what’s going on while “Pick a Side” featuring WWE Hall of Famer Snoop Dogg wants to know exactly who their partners are playing for.

BossLife Big Spence & Larry June join $hort Dog on “Pimpin’ Like Kenny Red” for a turnt-up hyphy track likening themselves to pimps leading into “Go Bitch” featuring Big Zeke, Jay Chess & Kokane serving as a g-funk club banger for the bitches out there who be doing the most. “No Feelings” featuring Bandaide & Mistah F.A.B. brings the trio together so they can live & die by the code, but then the acoustic trap hybrid “Keep It Going” featuring King George encourages everyone to continue moving.

“The Budget” pulls a bit from rap rock to spend a few bucks while “Sucka Shit” essentially calls out the people who be on their bullshit. “Got It from the Bay” represents the northern side of California that made him while “Brain Surgery” talks about people having to know how to do it to make it. And prior to the Check the Stats” outro, the self-produced “Everywhere” takes the Mobb route for the final time reflecting on the places his career has taken him.

Drawing heavily on his Bay Area roots & long-standing partnerships, the 1st installment in a new trilogy is more of a a deliberate look back as much as a statement of staying power Too $hort has ultimately bridging the classic template with new wrinkles & familiar faces. The funk-heavy, bass-driven production marks a return to the smoothness that anchored many of $hort’s most influential releases during the golden age & joins the ever-growing list of hip hop pioneers adapting decades later.

Score: 4/5

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Dave Blunts – “You Can’t Say That” review

Dave Blunts is a 23 year old rapper, singer/songwriter & internet personality from Davenport, Iowa by way of Salt Lake City, Utah who’s put out a total of 16 EPs & a couple full-length albums since 2018 or so. I’ve even mentioned his guest appearances on the latest Babytron & D. Savage albums Tronicles & We Love D. Savage respectively in the past several months. However with his popularity increasing, Dave’s 3rd studio LP felt like it could be his biggest one of his career.

“Solar’s Departure” starts by referencing the disgraced former IWGPジュニアヘビー級チャンピオン, 2-time WWE world champion, 4-time WWE Intercontinental Champion, 5-time WWE United States Champion, 7-time WWE tag team champion & 3-time WCW World Television Champion Chris Benoit over a cheerily drumless instrumental whereas “Air Mattress” goes for a plugg direction talking about his diamonds changing with the climate.

His health concerns get brought up on the trap, lowend & regalia crossover “1st Day Out the Hospital” except the line where he disses KanKan comes off as INCREDIBLY transphobic leading into the colorful trap cut “Game Changer” talks about taking what he wants. “1 Year Max” serves as a response to WWE Hall of Famer Snoop Dogg’s comments regarding Dave’s weight & “Knee Surgery Tomorrow” makes a comparison regarding this bitch’s head game.

“Issabella’s Untimely Deportation” cuts off the titular woman after learning she really be fuckin’ his mans over some synthesizers & 808s just before “Tired of Being a Simp” gets on the regalia tip talking about him getting too attached to women he hardly knows. “Solar’s Unsuccessful Attempt to Return” keeps the regalia vibes telling his ex he really wants her back prior to “White Chicks dissing KanKan again & 9 Vicious, except the 9 Vicious jab is justified.

Meanwhile on “10 Bands on Solar”, we have Dave maintaining a regalia flare talking about everyone being on his dick now that he’s becoming popular while “Diddy Games” likens PlaqueBoyMax to disgraced Bad Boy Entertainment founder Puff Daddy a.k.a. P. Diddy or Diddy. “Sex Crimes” continues to hurl transphobia towards KanKan’s way & includes a line regarding Antonio Brown raping Britney Taylor, but then “Moving Slow” talks about his affinity for lean.

“Industry Planet” reflects on taking shit for granted during the days he was broke over a cloudy trap beat while “Balcony” blends pop rap & regalia talking about being a man & putting his feelings to the side. “Thinking of You” finds him trying to get Solar back swapping out the pop rap elements in favor of rage while “Bummy” talks about the codeine making him feel lovely.

The song “Back in the DMV” produced by thr6x expresses the pain inside of him because of Issabella not fucking with him & the closer “Issabella” ends the LP by talking about giving her a shot since Solar’s not coming back. Lastly even though I’m very well aware of the fact that it was left off the final cut, the jerk instrumental on “Bitches” featuring Ye formerly known as Kanye West was actually refreshing to hear Kanye on even if his verse feels like a ripoff of Lil Yachty catching strays from former WWE Champion, 4-time WWE Intercontinental Champion, 3-time WWE United States Champion & 15-time WWE tag team champion Kofi Kingston a few months ago.

Known for his dark humorous lyrics as well as introducing characters in his songs, You Can’t Say That as an album is only a slight improvement from the mixed reception of both Well Dude Here’s My Thing & If I Could I Would although it’s very much decent. There’s nothing wrong with the production drawing from regalia, pop rap, trap, rage, lowend, jerk, comedy rap, emo rap & pluggnb since I tend to review countless artists in those styles. My problems more so lie with the context of some of Dave’s lyrics like the transphobic KanKan disses & mentioning Antonio Brown’s rape case.

Score: 3/5

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