This is the debut EP from New York producer, “rapper”, DJ, songwriter, record executive & hype man Swizz Beatz. Emerging already a quarter of a century ago as the in-house producer for Ruff Ryders Entertainment, he later started his now defunct Full Surface Records in 2001 & dropped a decent compilation called G.H.E.T.T.O. Stories the following year on my 6th birthday. It wouldn’t be until 2007 however that he would try to officially go solo with 1 Man Band Man, a solidly produced album that was unfortunately weighed down by the lack of features & of course Swizz’ horrendous rapping on every song. He eventually took a backseat from the mic on the sophomore effort Poison over a decade later & is doing so on the Mass Appeal Records-backed Hip Hop 50, Vol. 2 following up the Hip Hop 50 EP that DJ Premier dropped through Nas’ indie label last summer.
“Runaway” by Nas starts off the whole thing with a soul sample & admitting that he’s still trapped in a box tryna clear his name whereas “This Shit Right Here” by Lil Wayne has a more celebratory vibe as Weezy F drops some fly braggadocio. “Take ‘Em Out” by Benny the Butcher, Jadakiss & ScarLip goes into boom bap turf making it clear that it’s all about the calls prior to “City Sound Like” by Fivio Foreign & Bandmanrill dives into synth territory paying homage to the Brooklyn drill scene with Fivio stealing the show. “Say Less” by A Boogie wit da Hoodie & Lil Durk finds the pair talking about they ain’t squashing shit over a cinematic trap instrumental, but then “Khalas” by Jay Electronica finishes the album with a drumless loop telling y’all about himself.
The previous Hip Hop 50 EP that Mass Appeal dropped last summer is still my favorite of the 2 that we’ve gotten so far, but I’d still say that the new installment here is worth checking out if you liked Poison as much as I did. Even though a couple of the guests punched under their weight with their performances, most of them manage to hit the mark as they rock it over Swizz’ signature production style. Curious to hear as to who’s producing the next installment of this series celebrating this culture we all know & love.
Lloyd Banks is a 40 year old MC from Queens, New York City gaining notoriety in the 2000s for his witty punchlines along as well as being an original member of G-Unit alongside childhood friends 50 Cent & Tony Yayo. After the group’s silent disbandment in 2015, he kept himself busy for a little while by releasing A.O.N. 2 (All Or Nothing 2): L.I.U. (Live It Up) & Halloween Havoc 3: 4 Days of Fury just before taking on a 5-year hiatus that really lasted until he received a song placement on the soundtrack for Griselda Records’ theatrical debut Conflicted already 2 & a half years prior. He eventually made a grand return by dropping The Course of the Inevitable & a sequel, but is rounding out the trilogy in the form of his 6th full-length album.
“Pieces of My Pain” starts things off with some pianos, kicks & snares from Cartune Beatz as Lloyd asks how they supposed to change as well as having to see it 20/20 whereas “Onyx AMG” looks back when he used to be down as opposed to being on top now over a glistening boom bap instrumental. “Money Machine” keeps it raw thanks to Haas Almahdi as he watches the green grow just before the suspenseful “Cliffhanger” laced by V Don talks about how friends change & all that he has is himself.
Meanwhile on “101 Razors”, we have Method Mantagging along professing that money won’t ever change them keeping it in the basement as far as sound goes leading into “Movie Scenes” talking about being a big timer on top of a ghostly beat. “Opened Gates” weaves in a sample with some kicks & snares asking what would you do to be remembered, but then “LSD” with Vado makes it clear they ain’t showing love to anyone over a raw boom bap instrumental.
“Voices” flips another sample throughout layering more kicks & snares admitting he still hears voices in his head telling him they’ll never let him lay down while “Red Alert” with Tony Yayo & 38 Speshsomberly talks about hitting them right where it hurts. “Keys to Success” comes through with a shimmering boom bap beat telling y’all what it takes to be successful in life while “Automatic Pilot” by The Council couldn’t prelude the supergroup’s upcoming full-length debut any better.
The final leg of the album starts off with “Invisible” goes chipmunk soul acknowledging that he won’t see the ones he can count on to call whatsoever as soon as he makes it happen while the song “Daddy’s Little Girl” is a heartfelt ode to his daughter. The penultimate track “Showers” is a somber boom bap ballad talking about the love making the outcome better & “Deceitful Intentions” with Cormega is a sample based closer airing out those who be fraudulent.
The whole Course of the Inevitable trilogy has caused everyone to renew interest in Lloyd once again & I can definitely see why the final installment here is his favorite of the 3 personally. Cartune Beatz gets his shine with most of the production & the lyrics are more personal than the last 2 albums. Whether it’s a 4th Course of the Inevitable or something different, the most skilled lyricist in 50’s old crew is further revealing himself to be the most consistent.
This is the 8th mixtape from Las Vegas, Nevada emcee Ouija Macc. Breaking out in the fall of 2017 after the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently, Ouija has since proven himself as one of the most consistent & hard working dudes in the underground by dropping 3 full-lengths, 2 greatest hits compilations, his previous 6 mixtapes & 4 EPs all in the span of nearly 6 years. He even started his own label Chapter 17 Records & made the big homie HEXXX the first signee to PSY’s new subsidiary almost a year ago by now. The previous Ouija tape Fallen Angelic just celebrated it’s 1 year anniversary at the beginning of the month & his latest album Stalewind was a near perfect conclusion to the Element saga, but is now following up the Hideous collab album he dropped with Golden BSP only a few months ago by welcoming y’all to Detritus.
After the “Lost Transmission” intro, the first song “Freak” opens the tape with an ratchet ode for all of those who like it nasty whereas “Dypschyt” works in some bass & hi-hats courtesy of Shaggytheairhead so everyone can go dumb. “Blam Blam ‘Em” spits that gun talk over a dark Devereaux instrumental just before the uncanny trap hybrid “Deadzone” vividly details a demon coming after him for 3 days back to back to back.
“Apollo 17” has a bit of a Memphis flare sonically detailing a murder that he had been planning for weeks leading into “Clown Luv” coming through with a spiritual successor to the joint off Shaggy 2 Dope’s solo debut EP Fuck Off!. “Rich Boy Pacc” pulls some bells & hi-hats together making it clear what he be smoking on, but then “Lumberjacc” is a jazz/trap hybrid talking about punani being all he needs.
Meanwhile on “Rippin’ Out Ur Guts”, we have Ouija spitting the wicced shit over an unhinging beat while “Human Malfunction” switches it up into a cloudier sound admitting to not knowing much other than our days being numbered & cautioning to get back before your shit gets jacked. “Just Go” brings in more bells & hi-hats bragging that his foot’s on the gas with his pockets on swole while “Dream Survey” atmospherically confesses that demons stand by him as he sleeps.
“Well Wicced” is a short but macabre continuation with a bassy trap instrumental boasting that shit can’t get more wicced than this while “They Don’t Like Me” lays these hi-hats behind a killer guitar throughout getting on his emo shit a bit. “Look Bacc” bombastically tells y’all to keep the past in the past while “Way the Shit Go” brings back the guitars thanks to Billy Martin talking about how life be sometimes. And until the “Found Transmission” outro, the final song “In the End” sends off the tape with a roller coaster ride of an 8-minute closer about the world falling victim to stupidity.
Chapter 17 has quickly become one of the most dominant forces in the underground wicked shit scene within the last couple years & coming off what seemed to be their biggest yet, the CEO indicates that it’s only gonna get bigger from here because I happen to enjoy Detritus more than Hideous with all respect. The performances are more consistent & the production continues to evolve the sounds of his finest full-length that he gave us at last year’s Gathering.
This is the proper full-length debut from Hartford, Connecticut emcee Fuego Base. Getting his start a few years ago off his debut EP Tell My Momma Imma Rapper, he would continue to build up his catalog by going on to drop another EP called Tell My Momma Imma Rapper Still & the Say Dat mixtape trilogy before Buffalo’s very own Benny the Butcher signed Fuego to his ever-growing MNRK Music Group imprint Black Soprano Family Records last year. So considering this new label deal of his, dude’s making it clear that he’s the Biggest Since Camby to come out of the forgotten place of Hartford.
After the intro, the title track opens up the album by letting everyone know who’s running the city now over a dusty boom bap instrumental with some bass licks prior to Elcamino & 38 Spesh both coming into the picture for “Blocked” produced by the latter as the trio talk about the only thing on their mind being the paper & wealth over a more synth-based sound. “Heavy D” brings back the kicks & snares with a piano loop getting on his hustler shit just before the warm “Chest Pains” talks about having to get his people right.
Meanwhile with “Holding On”, we have Heem tagging along so both MCs make it clear that they stay strapped when cruising down the city with an atmospheric Rick Hyde beat leading into “Quality” with O.T. the Real returns to the boom bap orchestral style making it clear that excellence is the standard. “House Phone” fuses some kicks, snares & a crooning sample making it clear they’ve been running it for a grip until “Take a Look” dives into trap turf as Benny the Butcher, Lo Pro, Ricky & Uncle Murda discuss pushin’ weight.
“The Warehouse” with Benny & O.T. was a great choice for a single making their great escape from off the corner over some hi-hats & strings until the sequel with Benny, Camino & Heem keeping the string sections in tact swapping out the hi-hats with more kicks & snares talking about being the bosses they are. The solemnly produced “Tommy Brown” with Rick Hyde & Sheek Louch finds the trio asking where the fire in their eyes went while the penultimate track “White Lives Matter” featuring another recent Black Soprano Family signing Sule takes it back to the basement courtesy of Havoc admitting he’s too comfy in this music shit. “Ron Francis” though is a powerful closer to the album making it clear that they love the residue more than hoes.
You can most definitely hear the hunger in Fuego on his early material, but he really takes it to another level on Biggest Since Camby to the point where I can most definitely see it being the album that renews the public eye’s interest in the Connecticut hip hop scene & one to reveal him to be a welcoming addition to the ever-growing BSF roster. He sounds more focused than ever, it’s more well-produced & it’s really interesting to hear how well he gels with his fellow labelmates as well as their affiliates.
The Keepaz of the Krypt are a horrorcore duo consisting of Ohio emcee Kapital Z as well as Alabama professional wrestler, MC, producer, actor, graphic designer, video editor & director 1 Man Kru. The latter of whom formed the group alongside Suburban KorpsE & they dropped 3 albums in the mid-2000s with KrucifeR following it up by dropping a solo EP shortly after & eventually 2 full-lengths of his own before becoming an in-house producer for the Insane Clown Posse’s label that runs beneath the streets Psychopathic Records since the “Bewitching” intro of the critically panned Yum Yum’s Lure EP preluding the 5th Joker’s Card of the 2nd Deck Yum Yum Bedlam although he first met Violent J in 2011 when he wrestled a dark match at the Legends & Icons show that Juggalo Championship Wrestling or JCW produced at the 12th annual Gathering of the Juggalos. But after a falling out with the Duke due to $20k in unpaid royalties, the 1 Man Kru is putting the batch of beats that he had made during the Yum Yum Bedlam sessions to use by bringing The Great Zambini on board for the Krypt Keepaz’ 4th full-length outing & their first in 16 years
After the Tommy Chong intro, the title track is an aggressive trap opener properly introducing the titular character prior to “Gluttony” pulling together a chilling backdrop & some hi-hats talking about the first of the 7 deadly sins. The Psychopathic MonStar himself Lyte stops by on the shimmering trap anthem “Smoke ‘Til I Die” for a quick dedication to all the stoners out there with even a fresh ass “2nd-Hand Smoke” reference at the end of the final verse until Blaze Ya Dead Homie pops out for “Greed” with it’s carnivalesque instrumental & the lyrics about always needing more than they actually require referencing former WWE CEO Vince McMahon, who additionally self-booked himself as WWE Champion & ECW World Heavyweight Champion.
Meanwhile on “I Gotta”, we have the Keepaz of the Krypt with the demented duo Twiztid discussing everything they have such as good dope as well as more foes than friends & a ton of bands as the beat blends trap & g-funk just before “Sloth” tells the difference between those who sit on their ass all day & risk-takers over some hi-hats & icy synths. Original krypt keepa Suburban KorpsE returns accompanied by the hatchet warrior Anybody Killa with the monstrous “Dope It Up” giving advice to those who think their lives such just before “Lust” with The R.O.C. is a chime/trap hybrid about fucking.
“Envy” has a more mystic sound asking if anyone out there happens to be jealous of them while the subject matter of “Hater Killer” with Boondox & LB~Sickning calls back to the highlight closer “Death of a Hater” off Turncoat Dirty’s sophomore album Krimson Creek with the production meshing trap & g-funk yet again except with the keys thrown in. “Pride” weaves some hi-hats, strings & bells together addressing the wack MCs who can’t cope with their freshness while “Bow Down” featuring The Jokerr includes a bar referring to former 6-time WWE world champion, WWE Intercontinental Champion, WWE tag team champion, 2-time AEW World Champion, inaugural ROH Hall of Fame inductee, ROH World Champion, 2-time ROH World Tag Team Champion & 5-time IWA World Champion CM Punk. Especially with the final verse being directed towards J himself.
The final leg of the album starts off with “Wrath” eerily & vividly describing what happens to those that trespass while the song “N.B.K. (Natural Born Killers)” follows it up with a morbidly raw trap heater about them, the Dark Hill Gang & G-Mo Skee describing their violent tendencies with G-Mo unsurprisingly saving the best verse for the end parodying Ice Cube on the titular song he did with Dr. Dre of the Murder Was the Case soundtrack including references to the late WWE Hall of Famer Paul Bearer along with fellow WWE Hall of Famer, former SMW Tag Team Champion, 3-time WWE world champion, 2-time WWE Intercontinental Champion, 12-time WWE tag team champion & WWE Hardcore Champion Kane references. The penultimate track “Sick in the Head” with Str8jaket gives off a more apprehensive vibe talking about how crazy they are with the 1 Man Kru dissing Violent J during his verse yet again & “Going to the Gathering” with former Dark Lotus member Marz surprisingly closes the album with a fun ode to Shangri-La on Earth.
Ever since Psychopathic & MNE severed ties with one another over 6 years ago by now, I know that there’s quite a bit of drama & toxicity within the juggalo realm with fans picking sides. However, I’ll always continue to support both sides strictly for the music as I too know what it’s like to be misunderstood & an outcast which is why I’ll always defend juggalos & could give a fuck about the drama. That being said: the loyalists on Facebook that I saw were quick to compare these guys to King Krimzon or Krimzon X or whatever the fuck moniker that talentless loser goes by now don’t know shit about the Keepaz of the Krypt because their first album in over 16 years is the best they’ve sounded. The feature list is mostly consistent, the concept of the 7 deadly sins is captivating & you can really hear how much KrucifeR’s production game has evolved since the group first emerged.
This is the 3rd EP from Maryland emcee & producer redveil. Emerging up at the tail-end of 2019 off his debut EP Bittersweet Cry, I wouldn’t get introduced to his music until 8 months after when a short-lived Twitter beef between him & the internet’s busiest music nerd himself Anthony Fantano broke out merely days after dropping his following EP Niagara. He then celebrated his 18th birthday last year in the form of his debut mixtape learn 2 swim & is returning by dropping playing w/ fire in the midst of the most recent tour that he’s currently on promoting it.
“stuck” is a triumphantly drumless way to kick the whole thing off talking about running it back whereas “giftbag” experiments fusing pop rap with jazz rap & chipmunk soul telling motherfuckers to get off his dick as well as how they be hoes by switching up on you. JPEGMAFIA slides through for the politically charged “black enuff” fusing trap metal with highlife & industrial music just before “f2g (fucks 2 give)” with Mekdelawit has a bit of an EDM groove to it talking about running out of exactly just that. “captain” makes it clear that it be known who’s frontin’ & that redveil is the man in charge over a soulful trap beat until the title track ends it all by blending synths, pianos & hi-hats declaring it to be done on everyone/everything he loves.
For those’ve you who started tuning into this guy off. His remarkable guest verse on Danny Brown & JPEGMAFIA’s latest collab effort Scaring the Hoes, then I’d tell you off the bat that this & learn 2 swim are the strongest offerings in his catalogue thus far. The production is a bit more experimental this time around in comparison to his older stuff & the performances are incredibly captivating.
Fulcrum is a 24 year old rapper, singer/songwriter, producer & YouTuber from Walnut Creek, California emerging off the strength of his debut single “Fucking Nothing”. He then began to turn heads in the fall of 2021 off the banger “My Way Out” & his YouTube momentum taking off this past fall by getting faded than hoe all over public places on Yodie Land spreading positivity to the yodie gang. But to celebrate his born day, he’s giving the yodie gang his 4th EP following up Identity as well as abundance & self-titled.
“Fly Around” sets off the EP with a plugg instrumental from none other than Goyxrd telling y’all he is nowhere to be found in your area whereas “Further” takes the mellow trap route talking about how he keeps it pushing. “Japanese” has a more happier tone to the instrumental describing a woman in his life that he considers to be unforgettable just before “Back Then” calls out those who didn’t want to fuck with them until he blew up over another pluggy beat.
Moving on to the self-produced Fed Hoe”, we have Fulcrum asking why his girl lied to him by his side over some keyboards & hi-hats leading into the title track talking about smoking a whole pack of good kush at once over some more plugg instrumentals. “Driving to the Moon” has a more cloudier vibe as he continues to run it up, but then “Faded than a Hoe” comes through with a more delicate sound delivering an anthem based on one of his catchphrases. The penultimate track “Someone 2 Luv” returns to a pluggier aesthetic tackling romance until the closer “Lovely” ends it all with some hi-hats & pianos talking about feeling lucky.
Even though I enjoy this dude’s videos & some of his songs, one of my biggest critiques in the past was that you can blatantly hear a huge Pi’erre Bourne influence on some of his early material & it was a little distracting at times. However, I think Fulcrum shakes that off with All at Once because this is quickly becoming my favorite EP of his yet. It’s interesting to hear him take a backseat on the production side of things & stepping up his songwriting, thus coming into his own. Need I say more?
This is the full-length debut from Midwest underground collective United Grind. Consisting of Ohio duo Play Havoc alongside Detroit quartet GameChangers, the crew initially formed about a decade ago with all 6 members putting in work throughout the independent hip hop scene both individually & as a unit. So in order for the crew to take their profile up to the next level, the sextet is getting together for an official full-length debut collectively.
“Step Lively” opens the album with some kicks, snares & pianos as HiJinks, Lee Harvey & R.E.D. all belittle anyone who dares to step up to them on the mic whereas “Give It Back” finds everybody over some dusty boom bap production obliterating all wack emcees. Vice Souletric & GameChangers stick around for “Got Somethin’” talking about being the illest spitting without even trying to front over a sample-based instrumental, but then “Ambush Ballad” by HiJinks & Lena Jackson says it all very well down to the cavernous boom bap beat as well as the warmongering lyrics.
Moving on to “Similar”, we have Play Havoc on top of a trap instrumental with a vocal loop delivering that signature O State tempature just before the GameChangers shine on their own with “Doin’ This All Night” returning to the boom bap with his mood being treating every single joint he hops on as food leading into the aptly titled Juggernaut June solo cut “Cut Throat” fusing some horns & keys. The energizing “M.A.M.N. (Me & My Neighbors)” by Benny the Butcher, G. Huff & HiJinks makes it clear you don’t want issue with them while the Vice Souletric solo cut “Real Wild” aggressively let’s y’all in on how they keep it.
“Grimey Love” by GameChangers has a more vibrant tone getting on his fly shit while “The Order” by Play Havoc, G. Huff, Che Noir weave some more pianos talking about how it be like another hobby bar for bar. The penultimate track “Undercover Goons” HiJinks & Juggernaut June keeps the well-flipped samples going declaring themselves to be such with HiJinks ending the album on his own throughout “Body Bag” making it clear that United Grind be a problem.
Being a midwesterner myself, the United Grind really got something going on with this debut album here & to see the outfit continuing to elevate musically from here is definitely worth keeping an eye on. It’s really fresh to hear every single member getting a chance to shine as they each have something that makes them stand out in their own unique ways & make it clear that they’re living proof of hip hop always evolving over tight production.
Motown Priest is a 37 year old MC from Queens, New York by the way of Detroit, Michigan who first emerged in almost a decade ago off his the strength of his debut EP This Thing of Ours followed by the full-length debut Art of Urban Warfare only nearly 16 months afterwards. But after an 8-year hiatus, the Motown Priest is signing to the historic Boston label Brick Records to help make a comeback on his sophomore album.
“Great Depression” is a jazzy opener asking what you know about pacing in a prison cell depressed out of your mind whereas “Pandora’s Box” goes full blown rap rock with a conscious take on the paper. “The Calogero Effect” works in a bare soul sample as dude talks about needing a closet to hide his skeletons in when he was a child just before “Farewell to Welfare” asks how much is a dollar worth over a boom bap instrumental with some unsettling pianos.
Meanwhile on “Employee of the Month”, we have the Motown Priest delivering a scathing & engaging takedown of the American Dream leading into the raw, grungy “New Religion” talking about the gangsta lifestyle. “Nathaniel’s Mask” returns to jazzier turf discussing power being a powerful drug in a city full of cowards & thugs, but then “For Sale” hope on top of some swooning vocal chops & string sections saying everyone’s for sale because everybody for self.
“Alphabeta” is a bluesy boom bap cut wanting to have a conversation with his people while the song “Trials” fuse some kicks, snares & a guitar loop to heartbreakingly looks back on the people he’s lost to the gang life. The penultimate track “Dreams & Stories to Tell” brings back the jazz 1 last time talking about that being exactly what he has to offer until “Drug Money Theory” ties things up with a conscious rap rock ballad.
For a debut, Hawthorne definitely gives new listeners a look at at the Motown Priest is capable of doing on the mic & is surely destined to continually grow as an artist from hereon out. The production is fascinatingly eclectic, it’s cohesive & the narratives give a searing look at the world we all live in today in such a gripping fashion by connecting the unique worlds of both music & film.
Bill & Isiah are a Detroit hip hop duo consisting of Valid & Stretch Money. Although both of them have already established names for themselves individually in the local hip hop scene at this point, the pair first joined forces a couple years ago on the songs “5 Fingers of Death, “Like This” & even “Sentimental” only a few months back. So considering their past history together, both of them are gonna take it to the next level on their eponymous full-length debut by letting it be known as to who the modern day Bill Laimbeer & Isiah Thomas of the rap game really are.
“‘89 Cadillacs” is a smooth opener you can blast in the whip when driving around late at night welcoming y’all to the Palace whereas “You Know I Like It” dives into soulful turf instrumentally thanks to Pig Penn including a reference to former アイアンマンヘビーメタル級チャンピオン, TNA World Tag Team Champion, WCW World Television Champion, 2-time WWE United States Champion, 7-time WCW World Tag Team Champion, 4-time WWE Intercontinental Champion & 2-time WWE Hall of Famer Scott Hall. “Revenge” takes a more melodic, somewhat funkier route making it clear that they will have their vengeance in the end just before “Game Film” shifts gears into a more trap-based sound paying tribute to all the classic 80s movies that raised them.
Meanwhile on “Sentimental”, we have Bill & Isiah incorporating elements of 80s pop into their sound so they continue to get nostalgic about the decade they came up in leading into “The Girls” keeps it funky & brings back the synths to express their taste in women who love to party referencing 2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair. “Commentate” almost gives me a J Dilla vibe with the beat as both lyricists give y’all something to talk about, but then “Eastern Conference Finals” provides more of a rap rock flare getting on their battle shit.
The song “Drink with Me” weaves a bluesy guitar in the fold as Valid & Stretch ask the bartender for more shots while the penultimate track “So Divine” comes through with a more shimmery approach referring to WWE Hall of Famer, 6-time WWE world champion, WWE Intercontinental Champion, WWE United States Champion, WWE Tag Team Champion, WWE Hardcore Champion, IWGPヘビー級チャンピオン, the inaugural 6-time TNA World Champion, TNA X Division Champion & 2-time TNA World Tag Team Champion Kurt Angle. “Like This” however ties things up with a feel good anthem for people to have fun to with some crazy interpolations of the timeless Dr. Dre single “Nuthin’ but a G Thang” featuring Snoop Dogg throughout.
Valid’s been a good friend a mine for a few years now & I’ve heard him talk about this album to me for a while but since it’s finally available to listen to, it proves to me that he & Stretch Money both truly are the Bill & Isiah of hip hop and hopefully they continue to build up their discography as a duo down the road. I like how both of their styles gel so well with one another & it’s cool to hear the production pulling from the sounds of the very decade that’s referenced throughout.
