Megan Thee Stallion – “Good News” review

This is the full-length debut from Houston, Texas superstar Megan Thee Stallion. Rising to prominence last May with the release of her debut mixtape Fever, I myself was very impressed with how it displayed Megan’s knack for catchy songwriting, dirty south/Memphis inspired production & a unique personality. She just dropped an EP at the beginning of 2020 called SUGA but almost 9 months later, were finally being treated to Good News.

The album kicks off with “Shots Fired”, where Megan puts the final nail in the coffin in regards to Tory Lanez shooting her in the foot earlier this year over a Buddah Bless instrumental sampling “Who Shot Ya?” by Biggie. The next song “Circles” talks about her haters over a chipmunked-soul sample provided by Cool & Dre while the track “Cry Baby” with DaBaby sees the 2 getting on some Bonnie & Clyde shit over a spooky d.a. got that dope beat. The song “Do It on the Tip” with the City Girls finds the trio of course talking about sex over a knocking instrumental from Lil Ju while the track “Sugar Baby” talks about being just that over a Helluva beat clearly inspired by Mannie Fresh.

The song “Movie” with Lil Durk finds the 2 getting together for a strip club anthem backed by a nocturnal Tay Keith instrumental while the track “Freaky Girls” talks about being kinky over a glossy beat from juicy J. The song “Body” talks about being thick over some moaning & heavy bass and even though the track “What’s New?” talks about giving the middle finger to her haters, the instrumental on here might be my least favorite on the entire album.

The song “Work That” talks about riding it like a rodeo over a playful beat while the track “Intercourse” with Popcaan needs no further explanation over a moody DJ Mustard instrumental. The song “Go Crazy” with Big Sean & 2 Chainz sees the 3 talking about wilding out over a hyphy instrumental from J.R. Rotem of all people while the track “Don’t Rock Me to Sleep” talks about wanting her man to tell her what he really means over a funky ass beat.

The song “Outside” talks about she ain’t for the streets over an instrumental perfect to cruise down too while the next track with Beyoncé is a sequel to “Savage” that’s just as hard as the original. The penultimate song “Girls in the Hood” talks about being a hit girl over a Scott Storch instrumental sampling the Eazy-E classic “Boyz-N-the-Hood” & then the closer “Don’t Stop” with Young Thug finds the 2 getting braggadocious over an industrial beat.

I’ve been saying for quite a while now that Megan Thee Stallion is the illest female spitter in the mainstream right now (with Rapsody being the illest female spitter right now PERIOD) & if this album doesn’t further prove my point, I don’t know what will. On all fronts from the catchy songwriting to the versatile production, it’s pretty much her equivalent to So Much Fun.

Score: 4/5

Rasheed Chappell – “Sinners & Saints” review

Rasheed Chappell is a 44 year old MC from Passaic, New Jersey who’s been making music for a little over a decade now. He just dropped an EP produced by 38 Spesh this past spring called Ways & Means but to follow it up, Rasheed is enlisting Buckwild for his 3rd full-length album.

The opener “Tour Bus” with Che Noir & 38 Spesh finds the trio comparing Trust Gang to the Wu over a piano instrumental whereas the title track is essentially Shannell Griggs rapping from a penitentiary phone line. The song “Rock Bottom” with Ransom sees the 2 talking about the struggle over a melancholic instrumental while the track “Mass Media” takes a jab at news outlets over a boom bap beat with a sample kin to “#OkBye” off of KXNG CROOKED’s 2011 EP Million Dollar $tory.

The song “Crime & Punishment” talks about never letting down over a harp-inflicted instrumental while the track “Bredren” with Planet Asia sees the 2 flexing their prowesses over a soulful beat. The song “Dyckman” with The Musalini finds the 2 getting romantic over an instrumental with some beautiful vocal harmonies & after the “Post Game” skit, “The Blue Hood” tells the story of a corrupt cop over some demonic string sections. The penultimate track “C.E.O. Shug” talks about how “everybody can’t go” over a glistening beat & then closer “Black Owned” talks about doing it himself over a grim instrumental.

Personally, I think this is Rasheed’s finest body of work to date. The concepts that he brings to the table all come in together like an audio documentary series as Buckwild provides him with some suiting soundscapes.

Score: 3.5/5

Jeezy – “The Recession 2” review

This is the 12th full-length album from Atlanta, Georgia veteran Jeezy. Dropping 2 mediocre albums at the beginning of the 2000s, it wouldn’t be until 2005 where he completely revolutionized trap by dropping Thug Motivation 101: Let’s Get It. Last we heard from Jeezy was a little over a year ago when he dropped his “retirement” album Thug Motivation 104: The Legend of the Snowman but after becoming the senior advisor for Def Jam Recordings’ chairman & given the times we’re currently in, we are being treated to a sequel to the 2008 classic The Recession.

Things kick off with “Oh Lord”, where Jeezy opens up on how nobody know his troubles but God over angelic instrumental. The next song “Here We Go” talks about keeping faith when times get hard over a gladiator-sounding beat from Don Cannon while the track “Modern Day” talks about how being black is a crime these days over an maniacal instrumental. The song “Back” with Yo Gotti sees the 2 talking about carrying their hoods over a vibrant beat while the track “Da Ghetto” with E-40 finds the 2 talking about getting their blessings in the streets over a hair-raising instrumental.

The song “Niggaz” talks about lame ass people over a wobbly beat from Charles Hamilton of all people while the track “Death of Me” talks about needing this woman over an easing instrumental. The song “Stimulus Check” gets on the woke side of things over a soulful boom bap beat while the track “My Reputation” with Lil Duval sees the 2 getting back on the romance tip over a Silkk the Shocker sample.

“The Glory” talks about g-stepping over a Marvin Gaye sample while the song “Live & Die” talks about life in Atlanta over a serene instrumental. The track “Praying Right” gets spiritual referencing the Comcast Corporation owned Xfinity over some keys & synths while the song “Therapy for My Soul” is a diss towards 50 Cent & Freddie Gibbs backed by a wavy J.U.S.T.I.C.E. League instrumental. The penultimate track “Almighty Black Dollar” with Rick Ross finds the 2 calling out big name designer brands over a horn-inflicted beat & then “The Kingdom” talks about giving them his heart over a fancy boom bap instrumental.

We all know everybody says they’re gonna retire, but I can’t even mad at this album because I think it’s Jeezy’s best album since Seen It All: The Autobiography. The production has stepped up tremendously in comparison to his last few studio efforts & his maturity really shines through.

Score: 3.5/5

Rome Streetz – “Kontraband” review

This is the brand new mixtape from New York emcee Rome Streetz. Breaking out in 2016 with his debut mixtape I Been Thru Mad Shit. he would make his presence in the underground known with projects like Street Farmacy as well as the Noise Kandy trilogy & my personal favorite: Headcrack. He just dropped an EP earlier this year entitled The Residue & then the 4th installment of his Noise Kandy series back in June but to celebrate his 34th birthday, Rome has reunited with Farma Beats for a sequel to Street Farmacy.

The opener “Track Marks” talks about whipping up drugs over an unsettling instrumental whereas the next song “Lick da Toad” talks about being platinum plus over a tense beat. The track “Bucketz” with Daniel Son sees the 2 getting on some exploitation shit over some horns while the song “Mirrors & Smoke” talks about reaching the top over a jazzy beat.

The track “Laced” gets in his storytelling bag over a soulful instrumental while the song “Ghetto Star” declares himself as such over a dismal beat. The track “London Pound Cake” with Radamiz finds the 2 comparing their music to coke over some mischievous synths while the song “Ballad of the Lone Wolf” talks about looking for an outcome from different shit over an earnest beat.

The track “Sinsation” talks about the cash over an uptempo instrumental while the song “Eyes on Fire” with Ransom finds the 2 talking about watching those next to you over some vocal harmonies hanging in the background. The penultimate track “Lucky Stopped Dreaming” comes at his competition over a demented instrumental & then the album ends with “Word 2 Mommy”, where Rome talks about being out to get the world as it turns over a classy beat.

What a way for dude to round out the year. The chemistry between Rome Streetz & Farma Beats is just as dope as it was on Street Farmacy, especially since how much both of these guys have evolved throughout the years. Can’t wait to hear where Rome takes things in 2021.

Score: 3.5/5

Russ – “Chomp” review

This is the brand new surprise EP from New Jersey rapper, singer/songwriter & producer Russ. After releasing a total of 11 mixtapes on SoundCloud from 2011 up to 2014, he wound up signing Columbia Records in 2016 & made his full-length debut the next year with There’s Really a Wolf. However, the dude became one of hip hop’s most polarizing figures in recent memory because of being a “fake activist” against drugs & then there’s his infamous 2016 interview with DJ Vlad the culture vulture where he literally said “we need to blame producers for all the wack music today”. His 2018 follow-up ZOO kinda caught my interest due to “The Flute Song”, but the end result of it being taken over by this annoyingly bitter demeanor. This was followed up at the beginning of the year with Shake the Snowglobe which was SLIGHTLY better but now, he’s celebrating his freedom from Columbia by dropping CHOMP.

The EP begins with “Stockholm Syndrome”, where Russ & KXNG CROOKED talk about how they’re playing a whole nother game over a dreary string-laced beat. The next song “Who Wants What?” with Ab-Soul sees the 2 looking for people to challenge them over a ghostly beat while the track “Inside Job” gets in an ugly egocentric mood over a luxurious beat from DJ Premier. The song “Line ‘Em Up” with Busta Rhymes finds the 2 talking about knocking out their competition over a boom bap instrumental from The Alchemist with a hypnotic sample while the closer “Momentum” with Black Thought & Benny the Butcher sees the trio talking about how far they’ve all come over a soulful beat from 9th Wonder.

I can honestly say this EP is the best thing Russ has done yet. However, it’s still very much a mixed bag in my personal opinion. He is consistently outshined by the amount of legendary features & guest producers on every single joint throughout, as Russ’ own rapping & production are all still mediocre at best. All the Mountain Dew chugging “real hip hop” elitists & out-of-touch old heads will probably eat this up though because to them, getting all these iconic names whom I respect A LOT automatically makes it a “classic”

Score: 2.5/5

Roc Marciano – “Mt. Marci” review

Roc Marciano is a 42 year old MC/producer from Long Island, New York who started out in the very late 90’s as a member of the Flipmode Squad. He then went solo in 2008 & has dropped 8 albums since, with the latest being Marcielago last December. Almost a year later, Marci is following it up by dropping his 9th full-length album.

After the “Allegories” intro, the first song “Downtown 81” talks about breaking bread at the penthouse over a savory Jake One instrumental while the track “COVID Cough” featuring ScHoolboy Q includes a reference to WWE Hall of Famer Mr. T over a perilous beat. The song “Wheat 40s” talks about not playing the hero role over some strings while the track “Spirit Cookin’” with Action Bronson finds the 2 on their mobster shit over a piano & a woodwind boasting their girls get busy like UFC Women’s Strawweight Chamlion Zhang Weili.

The song “Pimps Don’t Wear Rabbits” talks about those hating need to quit over a grimy beat while the track “Butterfly Effect” talks about trusting the process over a jazzy instrumental. “The Eye of the Whorus” with Stove God Cook$ sees the 2 talking about being paid to gloat referencing WWE Hall of Famer & 4-time WWE tag team champion Chief Jay Strongbow over a funky beat while the song “Steel Vagina” talks about this woman betraying him over a bare piano instrumental.

The track “Broadway Killa” with Kool Keith finds the 2 talking about being cold blooded over an instrumental with some frightening synths while the song “Baby Powder” is well played 2-parter as Marci talks about hustling drugs over an peaceful instrumental from Chuck Strangers, but then transitions into some triumphant horns. The track “Trench Coat Wars” talks about smoking weed in a g-wagon over an eerie instrumental while the song “Wicked Days” talks about how no angel can stop the bullets over a murky beat & the Trent Truce feature is wack as fuck.

The track “Garbage Pal Kids” talks about how this chick’s gonna run if he calls her over a guitar while the song “Crocket N Tubbs” talks about how real bad boys move in silence over an alluring beat. The album ends with the title track, where Marci spits about writing it in coke oil over some keys & a high-pitched vocal sample.

It’s no secret that Roc Marciano has paved the way for cats like Griselda throughout the previous decade & this is a great way for him to kick off his 2020s output. His gritty lyricism never fails to amuse me this deep into his career & the production is on point as always too.

Score: 4/5

Verbz – “Radio Waves” review

This is the sophomore effort & High Focus Records debut from Croydon, South London, England, United Kingdom emcee Verbz. Introducing himself in 2017 off the full-length debut Lessons of Adolescence produced by Brighton beatsmith Mr. Slipz, he would later put out the debut mixtape Pathways a little over 52 weeks ago & that interested the Hove, East Sussex imprint enough to bring them on board in an attempt of shocking the Radio Waves despite the COVID-19 pandemic going 7 months strong.

“2202 FM” begins with a boom bap instrumental nostalgically reminiscent of 90s east coast hip hop talking about always walking right way maintaining an irate mindset & after the “Radio” skit, “Changed” blends cloud rap & boom bap realizing the time’s now for him to right all of his wrongs. “Falling” featuring Melanin 9 finds the 2 talking about being a product of more than simply smoking weed staying on the come up while the jazzy “Summer in the Bits” spending late nights & early mornings in the place he loves.

Preceding another “Radio” skit, “Scenes” cherishes each remnant of growth later confessing he isn’t sure where this road will take him leading into “Decline of Self” featuring Confucius MC & Coops finds the trio jumping over a piano-driven beat keeping it real to themselves & picking up the cards they’ve been dealt for years. “Piece of Shit” keeps the old school boom bap vibes going talking about never having a plan & simply making it work while “Hold Ur Own” makes it a mission to do his crew out in the Cronx proud.

“Know tha Status” featuring Axel Holy, Datkid & Upfront MC brings the keys back in the fold combining it with some kicks & snares talking about being selfish by default while “The Rain” succeeding a 3rd “Radio” skit refers back to the phrase “when it rains, it’s pours” after another life was lost in vein. “Weekend Blues” jazzily suggests everyone keeps their heads High to Focus on more demonstrating some clever wordplay just before “Men Can Breathe” featuring Benaddict dustily advises artists to find their balance & stay grinding until they get the chance of making money off their music.

Preceding the penultimate “Radio” skit, “Limitless” instrumentally reminds me of Nas’ iconic debut illmatic talking about there being nothing left other than the stains of what once was while “My Wonders” featuring Fliptrix comes together to burn skunk & pour liquor for their loved ones left. “The Feeling” explains burdens of the mind planting the roots of a new person while “Hope” featuring Nelson Dialect talking about only a few appreciating this. “In My Mind” excluding the “Radio” outro finishes by describing the only place he can find his peace.

I still prefer Lessons of Adolescence by a slight margin, but Verbz & Mr. Slipz still make an exciting High Focus Records debut out of Radio Waves & it gives me the impression they’ll put out some of the best material through the label as the decade goes on. Other than the skits kinda draggin’ it on a bit longer than it should’ve been, the unrivaled chemistry of Slipz’ cloudier yet denser boom bap production paired with Verbz’ introspective lyricism exposes what everything that makes them one of the UK hip hop movement’s most exciting acts in recent memory & the beginning of something greater for each of them.

Score: 4/5

Future & Lil Uzi Vert – “PLUTO X BABY PLUTO” review

This is the new collaborative effort from 2 household names in the trap subgenre of hip hop, Future & Lil Uzi Vert. The 2 have come together a handful of times throughout the last few years with songs like “Too Much Sauce” or Wassup” but after dropping a couple singles this past summer, they have seen fit to take things to the next level on PLUTO X BABY PLUTO.

The opener “Stripes Like Burberry” sees the 2 talking about wanting to make their mother’s proud over a energizing instrumental from DJ Esco whereas the next song “Marni on Me” pays tribute to the Italian clothing company Marni over a bland Brandon Finessin’ of Working on Dying & Outtatown beat. The track “Sleeping on the Floor” talks about partying over an instrumental with some rubbery bass while the song “Real Baby Pluto” talks about their alter egos over a banger beat from Zaytoven.

The track “Drankin’ n’ Smokin’” talks about women over a calming instrumental while the song “$1M Play” talks about shooting it up over a woodwind-infused beat. The track “Plastic” talks about their Cartiers over an instrumental with some strings while the song “That’s It” talks about their woadies being coyotes over an hypnotic beat from Wheezy.

The track “Bought a Bad Bitch” talks about how fine their girls are over a nondescript instrumental while the song “Rockstar Chainz” is a solo Future cut about feeing like autopilot over an uneventful beat. The track “Lullaby” right after is of course an Uzi solo cut about doing wrong over a DY instrumental with an AMAZING vocal sample while the song “She Never Been to Pluto” is the duo getting back together to talk about kicking hoes out like Kudos over an EDM/trap fusion.

The track “F-Off Dat” talks about smoking a good pack over a plain instrumental while the next song “I Don’t Wanna Break Up” talks about wanting to stay with their significant others over a moody beat. The penultimate track “Bankroll” talks about their money over a triumphant instrumental & then the closer “Moment of Clarity” talks about everyday being a movie premiere over a luxurious Turbo beat.

For the 4 month wait, the end result is pretty mid. Not only is Uzi carrying a good portion of the tape, but I wish he & Future took more risks because on the production on here is just so mediocre & safely played. Would’ve been a much better EP if you ask me.

Score: 2.5/5

Goodie Mob – “Survival Kit” review

Goodie Mob is an Atlanta, Georgia quartet consisting of Cee-Lo Green, Big Gipp, Khujo & T-Mo. Their 1995 debut Soul Food is easily one of the greatest southern hip hop records ever made & their 1999 sophomore effort Still Standing is really good too, but the 3 albums that’ve followed have been either hit or miss. However after a 7 year hiatus, they’re reuniting with Ortanized Noize for their 6th full-length album.

Things kick off with “Are You Ready?”, where Goodie Mob talks about strengthening the Black community over a rock-flavored beat. The next song “Frontline” talks about anarchy over a rubbery instrumental while the track “Curry Goat” goes at the studio gangstas over a ghostly beat. The song “No Cigar” with André 3000 sees the 4 asking who wants the smoke over bouncy trap instrumental while the track “Prey 4 da Sheep” with Big Boi finds the 4 talking about those lost in the matrix over a laidback beat.

After the “DC Young Fly Crowe’s Nest Break” skit, the song “4 My Ppl” is an empowering tribute to African Americans over a rebellious instrumental with some occasional horns & then after the “Big Rube’s Road Break” skit, the track “Off Road” is a wonderful feel-good anthem that I can imagine being blasted at BBQs next spring/summer.

The song “Try We” gets confrontational over a cavernous beat while the track “Me Tyme” is them saying all they want to hear is that they’re thinking about over a smooth boom bap instrumental. The song “Back2Back” talks about getting flirtatious over symphonically sensual beat while the title track talks about talks about going to war over a instrumental with a well incorporated flute & guitar.

The penultimate song “Calm B4 da Storm” warns the listener that they haven’t seen nothing yet backed by multiple beat-switches & after the “Big Rube’s Amazing Break”, the closer “Amazing Grays” talks about making your time count over a chilling instrumental.

If you wanna hear a great comeback effort from one of the greatest southern hip hop groups of all-time, I HIGHLY recommend this album because I honestly think it’s their best since Still Standing. Organized Noize provides a fantastic musical backdrop for Goodie Mob as the quartet do a great job at tackling the social issues that we’ve been facing throughout this hectic year.

Score: 4/5

Aesop Rock – “Spirit World Field Guide” review

Aesop Rock is a 44 year old MC/producer from New York known for his massive vocabulary. Dude has put out a handful of underground hip hop essentials throughout the decades whether it be his solo catalogue or his membership of groups like Hail Mary Mallon or Malibu Ken. Last we heard from Aesop on his own was in 2016 with the release of The Impossible Kid but as we approach the end of 2020, the man is delivering his 8th full-length album.

The album kicks off with “Hello from the Spirit World”, where Aesop describes the concept of the album over a xylophone-infused instrumental. “The Gates” then talks about being detached from society over a video gamey-beat while the song “Button Masher” talks about being buzzed over an abstract instrumental. The track “Dog at the Door” is literally about a dog barking at his door over a funky beat while the song “Gauze” talks about being watched over some drums & a bass guitar.

The track “Pizza Alley” talks about an experience he had in Peru over an entrancing beat while the song “Crystal Sword” talks about being nary of a known other over a funky boom bap instrumental. The track “Boot Soup” gets on the battle bar tip over a buzzing beat with some explosive drums while the song “Coveralls” talks about being on his old shit over a quirky instrumental.

The track “Jumping Coffin” talks about letting the combatants in over an electro-flavored beat while the song “Holy Waterfall” talks about a paranormal energy being waken & gaged over a synth-enlaced instrumental. The track “Flies” talks about cleaning his whole crib from insects over a calming boom bap beat while the song “Salt” talks about an unknown condition over an atmospheric instrumental.

The track “Sleeper Car” talks about feeling like losing it all again over a whimsical beat while the song “1 to 10” talks about having a bad back over a bare piano instrumental. The track “Attaboy” takes listeners to different levels of the spirit world over a dark beat while the song “Kodokushi” talks about dying alone over an Atari-esque instrumental.

The track “Fixed & Dilated” talks about a list of people he plans to haunt over a paranormal instrumental while the song “Side Quest” talks about skating the store at night over some bass & live drumming. The penultimate track “Marble Cake” talks about wanting to meet the maker over a tense beat with a brief switch-up near the end of the first half then the album ends with “The 4 Winds”, which describes sideways rain over a exploitation-esque instrumental.

I know this literally just came out, but I’ll honestly go as to far to say that this is one the best albums Aesop Rock has done yet. The outdoorsmen concept of the whole thing is very well executed & his production has only gotten better with time.

Score: 4/5