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

Bizarre – “Rufus” review

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This is the 4th studio album from Detroit rapper Bizarre, who is widely known for being a member of the now defunct D12. He was one of the first members of the group to already have an established solo career, as his 1998 EP Attack of the Weirdos as well as his 2005 debut album Hannicap Circus are hometown classics in my eyes. Last time we heard from him in a full-length capacity was in 2010 with Friday Night at St. Andrews but after years of focusing on mixtapes & more recently the duo L.A.R.S. with King Gordy, he’s back with his first studio album in 9 years with Rufus.

The opener “RIP Bizarre” talks about how wild he is over a woozy instrumental, but then it cuts into a spoken word piece where he announces that the Bizarre character will be out the window for a while. The intro is an auto-tune trap ballad about all the drugs he does while the song “Day in the Hood” talks about what it’s like living in Detroit over a haunting trap beat. The track “Puffin'” with Danny Mellz & Wack Rac sees the 3 of course talking about weed over a nocturnal beat while the song “Grandmom” is an endearing tribute to Biz’s late grandmother.

The track “Wish I Was High” is an hallucinogenic banger about wanting to be under the influence & while I like the bass-heavy instrumental on the song “Dope Fiend”, Biz’s whispery delivery doesn’t do it for me. The track “Leatherface” finds L.A.R.S getting with Lazarus & Hopsin to deliver an epically grimy horrorcore cut while the song “Get Hi” talks about his love for weed over an intoxicating beat. The track “Treat Yourself” talks about appreciating the simple things in life & not letting the world bring you down over a skeletal instrumental whereas the song “Late Night” with Oba Rowland is an awkward attempt at a “sexy” radio hit.

The track “Lose Weight” talks about wanting to live a healthier lifestyle after recently being diagnosed with diabetes over a soulful instrumental while the song “Man on a Mission” with Danny Mellz & Tay Kova sees the 3 talking about ruff riding over a druggy trap beat. The track “Petty” with former D12 bandmate dEnAuN sees the 2 talking about being just that over a stripped back instrumental while the song “Step Father” is a dedication to all the stepfathers out there backed with a rich instrumental & while the song “Free” talks about being relieved, the beat is nondescript.

The track “My Daughter” talks about not wanting to be a bad father over a vibraphone-inflicted trap beat whereas the song “Breathe Deep” talks about being on the verge of a panic attack over a grim instrumental. The track “Marijuana” needs no further explanation lyrically although I do like the vibrant production while the penultimate track “Bizarre Back / Have You Ever” starts off with a spoken word piece announcing the return of the Bizarre character & then he busts in asking rhetorical questions over a dazing instrumental. Then there’s the closer “Fans”, where Biz invites a handful of independent rappers on to showcase their talents.

This is actually a pretty solid effort from Biz overall. Sure it’s 80 minutes long & there are some cuts on here that I can personally do without, but it’s a nice change of pace as he spends a good 95% of the time telling you who he really is as a person & where he’s at now.

Score: 3.5/5

Kofi Stone – “Nobody Cares ‘Till Everybody Does” review

Birmingham, West Midlands, England, United Kingdom emcee Kofi Stone finally making his official full-length studio debut. Coming up battle rapping in the schoolyards as an adolescent, he would eventually put out his debut single “Stories in Pyjamas” in the summer of 2017 looking back at the lives of individuals close to him & his challenges growing up in an inner-city community. However, he’s been building up hype for Nobody Cares ‘Till Everybody Does coming off a few teasers.

“Diamonds in the Water” was a tight lo-fi opener talking about his desire to be set free even if nothing’s ever as it seems whereas “Frozen Hearts” speaks of cartwheeling when his life got turned upside down. “Dirty Airforces” talks about feeling exhausted from running around his city over a boom bap instrumental produced by Talos until the lead single “Same Old” discusses him getting fed up with a 9-5 being the reason why he began pursuing music full-time on top of a piano-driven Joe Corfield beat.

We get some more lo-fi vibes “After Hours” talking about his desires of having a conversation with a woman he’s been falling for just before the 3rd & final single “Talk About Us” assures the women being addressed that he’ll be here waiting for her if she ever changes his mind. “A Beautiful Tragedy” talks about needing an interval where he & his ex can be spiritual since they’re both acting like imbeciles while “It’s Ok to Cry” featuring Loyle Carner links up to express comfort in vulnerability.

The drumless title track talks about his career upbringings in Birmingham to get the 2nd half of Nobody Cares ‘Till Everybody Does going while “Busker Flow” likens his streams of consciousness to that of Lupe Fiasco or Black Star & Brother Ali in the middle of taking it back to his street-performing days over a soulful Pitch 92 instrumental. “Hugh” reunites with Joe Corfield for a tribute to his childhood friend of the same name while “Lost to the Streets” talks about his crimes catching up to him & hoping his son doesn’t suffer the same fate.

“Rodney Place” wraps up the final act of the LP painting imagery of a broken home growing up in the street located in the Southwark borough of London for the 2nd single while the enraging “Stepfather” resentfully airs out his grievances towards Kofi’s father Tony for walking out when he was only 11 after Christmas of 2007, expressing the hatred he’ll always hold against him for hurting his mother. “Karma” spends the remaining minutes of the album suggesting to play safely because karma does in fact have its way of coming back around.

Returning to his roots whilst venturing into new territory, Nobody Cares ‘Till Everybody Does takes inspiration from the biblical story of King David mirroring Kofi Sfone’s commitment to self-exploration & redemption resulting in an exciting debut. The consciously honest lyricism reveals what he’s always been capable of from the perspective of a storyteller with High Focus Records in-house producers Talos alongside Joe Corfield & Pitch 92 all supplying the strongest jazzy yet lo-fi boom bap production of the bunch.

Score: 4/5

Max B – “House Money” review

Max B is a 41 year old veteran from Harlem, New York who came up as a member of the ByrdGang. He released a solid debut album in 2011 called Vigilante Season but with him setting to be released from prison in 2021, he’s making a comeback with his debut EP.

The opener “Take My Time” talks about the lavish life over a mellow beat while the next song “Super Bad” with French Montana is a decent cut taken from their latest collab mixtape Coke Wave 4 that came out over the summer. The track “Ride on ‘Em” with Jadakiss sees the 2 showing off over a ghostly instrumental while the song “So Cold” with A Boogie wit da Hoodie talks about how dope they are over a woozy instrumental. The track “Never Change” with Wiz Khalifa sees the 2 talking about staying the same despite being famous over a spacey beat. The penultimate track “Goodbye” is pretty much Cam & Max passing the torch over to Dave East & then the closer “Champagne Wishes” with A$AP Ferg is a luxurious club banger.

For a comeback after 8 years, this was ok. Max definitely still has it in him & the features all sound great, but the production that Paul Couture brings to the table is hit or miss. I’d love to see him hook back up with Dame Grease one day, but time will tell.

Score: 3/5

Roddy Ricch – “Please Excuse Me for Being Antisocial” review

Roddy Ricch is a 21 year old rapper from Compton, California that came onto my radar last November due to the song “Splash Warning” off of Meek Mill’s last album Championships. He made it onto this year’s XXL Freshman Class list & now to keep the buzz going, he’s coming through with his debut album.

The intro finds Roddy celebrating his new life over a gorgeous set of piano chords with a cool switch up near the end while the next song “The Box” talks about how he’ll never sell his soul over a trap beat with some strings. The track “Start wit Me” with Gunna sees the 2 telling their hater to back off over a JetsonMade instrumental with a decent flute passage & rubbery bass while the song “Perfect Time” talks about groupies over a trap beat with some rich keyboards. The track “Moonwalkin'” with Lil Durk sees the 2 talking about sex over a dime a dozen acoustic trap instrumental.

The track “Big Stepper” talks about his success over a Western-inspired trap beat while the song “God’s Eyes” gets reflective over a gorgeous instrumental. The track “PETA” with Meek Mill sees the 2 flexing over an instrumental with this odd sample sticking out while the song “Boom Boom Room” continues to brag over another acoustic trap instrumental. After the “Elyse’s Skit”, the track “High Fashion” speaks for itself lyrically over a soothing DJ Mustard beat while the song “Bacc Seat” with Ty$ is a buttery love tune.

The track “Roll Dice” talks about being a star over a moody beat while the song “Prayers to the Trap God” reflects on his drug dealing days over a settle instrumental. The penultimate track “Tip Toe” with A Boogie wit da Hoodie sees the 2 recalling some personal experiences they’ve had over a bland instrumental & then the album ends with “War Baby”, where Roddy talks about where he came from over a gloomy instrumental.

For his debut album, this was just alright to me personally. Roddy definitely has potential, but he’s not really taking any risks on this one as the instrumental palate is just run of the mill & the features being hit or miss.

Score: 2.5/5