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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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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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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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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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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Tunde Adebimpe – “Thee Black Boltz” review

Tunde Adebimpe is a 50 year old musician, singer/songwriter & actor from St. Louis, Missouri known for being the co-frontman of TV on the Radio as well as his roles in the 16th Marvel Cinematic Universe (MCU) film Spider-Man: Homecoming & the brief animated series Lazer Wulf on the Discovery Global-owned Cartoon Network late night block [adult swim]. However, he’s looking to embark on a solo career by signing to Sub Pop Records & putting together a debut album solely under his own name.

After the titular intro, the first song “Magnetic” was a post-punk revival & alternative dance lead single that suits the beginning of the LP rollout singing about thinking of his time & space whereas “Ate the Moon” takes the industrial dance route instrumentally suggesting to call the doctors, preachers & lawyers. “Pinstack” hooks up a prominent electric guitar so he can ask if you’d like to live in a dream, but then “Drop” blends indie pop & neo-soul into 1 singing about rising into the night.

“ILY” gives off a prominent acoustic vibe for a tribute to his wife & French cartoonist Domitille Collardey leading into “The Most” dabbling with synthpop suggesting that the love will live on even if the lover is a liar. “God Knows” delves into the complexities of a bittersweet breakup capturing his vulnerability just before “Blue” might be my least favorite track despite its electronic influences.“Somebody New” throws it back to the 80s bringing indie pop & indietronica together while the minimal “Streetlight Nuevo” wraps it up by riding this rupture until the break of day.

In a lot of ways, the excitement of doing something on his own for the first time ignited a similar spark in him as TV on the Radio’s earlier days. Wilder Zoby’s production prominently goes for an indie rock, art pop & indie pop flare with further influences of indie folk, dance-punk revival, synthpop, indietronica, alternative dance & singer/songwriter addressing themes of the human condition in all its forms under all its stressors both big & small. For this to be his proper introduction as a solo act, Tunde surely desperate grasps onto small moments of joy amidst the dissonance & sadness in any way he could possibly can.

Score: 4/5

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Whyceg – “Cegregation” review

Atlanta, Georgia producer, audio engineer & recording artist Whyceg releasing his sophomore effort under his Sony Music imprint Cegular Records. Properly introducing himself to the underground in the summer of 2022 off his debut EP Grey Areas alongside the superior follow-up Cegular over a year later & of course the debut mixtape Yin & Yang a couple months later, his full-length studio debut Ceg Year would arrive in the previous February, signing both Babystaydown & Pradabagshawty to Cegular afterwards with each of them becoming successful in their own unique ways this past fall. Unlike their mentor’s previous solo efforts however, he chooses to take a backseat vocally approaching Cegregation & a list of guest performers to do what they do best over his production.

“Go Far” by 2sdxrt3all begins with a plugg intro talking about being disappointed by people tearing his heart in half whenever he shows them love whereas “Creep” by B6 decently blends gangsta rap lyrics & a dark plugg instrumental together for a passable single if you’re a fan of those styles. “In the Blind” by FBLMANNY talks about others hating to play a game they don’t want him to win leading into a personal favorite of mine “Old Lady Purse” by RRoxket co-produced by Goxan admitting to getting nervous around the feds.

Big Yavo gets a song of his own with the pluggy “Yay Ball” pulling out a stick & he’s not referring to chicken when he says that just before “Jetson” by Lil Tony fuses these trippy synthesizers & hi-hats shouting out one of the 2020s’ most popular trap beatsmiths: JetsonMade. “Dominoes” by Lazer Dim 700 & 2sdxrt3all finds the 2 teaming up for a dark plugg track cautioning to not choke if you don’t want smoke while “No Mental” by Yhapojj talks about giving a fuck less regarding his haters.

“IRL” by Lil Dre6o reaches the halfway point of Cegregation poking fun at people who be actin’ hard on the Meta Platforms-owned Instagram only to be scared shitless of him when running into each other while “Dead Ppl” by NDO D & Pradabagshawty kicks off the 2nd act on some dark plugg shit once again talking about smelling corpses near them, the latter having the strongest verse compared to the other. “Need Shells” by iam3hard moves forward continuing to mesh themes of the gangsta lifestyle & plugg instrumentation looking to reload his guns with more ammo while “Claim You Rich” by Jripey takes jabs at anybody who says they’re wealthier than they really are.

Zone1eriic takes the mic during “Clock It” & once another highlight “Undercover” by Babystaydown takes 111 seconds so he can talk about the woman he’s seeing possibly being the one yet simultaneously feeling like he can’t trust her for whatever reason he’s still trying to figure out, 2sdxrt3all returns 1 last time so he can make a sequel to “Crazy Dxrt3all Flow” off his 2nd EP Stop Holdin’ Nuts that recaptures everything that made the original version of it so special.

“OhYeah” by Rx Yp uses a flow reminiscent of Lucki’s using the gat to make muhfuckas dance like it’s the music video to “Thriller” by the late King of Pop himself Michael Jackon while “TF You Goin’?” by luhbrod7 promises to never leave his Heat similarly to how LeBron James did. Ending the album on a high note, “Riches” by diamond* clarifies to his girlfriend that he handles mafia business making others go missing.

I’d recommend checking out the Cegular EP for those curious of Whyceg’s abilities as a rapper, but I’d still take it over Cegregation for the finest entry in his discography so far & it has me hoping I’ll enjoy the next time the CEO of Cegular Records decides to let other artists rock his signature plugg sound throughout the duration of an entire LP a lot more than the averageness of this. This guy’s amongst my favorites in the plugg/dark plugg subgenres of trap & he really has something special going for his imprint, my main criticism with the album’s that the guest-list feels inconsistent.

Score: 2.5/5

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Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 10” review

This is the 58th EP from Atlanta, Georgia emcee/producer Tha God Fahim. Starting as an affiliate of Griselda Records as well as being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. He’s been putting out amongst his best material in the past few years like the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull, the Nicholas Craven-produced Dump Gawd: Shot Clock King series, the Oh No-produced Berserko, Dump Gawd: Rhyme Pays produced by Mike Shabb, Tha Supreme Hoarder of All Pristine Wealth. Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & Machine Gun Vocabulary produced by Cartune Beatz. We just got Lethal Weapon 2 over a week ago & Dump Gawd: Hyperbolic Time Chamber Rap 10 has arrived after a week-long delay.

“Rapid Succession” featuring Jay NiCE is this chipmunk soul intro talking about being in a space where everyone around them is eating whereas “Tha Highest Caliber” likens every word he says to a bullet & wack MCs becoming a part of his highlight footage. “Massive Proportions” brings the crooning soul samples back in the fold references Groot from the Guardians of the Galaxy owned by The Walt Disney Company subsidiary Marvel just before the orchestral “Rejuvenation” talks about making up for the slackin’

The song “Lord of Rhyme” gets the 2nd leg of Dump Gawd: Hyperbolic Time Chamber Rap 10 going by shining sublimely & categorizing the techniques he demonstrates as flawless leading into “Flow Sick No Vaccine” making his competition malfunction because of the destruction & corruption he brings forth. “Dark Dojo” gets back on the chipmunk soul tip 1 last time to talk about the pen being forbidden in addition to breaking down why he walks the lonely path he takes.

Craven recently took to Twitter a day or 2 ago hinting that we could potentially get 90 more installments in the Dump Gawd: Hyperbolic Time Chamber Rap saga & since all 10 that’ve seen the light of day maintain a specific level of quality, I wouldn’t mind it at this point. I’m happy that they pushed this back a whole weekend so the proper adjustments could be made whether it be the production showing influences of drumless, chipmunk soul & jazz rap or Fahim focusing on his pen a bit more slowly bringing guests on the mic with him.

Score: 4/5

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Wu-Tang Clan – “Black Samson, The Bastard Swordsmen” review

The Wu-Tang Clan are the greatest hip hop group of all-time from Staten Island, New York consisting of one of my top 10 producers the RZA, the GZA, Inspectah Deck, U-God, Ghostface Killah, Method Man, Raekwon, Masta Killa, Cappadonna, the late Ol’ Dirty Bastard & their deejay Mathematics. Originally a trio under the All in Together Now moniker, their 1993 debut Enter the Wu-Tang (36 Chambers) became an east coast hip hop landmark & their 1997 sophomore effort Wu-Tang Forever is the greatest double disc hip hop album ever. The W was significantly less polished than most of what came of that era in the Clan & Iron Flag divisively revisited old sounds. 8 Diagrams stirred more controversy due to RZA embracing a experimental, orchestral & more universal production style with A Better Tomorrow during my senior year of high school being regarded as their worst even if “Pioneer the Frontier” has always stood out to me personally. Mathematics would fully produce The Saga Continues… & is doing so again for the Wu’s 8th album preluding their upcoming farewell tour. Not even gonna waste my breath on Once Upon a Time in Shaolin.

After the “Sucker Free City” intro, the first song “Mandigo” is this boom bap opener with 4 of the 9 remaining swordsmen talking about their style taking a strong back & total breath control whereas “Roar of a Lion (The Lion’s Pit)” by RZA & U-God featuring Kool G Rap finds the trio giving middle fingers to all their enemies. “Claudine” by Ghostface Killah & Method Man featuring Nicole Bus crosses over hip hop & soul trying to fight for love while “Shaolin vs. Lama” by Inspectah Deck & Raekwon talks about holding your head.

“Executioners from Shaolin” keeps it rolling by sinisterly cautioning that nobody want smoke with them in a battle just before “Cleopatra Jones” by Masta Killa & Raekwon sees the pair breaking down the affection each of them have a woman who goes by that name. “Warriors 2, Cooley High” by Method Man featuring Benny the Butcher absolutely delivers as a big fan of both Wu-Tang & Griselda just before “Let’s Do It Again” by RZA following his role as Bobby in the A24 Films surrealist comedy drama Problemista featuring RJ Payne, Willie the Kid& 38 Spesh talks about getting stronger as life becomes more difficult.

Cappadonna, Masta Killa & U-God all link on up “Dolomite” for another hardcore boom bap track justifiably boasting that you can’t tell ‘em shit since they’ve been around longer than the 80s crack epidemic & going deep enough in the projects where no one else can go, but then the “Trouble Man” outro shows off Kameron Corvet’s skills through a brief verse. “Charleston Blue, Legend of a Fighter” by Cappadonna featuring KXNG CROOKED officially ends the album with the latter talking about fatherhood & Cappa penning an open letter to his mother while the bonus track “Sinners (Mo’ Better Blues)” by the Def Squad was a cool reunion minus Redman.

7 & a half years since The Saga Continues…, the Clan homages the blaxploitation & martial arts genres of films that shaped them 5 decades ago. I appreciate that all 9 members were able to contribute lyrically testing each other’s swords unlike U-God being the only absentee on the predecessor & some of the finest in the underground today joining them felt like a rewarding passing-of-the-torch moment. 1 final noteworthy mention has to be Mathematics displaying his growth & development as a producer with the selection of beats he’s arranged.

Score: 3.5/5

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Berner – “Carbon” review

This is the 3rd EP from San Francisco, California rapper, songwriter & entrepreneur Berner. Beginning as a battle rapper in high school, he would go on to drop 16 LPs along with a few mixtapes & a couple EPs in addition to the plethora of collaborative projects he has with numerous artists. Hoffa was a Gotti sequel that recaptured the essence of its predecessor from a new perspective & the Cookies founder is back 5th months later to put out Carbon teasing his next studio album.

“Mid Flight” soulfully talks about everything you need if you want to get right whereas “Envy” strips the drums to discuss themes of jealousy. “Fuck ‘Em” featuring Mando works in a rock sample to give everyone the middle finger while “1,000,000 Bags Sold” featuring Ohgeesy & Yung Chowder finds the trio talking about pushing that many bags of dope. The title track goes for a dreary trap vibe embarking on an endless paper chase & “Corporate Thuggin’” featuring Chevy Woods smoothly ends with them tryna get paid.

Hoffa was the most that I personally have found myself enjoying a project from Berner in some time since his most recent output has been generally treated to mixed reception & sadly to say, Carbon feels like a step or 2 back after taking a few steps forward last fall. His verses & the production are both, but I feel like the performances from the features primarily don’t really hold up to the Bern 1 Entertainment founder’s other than both Ohgeesy & Chevy Woods.

Score: 2.5/5

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