Trade Voorhees – “Happy Saturday the 14th” review

Las Vegas, Nevada emcee/producer Trade Voorhees celebrating his birthday weekend by putting out his 4th full-length studio album through Bandcamp a day early. Since 2001, he’s been steadily hustlin’ within the Sin City underground by putting out a a trilogy of eponymous full-lengths in addition to 5 EPs & 14 mixtapes. I even had the honor of meeting him at the 2021 Gathering of the Juggalos during the last day of that year’s festival & it was all love. Continuing the spirit of his Saturday the 14th series however, Trade’s wishing everyone a Happy Saturday the 14th.

The self-produced title track happens to be drumless intro talking about how it’s a celebration up in this bitch whereas “16mm (Spooky Movie)” takes the ominous trap route instrumentally cautioning to make sure your house is fully lit since he’s creepin’ in the shadows. “This Should Be Televised” shifts gears into piano boom bap territory to talk about his greatness being common sense, but then “Rainy Dayz” featuring LEROYCHOPS maintains the kicks & snares suggesting another day being another chance to hustle.

“Rainy Dayz 2” picks up right where the predecessor left off removing the drums in favor of going for an atmospheric direction having no doubt he’s one of the best just before the 78 second “Dirty Forever” brings a cool lo-fi vibe to it coming to terms with himself being an anomaly. “Life Goes On” heads for a funky boom bap direction suggesting the best days come from not giving a fuck leading into “Barracuda” maintaining the rawness talking about the long grind he’s been on.

The somber boom bap tone of “I’m 37, I’m Not Old” spends a minute & a half reflecting on his 37 birthday coming up this weekend while “Killswitch” boasts that he & Johnny Millz have that same very safety mechanism on them. “$1M Idea” drops ideas as if the ads will pay him while the lo-fi “Rob Zombie Movie” talks about making everyone lose it. The closer “Selfishness” featuring Proper Like I ties it all up with them tired of waking up unimpressed with shit.

Paying attention to Trade through his collaborations with Chapter 17/Psychopathic Records in-house producer and Lazy & Crazy Clothing founder Shaggytheairhead these past several years, Happy Saturday the 14th is easily one of the most important entries in his discography yet. His production teeters between boom bap, drumless & lo-fi hip hop bringing on a couple guests to join him in recapping these past 14 months in roughly 25 minutes.

Score: 4/5

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Fashawn – “Carte Blanche” review

Fresno, California emcee Fashawn tapping in with New York producer Little Vic for his 5th studio LP. Breaking out 15 years ago off his 7th mixtape The Antidote, his profile would begin to increase from there whether it be the Exile-produced debut album Boy Meets World. or The Alchemist-produced debut EP FASH-ionably Late & the Mass Appeal Records-backed sophomore effort The Ecology during my senior year of high school. Although his music since for me personally has been hit or miss with this fall’s You Owe Us with Interest being a more recent example, I have enjoyed Little Vic’s production work in the past & that made me anticipate Carte Blanche.

“Crown Vic” is this piano-driven boom bap intro turning muhfuckas into sacrifices similar to that of Jesus Christ himself whereas “1 Eyed King” works in a soul sample with some kicks & snares giving handcuffs for Christmas in addition to a middle finger for the already corrupt system. “Pearly Gates” featuring Rasheed Chappell finds the 2 promising that they’ll still rising like murder rate even when they’re gone leading into “Autumn in New York” providing a boom bap anthem dedicated to fall in the City of Dreams.

As for “168”, we have Little Vic keeping it in the basement instrumentally as Fashawn looks for a 187 while “Victim” talks about everyone being soft & this being as hard as it gets. After the “Waygu” interlude, “Mac n Cheese” returns to the boom bap unloading a short but deadly 37 second verse on top of it just before “Capo” brings back the soul sampling getting in his battle rap bag. “Spaghetti Western” though ends Carte Blanche talking about pumpin’ weight instead of pumpin’ fake.

Coming from 2 different worlds, these guys bring unique stories & sounds that excellently blend the raw with the refined. Little Vic’s production creates a soundscape that mirrors the rags-to-riches journey that he & the Fresno lyricist represent flexing between hard-hitting rhythms & delicately soulful sounds that match the conceptually gritty yet sophisticated journey through life’s harsh realities & ultimate triumphs that Fashawn vividly paints.

Score: 4/5

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Paul Wall – “Once Upon a Grind” review

Houston, Texas emcee, DJ & businessman Paul Wall returning with his 15th full-length studio LP. An affiliate of Swishahouse Entertaimment & a co-founder of The Color Changin’ Click, his 2005 sophomore effort albeit major label debut The People’s Champpropelled him as an H-Town veteran & has since been steadily dropping music whether it be Bounce Backs Over Setbacks becoming the best album of his from the previous decade to the mixed reception of The Great Wall last winter. Ahead of the latter’s 1-year anniversary this weekend, he’s got a story to tell Once Upon a Grind.

“Woke Up a Millionaire” produced by DJ Fresh perfectly starts with a spacious beat talking about how amazing it is the way he be stackin’ up his paper whereas “Platinum Playa” fuses Mobb & trap flexing his aptly titled status. “I Get Down” takes the ominous trap route instrumentally dedicating this one to all the go-getters listening worldwide just before “Can’t Talk, Chasing a Check” featuring Lil’ Keke & Slim Thug finds the trio tryna collect paychecks refusing to chit chat.

As for “All Money Good”, we have Paul heading for a soulful trap direction letting it be known that all kinds of money around his parts is good money as far as he’s concerned leading into “Way 2 Wet” reconnects with DJ Fresh once more for an anthem built his candy-painted whip. “Swang Down” featuring Z-Ro shoots for a laidback approach advising the soldiers to slowly do exactly that, but then “All Night” is another DJ Fresh banger getting what’s his throughout the whole evening.

“Underground Ambassador” featuring Berner, Big K.R.I.T., Freeway, Rich the Factor & Termanology starts the encore of Once Upon a Grind with a nearly 5 minute posse cut while “Pocket Fulla Money” brings the Mobb flare from earlier back in the equation talking about his pockets being swole. “Run to the Money” featuring Yung Al sees the pair getting in that mode soon as they hop out of bed & “Love 4 Rent” sends it all off spreading the word of money being unable to buy love.

Once Upon a Grind redeems Paul Wall from the mixed reception of it’s predecessor almost 365 days ago & I’ll even make the argument that it’s the most I’ve enjoyed a solo effort from him in quite a while. It’s more well-produced, the guests’ performances stick the landing for the most part & Paul himself coming off more focused all culminates in this 41 minute LP that he conceived out of love for the very city that made him.

Score: 3.5/5

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Z-Ro – “Call Me Rother” review

Here we have the 27th full-length studio LP from Houston, Texas emcee & singer/songwriter Z-Ro. A member of the Screwed Up Click collective, he’s been holding it down for 3 decades already whether it be the Rap-A-Lot Records debut & my personal favorite in his discography The Life of Joseph W. McVey or his output as part of the Guerilla Maab & later the duo ABN. He dropped The Ghetto Gospel earlier this spring & fast forward 9 months later, he’s coming back telling everyone to Call Me Rother.

After the “Geto Boys Reloaded” intro, the first song “Charging” is this trap opener talking about it living life on the grind & getting his every single time whereas “Kingz” maintains a vainglorious trap vibe instrumentally rather keeping it peaceful when it’s anything but. “Live My Dreams” featuring Slim Thug keeps it rollin’ by talking about wanting to build shit with their cliques prior to “Side Dicc” gets back in the trap tip showing a sensual side to him.

“No Ice” mixes elements of dirty south & trap refusing to let anyone else sip with him admitting that he’s drunk as fuck already leading into the hypnotic trap joint “Paybacc” talks about getting his lick back & owing someone an ass-whoopin’ out of pure vengeance. “Vandross” produced by N.O. Joe boasts that he’s the young Luther Vandross & asking for everyone to keep their hands off while the guitar-driven trap joint “My People” makes a plea for everyone in his life believing it’s time for us all to come together.

As for “Log On”, we have Z-Ro over a moody trap beat finding all the haters runnin’ their lips whenever he turns around assuming that the circus is in his city with all these clowns just before “Love in These Streets” talks about his legacy out in the city that made him. “Rother” has a cool interpolation of “In the Air Tonight” by Phil Collins on the hook not shrugging off his detractors while “Him” featuring Cee-Lo Green is another favorite from the Cory Mo instrumental to the boastful lyricism.

“Neva 4get” reaches the encore of Call Me Rother by hooking up an acoustic guitar & hi-hats with an occasional saxophone bringing all his guns for a specific individual promising that he’ll be a muhfucka that one won’t ever forget of going forward while “Motion” talks about having the very thing that a lot of these other people out here are severely lacking in. The closer “Die” wraps up his 2nd offering of 2024 by pondering where he’ll actually end up going in the afterlife.

Z-Ro’s recent output has ranged from the potent introspection of No Love Boulevard to the mediocrity of SäDISM & for his 2nd album this year, I happen to like it more than the predecessor. The production has improved, there are lesser guest appearances in comparison & he seems to be more comfortable playing the villain in your story this time around.

Score: 3.5/5

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Lelo – “When It’s Over” review

This is the 6th EP from Detroit, Michigan up-&-comer Lelo. Signing to 10K Projects earlier within the year following his first 3 EPs, he would make his presence known more widely in the local trap scene by putting out his 4th EP Nightingale not too long after landing a record deal & gained even more exposure a month later by dropping the single “No Contempt” on SoundCloud. LifeAfterDogshit just so happened to come out a month ago & exactly 30 days later, he’s picking up exactly where he left off on When It’s Over.

“Broken” starts by mixing a rubbery bass-line with hi-hats talking about his top shelf status & being in it forever whereas “Get It Together” takes the cloudy trap route instrumentally talking about trying to get everything all in order. “Manga” has a cool symphonic trap vibe advising not to compare him to anyone he’s better than while “Dresser” cautions that all the extra shit is gonna result in y’all getting lined up.

To get the other half going, “Evangelion” talks about his desires of becoming rich & not trying to come off as being too brash while “Game” speaks on racing his idols out here rather than looking up them & callin’ a fuck boy his child since he raised him. “Numbers” nears the end of the EP by talking about having hoes leading into “Real Dogshit” closing up shop pointing out some of these dudes be actin’ tough & not seeing any action.

Whenever the time comes for Lelo to put out an official full-length debut, I really do think it’s gonna elevate him to the next level because I can say with confidence that When It’s Over has to be the most enjoyable EP in his discography other than Nightingale. The production maintains the consistency of the EP that he gave us only a month ago, once more holding off on any guests to make way for him rippin’ mics by himself.

Score: 3.5/5

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9 Vicious – “Studio Addict” review

This is the official full-length debut studio album from Atlanta, Georgia up-&-comer 9 Vicious. Breaking out this past summer off his debut single “U Fancy”, he would go on to further introduce himself only a month ago by releasing his debut EP B4SA preluding what was to come from him in a much bigger capacity musically. Exactly 4 weeks later, he’s looking to take the next step & elevate himself as an artist by giving the listeners what it’s like in being a Studio Addict like him.

The title track is a stripped back trap intro rapping about wanting more guap as each day passes by refusing to bang out hits in the lab while “Tokyo” takes the synth-based route instrumentally flexing that he’s chillin’ over at the most populous city out in Japan with a baddie by his side. “F&N” produced by Nosaint of Vanguard Music Group hooks up a rubbery bass-line talking about praying to God & not Buddha whereas “The Truth” speaks from the heart over a calm trap beat from 406ahmad.

“Los Angeles” maintains the trap vibes droppin’ braggadocio showin’ off the lifestyle that he lives for a little over 3 minutes leading into “Ye” heading for more of a plugg direction to the beat as he talks about fuckin’ a dime bitch & having 10 hoes. The interlude is more of a 105 second atmospheric joint flexing that he got more sticks than Halo while “1 Beer” samples one of my all-time favorite Kanye West songs “No More Parties in L.A.” asking why they be fuckin’ with him.

Meanwhile on “Boom Bap”, we have 9 showing off the real deal swag that he’s got while “Slide Aht” flat outs tells a chick that she needs to slide right out the door at this point over a Jwade instrumental. “Black Truck Talking” feels somewhat unfinished since he left an open verse during the final minute or so while “Love Hurts” samples Cash Cobain asking his partner if she means it & “Just Landed” ends with Patrick Garza giving off a triumphant flare to keep the racks on him.

Can’t say it’s the most groundbreaking trap project that I’ve heard all year, but I very much think there is artistic potential in 9 Vicious & am optimistic that we’ll get to see & hear him grow as time goes on. Even if there’s a predominantly heavy Young Thug influence, there’s some interesting ideas within the production & the hunger burning inside him reveals itself passionately during the half hour experience.

Score: 3.5/5

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Kota the Friend – “Once in a Blue Moon” review

Brooklyn, New York emcee/producer Kota the Friend back for his 12th studio LP. Breaking out in 2016 off his debut EP Palm Tree Liquor, he would go on to follow it up with 2 more EPs before dropping his debut album FOTO in 2019. Kota has since dropped 10 more under his belt, with my personal favorites being To Kill a Sunrise & To See a Sunset both fully produced by Statik Selektah. 2 & a half years later, they’re linking back up on Once in a Blue Moon.

“Bacon Egg & Cheese” is this soulful boom bap intro advising not to fix what isn’t broke whereas “Blah” featuring Logic goes full-blown jazz rap talking about their shooters having the greens comin’ at your head if you be spewin’ bullshit out your mouth. “How It Is” maintains the jazzy boom bap vibes pullin’ up on their opps’ new crib like “fuck yo couch” as if he’s the late Rick James, but then the tranquil “Let It Go” talks about a place where you’re free head to toe.

Meanwhile on “Free My Dogs”, we have Kota over a mellow boom bap instrumental calling for all his homies to be let out from the pen just before “Northside” joyously talks about buying land up north. “What You Need” featuring PhearNone goes lo-fi asking their romantic interests that very question prior to the jazzy “Mr. Mellow” talking about having it cold. “Get It Done” soulfully wears his heart on his sleeve like it’s jewelry & “Count Your Days” ends by showing his fearlessness.

If you’re like me & you consider both albums that Kota the Friend has previously done with Statik Selektah to be the finest material of his entire career, Once in a Blue Moon drops outta nowhere recapturing the magic of it’s predecessors for an individual both of work satisfactory to fan of both. Statik’s production is jazzy yet lo-fi throughout a good bulk of it & the performances from Kota himself are the most focused he’s sounded in a while.

Score: 4.5/5

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Roc Marciano – “The Skeleton Key” review

This is the 12th full-length studio LP from Long Island emcee/producer Roc Marciano. Beginning in the very late 90’s as a member of the Flipmode Squad, he then went solo in 2008 to drop classic albums that would pave the way for those like Griselda such as Marcberg & Reloaded. He would begin focusing on producing projects for other artists like Flee Lord & Bronze Nazareth following Mt. Marci & of course returning to enlist The Alchemist to produce The Elephant Man’s Bones, which I gave a perfect score. He & Uncle Al are now presenting The Skeleton Key coming off a lesson in Marciology exactly 3 months since former AEW tbs Champion & the inaugural 新日本プロレス強い女子チャンピオン Willow Nightingale’s reign as CMLL Mundial Femenil Campeon ended.

The opener “Mystery Gawd” takes us to the basement instrumentally showing these lil muhfuckas what grown men do comparing him & Alchemist to gatekeepers whereas “Street Magic” goes for a bit of jazz rap direction suggesting that y’all should check the score. “Chopstick” brings a more morbid atmosphere to the table rightfully talking about embodying hip hop culture referencing the inaugural IWGPヘビー級チャンピオン, former 12-time WWE world champion, WWE tag team champion, 2-time WWE Hall of Famer & Real American Beer founder Hulk Hogan while “Knock It Off” wants to know why some of these cats be looking devilish yet angelic.

“Acid” hooks up these prominent piano chords flexing that they still drawing him even though he’s sketchy warning the pipsqueaks that shit really ain’t sweet leading into the soulful “Rauf” talking about running up a tab to receive himself a decent vehicle. “Chateau Josué” goes completely drumless to discuss doing it his way & that his hoe has no say whatsoever, but then “Skirt Streak” keeps the drums out of the equation once more advising how dirty the game is.

The track “Cryotherapy” hooks up this psychedelic beat feeling like he’s running out of hands to count & refusing to give handouts while the closer “Make Sure” symphonically talks about how he should be doing his own thing. The first of 2 bonus tracks “Hard Drugz” brings the soul samples back boasting that squares don’t fit into his circle whatsoever & finally, the other “Bleu Mouson” rounds it all out with a mafioso flare showing off his genius & status as a boss in all regions.

Merging all of Roc Marciano & The Alchemist’s individual qualities together, The Skeleton Key offers hip hop a collection of tracks that blend innovation with authenticity & also highlights their shared philosophy of creating art that stands the test of time while cementing their legacy as leaders & trendsetters in the field of communication through music. It’s additionally a thank you to their fans above all else & came from a place of gratitude for their continued support further solidifying themselves as undisputed trailblazers & tastemakers.

Score: 5/5

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Fat Joe – “The World Changed on Me” review

This is the 11th full-length studio LP from Bronx emcee, songwriter & actor Fat Joe. A member of D.I.T.C. & the Terror Squad, his first 3 albums Represent, J.O.E. (Jealous Ones Envy) & Don Cartagena are considered by many to be the best in his discography. However, much of his output since then has been either hit or miss from the underrated The Elephant in the Room to the horrendous J.O.S.E. 2 (Jealous Ones Still Envy 2). Cool & Dre produced the What Would Big Do? EP few years back & that was the most I’ve enjoyed Joey Crack’s music in a while, giving me hope for The World Changed on Me.

“Talking Hot” begins with a drumless Cool & Dreinstrumental letting it known that they gon’ be gettin’ shit poppin’ in here whereas “Mini Birki” featuring Ty$ happens to be a decent blend of trap & pop rap telling their respective partners Lorena & Zalia that they mean everything to them. “Us” featuring Remy Ma with co-production from 808-Ray makes a cutthroat toast to hip hop music leading into the underwhelming “Dog House” continuing the themes of romance albeit not as enjoyable as “Mini Birki” was.

As for “Me & U”, we have Joe over some horns & hi-hats talking about being alone with Lorena improving on what the previous joint lacked just before “Bad Man” featuring Tuggawar gets back on the drumless tip thanks to Don Cannon flexing their authenticity whilst everyone else be with the scams. “I Got You” was another mediocre pop rap joint that I could do without despite the Babyface hook, but then “Fresh” featuring Tony Sunshine finds the pair refusing to stop until they bring home Grammies.

The song “Paradise” was an obnoxious choice of a lead single from the DJ Khaled beat heavily ruining a sample as one would expect Khaled to do & in this case “Spring Love (Come Back to Me)” by Stevie B to the lyrics about giving his lover what she wants when she wants while the title track hops over a soulful STREETRUNNER instrumental confessing to feeling as if everyone switched on him. “They Don’t Love You” ends the LP with 1 more drumless cut laying passionate verses on top of this bare loop.

I’ve been wanting Cool & Dre to produce an album for Fat Joe since I feel like they’ve been bringing the best out of him in recent memory & considering that they produced 54% of it, I’ll still take it since it’s better than I had anticipated in it being even if it’s still average as a whole. The production’s actually consistent for a good portion of it & I like that he’s recapping the last 15 years of his life, it’s that the pop rap joints are hit or miss for me.

Score: 3/5

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Valee – “Great Sky London” review

New York producer Evilgiane teaming up with Chicago, Illinois rapper Valee for the latter’s 7th EP. Making his name known by releasing 3 mixtapes & a couple EPs from the span of 2015-2018, it wasn’t until one of my top 10 producers of all-time Ye formerly known as Kanye West signed him to a joint deal with G.O.O.D. Music & Def Jam Recordings. The next 2 EPs G.O.O.D. Job, You Found Me & Runnin’ Rich helped spread plugg music to a mainstream audience despite both receiving mixed reception to the point where he would go his own way from Thersday onward. I should also mention that Valee additionally has 2 EPs with AYOCHILLMAN as the duo The TrAppiEst as well as 2 more with ChaseTheMoney as the duo VTM & 2 with Stan Lane as the duo Vlane. His full-length debut Virtuoso produced by Harry Fraud from last summer won me over on him & Partridge produced by Black Noi$e from this spring reached that same caliber & increasing my excitement for Grey Sky London.

“Why Not” is this sample drill opener that he & Niketech put together talking about being in Malibu & a bitch gotta catch him even though this ain’t the MLB whatsoever in addition to taking the backstreet whereas “Up Here” co-produced by Harrison takes a cloudier direction instrumentally asking the hoe what type of time she on since he has the same clock. “Hi Hater Maino” promises that he’ll break up with his girl if he finds out she’s broke & “Elbow” kinda has a plugg vibe to the beat from Eera talking about pulling a hoe for lean, but then “By da Way” ends the EP by refusing to chase a hoe & stopping at Chase Bank instead.

It’s incredible to think that the same guy Ye signed to G.O.O.D. Music for 15 minutes nearly 7 years ago by now would be going on a full redemption arc starting with Virtuoso, only for Partridge & now Great Sky London to expand on. Evilgiane’s cloudy, sample drill & plugg-influenced production is a welcoming change of pace compared to the experimental vibes that Black Noi$e brought to Partridge over 7 months ago & Valee’s own performances maintains the laser-focus that were prominent throughout the other 2 previously mentioned projects he’s given us in the past year & a half.

Score: 4/5

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