Bobby J from Rockaway – “Higher” review

This is the sophomore effort from Queens emcee Bobby J from Rockaway. Coming up as a protege of Kwamé, he would begin to turn heads in the underground during the summer of 2019 off the strength of his full-length debut Summer Classics along with his Statik Selektah produced debut EP Endless Summer, the latter being my introduction to his music along with 1 Mic & a Drum’s eponymous EP. Bobby then joined forces with Detroit veteran Hush to drop the collab album 718 II 313 last summer, of which they had the honor of playing 80% of to me at a studio a year before it even dropped. Nef produced the Radio Days EP nearly 2 years ago & is tapping in with Dom Dirtee to take us Higher.

The title track starts with this otherworldly beat wanting to take it to a new level whereas “Once Again” takes the boom bap route instrumentally so Bobby can talking about being back up in this bitch with the hardcore composer. The 2nd single “Vibin’ (All By Myself)” gives off more a playful tone discussing the relatable subject matter of having fun by yourself in your room listening to music & after the “Mr. Walt Checks In” interlude, the lead single “Dangerous” lets their aptly titled mentality be known when facing them.

Paul Wall joins Bobby on the 3rd & final single “I Gotta” for both of them to go hard with their respective squads while “Outta This Club” tells the DJ to not stop playing this heater. After the “Tape Stand” skit, “Round N Round” makes their head spin over kicks & snares leading into “Get Away” passionately feels the need to escape. “Hello” nears the end agreeably saying he deserves more exposure & “Break Me Down” ends by refusing to crumble.

It’s already been 5 years since Summer Classics, but Higher comes off a couple EPs & group projects allowing him to elevate us with Dom Dirtee joining him in succeeding at that. Majik Ninja Entertainment in-house producer Fritz the Cat’s engineering is superb, Dom’s production reasserts his status as the hardcore composer & Bobby holds off from having any guests MCs unlike last time to snap for 36 minutes.

Score: 4.5/5

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Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 2” review

Tha God Fahim enlisting Nicholas Craven for his 48th EP. 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. But dude has been on a CRAZY ass EP run in 2023 with the standouts being 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 & more recently Machine Gun Vocabulary produced by Cartune Beatz. 5 years since Tha Myth Who Never Quit, we got a 2nd AND a 3rd installment last month. Coming off Dump Gawd: Hyperbolic Time Chamber Rap from last weekend, they’re dropping a sequel.

“Tha Unfathomable Horror” is this soulful intro promising that your wounds won’t ever heal & that he’s forever ill whereas “Shogun Jump” takes more of a chilled albeit hardcore route instrumentally talking about his legacy being set in stone calling himself the golden goose the litter. “Planetary Exploration” hooks up a prominent piano sample likening his raps to war & proclaiming himself as a scholar for dollars while “Planet Vegeta” keeps the keys in tact to talk about the game being watered down.

To kick off the other half of the EP, “Otha World” soulfully writes tracks of sorrow since he’s borrowing time & staying strong after losing loved ones just before “Onslaught” pulls a bit from orchestral music showing his steadiness with the aim. “Mad Life Menace” gets back on the chipmunk soul tip assuring he’s still a menace on the mic & “Hyperbolic Time Chamber Rap 3” finishes the EP with a jazzy installment of the titular song trilogy.

It wouldn’t even surprise me if Fahim dropped Dump Gawd: Hyperbolic Time Chamber Rap 3 next weekend or the weekend after since he’s dumpin’ nonstop in the last month, but he & Nicholas Craven continue to prove themselves as an unstoppable duo. A lot like the other 3 projects that they’ve put out in the last month, the latter’s production during the 20 minute experience is absolutely flawless & the Dump Gawd goes harder than he did last weekend.

Score: 4.5/5

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Kash Doll – “The Last Doll” review

Kash Doll is a 32 year old rapper, songwriter & actress from Detroit, Michigan who signed to Republic Records for her debut mixtape Brat Mailas well as the debut EP The Vault & of course the full-length debut studio album Stacked. She later signed to MNRK Music Group a year & a half ago after fulfilling her major label commitments, linking up with DJ Drama for her sophomore tape Back on Dexter & returning to put out The Last Doll independently after playing Monique during the first 2 seasons of BMF on STARZ.

“Klarity” produced by Cardiak & Wu10 begins with this exuberant trap opener dedicated to her daughter whereas the 2nd to last single “Kash Kommandments” decently puts her own spin on the iconic Biggie track “10 Crack Commandments”. “Nothin’ New” takes the Detroit trap route instrumentally thanks to none other than Helluva shittin’ on bitches for a living leading into “Pressin’” featuring Tee Grizzley wanting to know who these people think they pressin’ up against.

Hitmaka sampling “Apache (Jump On It)” by the Sugarhill Gang on “Jump” was pretty cool representing her city declaring that she won’t ever leave the block, but then the off-the-wall trap vibe that Lex Luger gives “Plot Twist” is outstanding flexing that she stole this bitch’s man. “NWA” featuring Tracy T finds the couple linking up over an OG Parker beat showing pride in bossing each other up while “Baby Boy” pays homage to her son.

“Stupid” shows off a more melodic side to Kash Doll singing about wanting to know why her man is out here actin’ stupid chasing subpar hoes when he has the coolest bad bitch just before “Comfy” featuring Tink samples “Comfortable” by Lil Wayne suggesting not to get too comfortable around them. “Love Myself” has a cool dance vibe talking about self-love while “Power” featuring MDG was a questionable lead single.

The penultimate track “Big 1” pushes towards the final moments of The Last Doll refusing to take these lame ass dudes seriously tellin’ one of them who thinks he can swing to batter up & finally, the b-side to the latter “Fawk ‘Em” officially closes the LP by giving middle fingers to all the fake, weird hoes as well as the envious snakes & the people who stay trickin’ off that munyun.

Marking a deeply personal chapter in her life, Kash Doll’s first album after leaving Republic showcases her growth as a woman, a mother of 2 & an artist evolving beyond the persona that first brought her into the spotlight. Balancing motherhood with her thriving career, the Detroit star reflects on her journey by using this album as a powerful expression of her personal & artistic evolution.

Score: 3.5/5

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Jamil Honesty – “Shots from the Soviet” review

Staten Island, New York born albeit Baltimore, Maryland based emcee/producer Jamil Honesty linking up with Giallo Point for his 4th EP. Getting his footing in off the strength of his debut mixtape Verses, he would go on to build a name for himself but putting out 3 EPs & a full-length debut serving as a sequel to one of the EPs that Hobgoblin produced. Coming off the Harbor Kidz’ self-titled debut alongside the Krazyfingaz-produced The God Honest Truth or the Machacha-produced Give Us Our Daily Bread & the final installment of the Martyr Musik trilogy, Jamil’s firing Shots from the Soviet.

After the intro, the first song “Bolshevik Bullets” is this piano-driven boom bap opener comparing the bars to Russian strays whereas “The Hit” strips the drums completely talking about everyone in the streets knowing the name. After an interlude, “Double Barrel” featuring Substance810 hooks the kick & snares back up, spitting that gun talk while the solemn boom bap joint “DNA” talks getting your life in a cypher if you’re made for it.

“Makarov Murders” starts the final leg of the EP dropping bodies with the titular semi-automatic pistol that the Soviet Union has made their standard military sidearm for over 7 decades leading into “Gun Pen” grittily comparing his pen-game to that of a firearm, which is pretty accurate. The final song “No Evidence” prior to the outro ends the EP mixing some sampling with kicks & snares talking about leaving the murder scene clean.

After producing Big Trip’s most acclaimed EPs to date Honestly Filthy & it’s sequel, Jamil taps in one of the UK hip hop scene’s most prolific producers in recent memory to make an EP that surpasses the Martyr Musik trilogy as the most essential offering in his discography. I have no complaints regarding Giallo Point’s boom bap production during the 21 minute run nor is there any regarding Jamil’s performances.

Score: 4.5/5

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Chetta – “Can’t Replace Me” review

New Orleans, Louisiana emcee/producer Chetta coming off one of his best LPs to date Sacrifice & Sabotage produced by $crim of the $uicideboy$ for his 21st EP. Starting out a decade ago with his debut mixtape Nino White, this was followed up with 18 EPs as well as 11 more tapes & a full-length debut, but gained significant attention off his G*59 Record$ debut Been Here Forever a couple summers back. Falling Off went on to be an equally dope prelude to the previous album Playboy, which also maintained the level of consistency as those previous projects since signing to G*59 as did Sick Bitch. 6 months after Sacrifice & Sabotage, he’s returning by declaring you Can’t Replace Me.

“Far Away from Okay” is this depressingly bleak self-produced trap opener getting on some emo rap subject matter whereas “OXY&ME” takes a cloudier route instrumentally talking about doing OxyContin chilling in the northside with the mob. “Mistakes Happen, That’s Why You’re Here” aggressively admits he’s tired of waiting asking what the fuck is up while “Pain 3:16” psychedelically gets too turnt up.

The song “Something Tragic” begins the other leg of the EP with a 2-parter addressing the familiar feeling of loneliness keeping it toxic & locked in prior to “Incubus” sampling “Adam’s Song” by blink-182 interestingly to talk about the drugs continuing to lift him even when he feels like he’s falling. “Apocalypse Now” ends Can’t Replace Me by talking about wanting to maintain this specific feeling forever without any worries.

Sacrifice & Sabotage still stands as my favorite offering in Chetta’s discography to come out in 2024 since it recaptured everything that made Been Here Forever the outstanding G*59 Record$ debut as it was & Can’t Replace Me continues to do the same. His own production sticks out on its own compared to $crim’s & he made his point clear as day in regards to his irreplaceable status on the label’s roster.

Score: 4/5

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Eto – “Long Way Home” review

This is the 7th full-length studio LP from Rochester, New York emcee/producer Eto. Learning of him through his verse at the end of the 6th installment of Westside Gunn’s infamous HWH mixtape series & eventually his DJ Muggs-produced full-length debut Hell’s Roof a few months later, this was followed up with Long Story Short as well as & Front Row & The Beauty of It. The Futurewave-produced Dead Poets would be as acclaimed as his debut & coming off Integrity 2 produced by Body Bag Ben which was a solid sequel the original EP itself, Eto’s taking the Long Way Home.

The title track has this unsettling atmosphere to the instrumental beginning by talking about the fact money comes a long way when you take the longer route back to the crib whereas “Purge Night” strips the drums completely alluding the titular series of films. The cutthroat “Yes Lord” featuring Flee Lord finds the RocAmeriKKKa duo getting in their hardcore bag lyrically prior to “Judas” produced by Chup finds him stuck at both ends of the pitchfork.

“New Money” hooks up a guitar sample thanks to V Don talking about that new paper coming in being speechless to him just before “The Light” featuring Tony Yayo seeing both artists over a boom bap instrumental from Nottz aggressively talking about how it got dark out. “No Pun Intended” featuring Kurupt cautions that neither one of them want any kind of trouble since the extended can extend in minutes & “Tearz” runs it all back up effortlessly.

Starting the final leg, Mephux brings a gospel trap flare to the table on “Oath” reflecting on when he used to play in the cold while the self-produced “3 Strikes” featuring Dark Lo & Nyce da Future jazzily refuses to make any kind of deal with the Devil going forward boasting they can go on for eons. The closer “Durnan” ties up the album refusing to share the proceeds choosing between a Desert Eagle or a box cutter.

Long Way Home isn’t on the same par of excellency as Dead Poets & Integrity 2 both were per se, nevertheless it still remains as an enjoyable offering from the Rochester lyricist & beatsmith. Yes the production on the last couple albums were more consistent, but Eto unquestionably sounds like he took his time with the verses & the brief amount of guests who join all match his level of lyricism finely.

Score: 3.5/5

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LINKIN PARK – “From 0” review

LINKIN PARK is an alternative rock outfit from Los Angeles, California now consisting of lead guitarist Brad Delson, deejay Joe Hahn, bassist Dave “Phoenix” Farrell, their new drummer Colin Brittain, co-frontman/rhythm guitarist Mike Shinoda & their new frontwoman Emily Armstrong. Originally known as Xero & Hybrid Theory, the band used the latter name for their landmark debut after signing to Warner Records & the sophomore effort Meteora became a childhood essential for me in addition to inaugurating Machine Shop Recordings’ formation. The Rick Rubin trilogy Minutes to Midnight as well as 1,000 Suns & Living Things marked them shifting away from the nu metal sound they made a name for themselves with although The Hunting Party was an underappreciated return to their roots. 1 More Light went full electropop & was universally scoffed at as the band’s worst album, resulting in Chester Bennington tragically taking his life on my mom’s 45th birthday. 7 years later, Colin’s replacing Rob Bourdon & Emily from prior Dead Sara fame is replacing Chester for the band’s 8th LP.

After the titular intro, the first song “The Emptiness Machine” is an alt-rock opener with additional elements of alternative metal & post-hardcore with Mike & Emily singing about wanting to be a part of something whereas “Cut the Bridge” taps into the band’s rap rock origins sabotaging it all. “Heavy’s the Crown” or the official theme song of the Endeavor-owned TKO Group Holdings division WWE’s Royal Rumble XXXIX fuses rap rock, nu metal & alt-rock explaining today’s the day you notice ‘cause they’re tired of explainin’ what the joke is just before “Over Each Other” comes off as this mediocre alt-pop rock crossover.

“Casualty” lets off some angst over some guitars & drumming calling to let them out & set them free since they know all the secrets you keep leading into “Overflow” embraces a pop rock vibe even further singing that they both know they’re outta control all dressed up for a riot. “2 Faced” gets back to LINKIN PARK’s nu metal origins talking about certain people’s rules being unfair & their truths being unrigid, but then pop rock-inspired “Stained” references the tragedy of Lady Macbeth during the hook.

The penultimate song “I.G.Y.E.I.H. (I Gave You Everything I Had)” pushes further towards the final moments of From 0 by singing about the fact that forgotten doesn’t mean that it’s forgiven this time while “Good Things Go” finishes by showcasing Emily & Mike’s vocal chemistry, assuring that only they can save one another from their respective lack of self control feelin’ like it’s been raining inside of their heads for the last 100 days.

“Up from the Bottom” starts the deluxe run with an alt-rock/rap rock crossover with a hint of pop punk finding a way to escape aside from the exception of Emily & Mike having nowhere to go while “Unshatter” swaps out the secondary pop punk influences from prior with hard rock, post-grunge & power pop talking about undoing the damage of a broken picture because they were trying to see themselves. The final bonus track “Let You Fade” represents the band’s continuous evolution finding balance between honoring their legacy in the midst of forging a bold & new path forward.

Being as skeptical as I was when Emily was announced to be replacing Chester since I grew up listening to LINKIN PARK & felt that it wouldn’t be the same without him, I nonetheless came away from From 0 a little indifferent towards it although I very much wish the band all the best in this new era of their’s. Mike’s production abandons the lifeless electropop from 2017 in favor of a melting pot consisting of alternative rock, alternative metal, rap rock, nu metal & pop rock whilst Emily’s performances compared to Mike’s are hit or miss.

Score: 3/5

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Mary J. Blige – “Gratitude” review

Mary J. Blige is a 53 year old singer/songwriter, rapper, actress & entrepreneur from New York City who became the youngest & 1st female to sign with Uptown Records distributed by MCA Records at the time. Her full-length debut prominently inspired by new jack swing What’s the 411? indicated her being a real deal & the sophomore effort My Life would catapult her into international stardom, cementing her as the Queen of Hip Hop Soul. Share My World, Mary, her final MCA offering No More Drama, her Geffen Records debut Love & Life, The Breakthrough which marked Matriarch Records’ formation and Growing Pains were all positively received with some of my favorite Mary J. songs appearing on all of them although Stronger withEach Tear came out to mixed feedback. My Life II…The Journey Continues became her final Geffen release & A Mary Christmas was a decent 1-off with Interscope Records, signing to Capitol Records for The London Sesssions & Strength of a Woman respectively. Matriach has since been distributed by 300 Entertainment after Mary put out Good Morning Gorgeous to coincide with her performing the Super Bowl LVI halftime show, returning once more for her 15th LP.

Fabolous joins Mary for the intro “Breathing” for an R&B/pop rap crossover sampling the classic Notorious B.I.G. cut “Kick in the Door” knowing their exes can’t breathe whereas “Need You More” featuring Jadakiss hops over a En Vogue sample as they confess how much they need each other. “Beautiful People” produced by KAYTRANADA comes across as this peppy dance track refusing to stop until she gets it right while “You Ain’t the Only One” finds her singing about being proud of herself.

“Never Give Up on Me” goes for more of a funkier vibe to the beat courtesy of DJ Cassidy refusing to give up on herself just before “Nobody But You” throws it back to the My Life era a bit telling her new man that she doesn’t want anyone else in her life besides him. “Here I Am” finds her singing over some pianos praying for a rainy day to wash her pain away, but then “Don’t Fuck Up” is this delicate R&B number proclaiming that she’s in love.

To start the final leg, “Superpowers” points out that there comes a time where a woman should be celebrated & receive all the flowers that she deserves while the laidback “Can’t Wait for You” asks her new romantic interest what if she told him that she’s scared at the mall where he wants her. “God’s Child” featuring Fat Joe is another R&B/hip hop soul fusion showing a religious side to both of them & “I Got Plans” featuring A$AP Ferg ends with them playfully rocking to another DJ Cassidy instrumental.

Over 3 decades in the game, the Queen of Hip Hop Soul & R&B puts the constant Gratitude that she’s been feeling as of late & channels it all into a 41 & a half minute album that further reinforces her legacy as much as her 300 debut did almost 3 years ago. The production maintains the consistency of Good Morning Gorgeous, every single guest MC who joins her offers their own different flavor with their verses, Mary’s own vocals are passionate & she lets everyone know how life’s been treating her.

Score: 3.5/5

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070 Shake – “Petrichor” review

070 Shake is a 27 year old rapper & singer/songwriter from North Bergen, New Jersey who started out as a member of the 070 collective. She later caught the attention of one of my top 10 producers of all-time Ye formerly known as Kanye West, who signed her to a joint deal with G.O.O.D. Music & Def Jam Recordings in 2016. Her debut EP Glitter saw a release in the spring of 2018 a couple months ahead of her mentor’s historic Wyoming sessions & it showed her artistic potential, which the full-length debut Modus Vivendi & the sophomore effort You Can’t Kill Me both expanded on. Def Jam would sever all ties with G.O.O.D. Music a few months after the latter due to Ye’s antisemitic meltdown forever altering his public appearance after calling himself a Nazi & later starting YZY SND, resulting in people questioning G.O.O.D. Music’s future. Over 2 years later, Shake’s returning for her 3rd album & presumably the last under the G.O.O.D./Def Jam tandem.

“Sin” works in some pianos & guitars to get us started singing about being awake & in a dream state simultaneously whereas “Elephant” keeps the guitars in tact addressing an individual that she doesn’t even recognize anymore & vice versa. “Pieces of You” brings the pianos back in the fold swapping out the guitars for strings asking what to do with the pieces of this person in her head, but then the standout “Vagabond” was originally conceived during the Vultures 2 sessions never loving anyone else than Johnny Depp & Vanessa Paradis’ daughter Lily-Rose Depp.

Moving on from there, the minute long “Lungs” wants to know if Lily-Rose would come with her to go find another one when the sun explodes & there’s nowhere to run kinda giving me a Yeezus vibe instrumentally just before “Into Your Garden” featuring JT brings the pair together over more keys being under the impression that all good things come to an end. “Battlefield” has these prominent organs throughout asking to come & give it up on top of restoring her faith, but then “Winter Baby / New Jersey Blues” is a drumless 2-parter paying her dues & doing her time.

“Song to the Siren” featuring Courtney Love asks if they should stand amid the breakers or lie with death while the synth-driven “What’s Wrong with Me?” sings about feeling as if a virus took control of her body with a new host. The crescendoing “Blood on Your Hands” finds her being unable to begin untangling herself from Lily-Rose while the song “Never Let Us Fade” repetitively sings about if she had her way. “Love” ties up Petrichor professing her love for her partner.

Taking it’s name from a term used to describe the smell of rain on arid soil after a long period of dry weather, what’s likely the end of G.O.O.D. Music’s partnership with Def Jam gives 1 final look at 070 Shake’s genre-bending style & a glimpse into her fatal vision of desire. The musical palate consists of acoustic guitars, ornate piano passages, ominous synths, dembow & hip-hop rhythms with a dash of psychedelia leveling up her maturity.

Score: 3.5/5

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Gwen Stefani – “Bouquet” review

Gwen Stefani is a 55 year old singer/songwriter, producer, fashion designer & actress Fullerton, California most notable for being the frontwoman of No Doubt. She later embarked on a solo career by signing to Interscope Records, seeing huge success following the release of her full-length debut L.A.M.B. (Love.Angel.Music.Baby.) named after her fashion line & The Sweet Escape. A decade later, she returned to positively received This Is What the Truth Feels Like as well as the Christmas album You Make It Feel Like Christmas consisting of covers during the 1st half & original material for the other. However, country producer Scott Hendricks is now joining Gwen for her 5th studio LP.

“Somebody Else’s” starts with this country rock opener singing about her current state mind after moving on from her ex-husband Gavin Rossdale whereas the title track those for more of a traditional country flare explaining that her heart was broken when meeting her new husband Blake Shelton. “Pretty” goes for more of a stripped-back approach singing that she’s bloomed & the acoustic-heavy “Empty Vases” tells Blake that he filled this lonely space of her’s.

Meanwhile on “Marigolds”, we have Gwen going country pop explaining that the tears they cry brought them back to life just before “Late to Bloom” goes for a country rock vibe once again singing about how waiting for Blake took centuries from her perspective. “Swallow My Tears” mixes country, pop & rock into 1 feeling as if the past has been chasing her around wanting Blake with her leading into “Reminders” asking if she can stay in his shade when she’s scared.

“All Your Fault” pushes towards the final moments of Bouquet pulling from traditional country music once again singing about her previous ex-husbands making her feel broken putting all the blame on them & “Purple Irises” featuring Blake Shelton himself properly finishes the LP in the form of this country duet telling each other that they’ve never known I love like the kind they have picking the titular flowers that symbolize wisdom, respect & admiration.

Chock full of 70’s pop-rock radio gems with a prominent Nashville influence, Scott Hendricks helps Gwen make her foray into country music one that’s better than I had originally anticipated because I can definitely see myself going back to this more than This is What the Truth Feels Like or You Make It Feel Like Christmas. Scott was the greatest choice of a producer that the No Doubt lead singer could make since he’s worked with her new husband plenty of times & Gwen’s songwriting throughout is prominently based around her experiences with love.

Score: 3.5/5

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