Snoop Dogg – “Missionary” review

Long Beach emcee, songwriter, media personality, actor, entrepreneur, record executive & WWE Hall of Famer Snoop Dogg reuniting with his mentor Dr. Dre for the 20th studio LP in his discography. His 1993 debut album Doggystyle is widely regarded as a west coast essential, but his output since has been hit or miss whether it be Tha Last Meal & Tha Blue Carpet Treatment almost reaching the same caliber of his debut or Da Game is to be Sold, Not to be Told & Bible of Love falling flat on their faces. He purchased Death Row Records from MNRK Music Group days ahead of the Super Bowl LVI halftime person hence why he’s B.o.D.R. (Bacc on Death Row) since, so it’s completely understandable that he & Dre are finally putting out Missionary through a historic joint deal between Death Row & Aftermath Entertainment/Interscope Records.

After the “Fore Play” intro by BJ the Chicago Kid, the first song “Shangri La” samples “Stakes is High” by De La Soul with the help of Sam Sneed talking about the time coming to start trouble whereas “Outta da Blue” featuring Dr. Dre goes back-&-forth with each other on the mic over Dre, BoogzDaBeast, Dem Jointz & FNZ sampling both “Saturday Night” by Schoolly D & “Scratchin’” by Magic Disco Machine. “Hard Knocks” finds Dre & Focus… flipping “Another Brick in the Wall” by Pink Floyd to talk about taking the long way, but then the pop rap/neo soul crossover “Gorgeous” co-produced by Blu2th & Fredwreck doing the wildest shit at 6am.

“Last Dance with Mary Jane” featuring Jelly Roll heavily samples “Mary Jane’s Last Dance” by Tom Petty suggesting to not even bother asking them giving up smoking weed just before “Thank You” aggressively talks about Uncle Snoop thanking everyone listening for letting him be himself. “Pressure” takes a funkier route instrumentally addressing the pussies getting frisky soon as the Dogg gets let out leading into the worst single “Another Part of Me” featuring Sting sampling “Message in a Bottle” by The Police to talk about both of them keeping money on their mind.

Method Man joins Snoop on “Skyscrapers” going for a triumphant flare altogether telling the young black entrepreneurs to turn their cap into capitalism stackin’ their bread high ahead of the groovy “Fire” cautioning that you don’t wanna get involved when the war starts referencing Amazon founder Jeff Bezos. “Gunz N Smoke” featuring Eminem & 50 Cent flips “Dead Wrong” by The Notorious B.I.G. also featuring Eminem flexing their street ties in Long Beach, Detroit & New York respectively while “Sticcy Situation” shows a brand new strategy.

“Now or Never” featuring Dr. Dre pushes towards the conclusion of Missionary by shooting for the stars with something so unforgettable & trying to leave something that’ll live forever while the song “Gangsta Pose” featuring Fat Money keeps the gangsta rap vibes going asking where were y’all when they were in the middle of a war & keeping it on regardless of that. “The Negotiator” wraps things up with a poker face & talking about his legacy being everlasting.

By no means necessary did I go into Missionary expecting it to be another Doggystyle like some of the delusional comments that I’ve seen on a few of Snoop’s social media posts in the last few months simply based on the 3 singles we got building up to it. However, I do think it’s on par with Tha Last Meal & Tha Blue Carpet Treatment in being one of the best albums that he’s put out since his debut. From the lyricism to Dre’s production, you can very much hear the maturity between them both over the last 3 decades & testifies to their longevities in the west coast.

Score: 4.5/5

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Eminem – “THE DƎATH OF SLIM SHADY (COUP DE GRÂCE)” review

This is the 13th full-length LP from Detroit emcee, songwriter, producer, record executive, actor, Shady Records founder, the white guy from D12 also known as Slim Shady or mostly Eminem. What can be said now about him at this point in his career that hasn’t been said already? His debut Infinite produced by his now hype man mR. pOrTeR & backed by Web Entertainment showed his potential with a heavy AZ influence & The Slim Shady EP resulted in a deal with Aftermath Entertainment & Interscope Records. His first 3 major label albums The Slim Shady LP, The Marshall Mathers LP & The Eminem Show are considered by many to be the holy trinity in his discography, but I have a bit of a love/hate relationship with ƎNCORE since it had great production except you can tell he was heavy on the drugs. RELAPSƎ came to grow on me from 2018 onward because you have to get past the accents to enjoy the production & really the last we’ve heard the Slim Shady persona until now. I have a love/hate relationship with RECOVƎRY to for the opposite reasons as ƎNCORE & after the decent The Marshall Mathers LP 2, things have been quite rough for Em in the last 7 years. RƎVIVAL was unquestionably one of the worst albums of the 2010s, which he would vent his frustration with on his last 2 full-lengths KAMIKAZƎ & MUSIC TO BE MURDERƎD BY. 3 & a half years after MUSIC TO BE MURDERƎD BY 2: SIDE B however, Slim’s returning after 15 years to meet his ultimate demise 2 & a half years after the Super Bowl LVI halftime show.

“Renaissance” produced with Luis Resto starts Em’s first offering in 4 years apocalyptically explaining how his music has changed since his sophomore effort albeit commercial debut 25 years ago already in addition to criticizing everyone who was hating on Kendrick Lamar’s final TDE/Aftermath album Mr. Morale & the Big Steppers for not having any bangers when it certainly did whereas “Habits” works in some kicks & snares prior to a switch up throwing it back to like mid-2000s era. “Trouble” ruggedly tries to get himself cancelled thanks to Aftermath in-house producers Dem Jointz & Fredwreck just before “Brand New Dance” feels like a successor to “Same Song & Dance”.

Don Cannon & Cubeatz give “Evil” a boom bap flare centered around his Bad Meets Ǝvil persona & after the “All You Got” skit, “Lucifer” reunites with Dr. Dre behind the boards hypnotically talking about TikTok & Twitter trying to get him kicked off. “Antichrist” featuring Bizarre likens themselves to the sons of Satan wishing they’d go off the deep end like Ye or the Nazi formerly known as Kanye West over vibraphones asking if you really want to dance with the devil until a dusty beat switch from Foul Mouth, but then the mR. pOrTeR-laced “Fuel” featuring the future of Dreamville Records himself J.I.D with both Grip & Westside Boogie on the remix goes head-on trap saying all their homies gonna ride with it asking what’ll happen when their fuel runs out & Em dissing Puff Daddy a.k.a. P. Diddy or Diddy. “Road Rage” returns to the boom bap discussing coddled groups in society until a Dirty South switch-up at the end trying to get even & referencing the [adult swim] block of the Discovery Global-owned Cartoon Network while the lead single “Houdini” serves as a fun sequel to “Without Me” sampling “Abracadabra” by Steve Miller.

After the “Breaking News” skit, we get a devilish rap rock boom bap sequel to “Guilty Conscience” except that Dre isn’t on the mic this time around welcoming himself to his last hoorah bidding goodbye attempting murder suicide while “Head Honcho” featuring Shady/Aftermath’s newest artist Ez Mil ruggedly talks about money coming from their flows getting it on the pronto over some boom bap shit. “Temporary” featuring Skylar Grey serves as a tearjerking pop rap open letter to his daughter Hailie Jade Mathers who just got married to Evan McClintock a couple months ago for her to hear when he’s gone while “Bad One” takes a Middle Eastern trap approach trying to not sound arrogant in any way shape or form brushing off corny white rapper culture vultures like Tom MacDonald.

“Tobey” featuring Babytron of the ShittyBoyz & Big Sean with co-production from Lyrical Lemonade founder Cole Bennett was an experimental hardcore trap fusion talking about being bitten by goats rather than Tobey McGuire getting bit a spider & after the “Guess Who’s Back?” skit resurrecting Ken Kaniff, the final song “Somebody Save Me” featuring Jelly Roll bids farewell to the Slim Shady character once & for all asking to be saved from oneself over a flip of “Save Me” off the 2nd & final It Goes Up Entertainment/Strange Music album in Jelly Roll’s discography Self Medicated that benny blanco & Emile both cooked up apologizing to his daughters & being proud of the way they turned out. After a Steve Berman skit, “Kyrie & Luka” featuring 2 Chainz starts the bonus track run letting DJ Premier sample “Move the Crowd” by Eric B. & Rakim comparing themselves to Kyrie Irving & Luka Dončić additionally referencing WWE Hall of Famer, former NWA World’s Heavyweight Champion, 4-time WWE United States Champion, WWE Intercontinental Champion & 8-time WCW World Tag Team Champion Ricky “The Dragon” Steamboat while the other “Like My Shit” ends the deluxe calling out those biting his style over a trap instrumental d.a. got that dope supplied him.

Say what y’all want about the Rock & Roll Hall of Famer, but I grew up on his first 3 major label albums & both D12 albums. They made me who I am today: And if you including myself whose first concert was Eminem on The Monster Tour thought that RELAPSƎ would be the last time we’d ever hear from Slim Shady, we were wrong because he traced the character’s life story & eventual downfall to the point where I can say what I’ve listened to is a genuine top 5 album in his discography. He discusses where he came from & where he is as we stand today with an interesting musical hodgepodge of ideas & influences. Rest in peace, Shady! Thanks for everything.

Score: 4/5

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Marsha Ambrosius – “Casablanco” review

Marsha Ambrosius is a 46 year old singer/songwriter from Liverpool, England, United Kingdom who came up as 1/2 of the duo Floetry. They would only put out 2 full-lengths before disbanding, but Dr. Dre signed Marsha to his Interscope Records imprint Aftermath Entertainment shortly after only for her to depart in 2009 without releasing a solo effort. She eventually released her debut Late Nights & Early Mornings under J Records in the spring of 2011 & returned a few summers later with the RCA Records-backed sophomore effort Friends & Lovers. The Songstress was last heard in 2018 when she put Nyla out through MNRK Music Group, but is returning to Aftermath/Interscope to let the Quincy Jones of hip hop himself Dre produce her 4th album making up for lost times.

“Smoke” starts by sampling “Yesterday” by Clifford Brown so she can take you away & preparing to bring umbrellas just in case of the weather whereas “Tunisian Nights” singing about evenings in the North African country of Tunisia putting an orchestral spin on the “Flight Time” by Donald Byrd sample. “1 Night Stand” flips “Remind Me” by Patrice Rushen so Marsha can describe a singular sexual encounter just before “Cloudy With a Chance of…Real” samples “Smilin’ Billy Suite, Pt. II” by The Heath Brothers so she can sing about loneliness.

Moving on from there, “Greedy” co-produced by DJ Khalil & Phonix luxuriously confesses she’s been hurting lately & it simply isn’t enough leading into the outstandingly sequenced 2-parter “Self Care / Wrong Right” singing about satisfying her appetite along with her lover having the good good & giving her the best sex she’s ever had. “Wet” incorporates these illustrious strings staying with her partner even during the worst conditions, but then “Thrill Her” brings a soulfully jazzy boom bap flare to the beat paying homage to the late King of Pop Michael Jackson.

“The Greatest” was another exuberant choice of a single ahead of Casablanco that Marsha herself, Dre of course, Blu2th, Dem Jointz, Focus… & Trevor Lawrence Jr. laced asking if one is scared of the love she has to give while “Best I Could Find” nears the end of the album hopping over summery guitar passages & keys talking about things becoming distant to the point where love had come far behind. “Music of My Mind” rounds out the LP fusing the symphonic & jazz elements into 1 giving flowers to some of her influences from Duran Duran to the late great J Dilla.

When you think about the fact that Marsha’s the only Aftermath artist to leave the label without releasing an official album & eventually come back to do exactly that, it was something that a lot of people including myself were surprised by although expectations remained higher than her previous material. Sure enough, this was a moment almost 2 decades in the making exemplifying her talents. It’s significantly more well-produced than her early solo stuff which is a given considering Dre’s perfectionism & Marsha lays down the most passionate songwriting & vocals of her career.

Score: 4.5/5

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Kendrick Lamar – “Mr. Morale & the Big Steppers” review

It’s really here: The 5th full-length album from Compton, California emcee, songwriter & actor Kendrick Lamar. Coming up in ‘04 off his debut mixtape Y.H.N.I.C. (Youngest Head N***a in Charge): Hub City Threat (Minor of the Year), he would go on to follow-up with 2 more tapes as well as an eponymous debut EP before breaking out in the fall of 2010 off his 4th mixtape O(verly) D(edicated) & then Section.80 that next summer. Then came him signing to Dr. Dre’s very own Interscope Records imprint Aftermath Entertainment, where Kendrick has made himself home since then. Especially given that good kid, m.A.A.d city & To Pimp a Butterfly have quickly become some of the most beloved hip hop albums ever made in their own rights for good reason whether it be gkmc coming off as a hood movie on wax or TPaB delivering relevant social commentary on top of jazzy, funky production. Kendrick’s last album DAMN. however was definitely his most commercial one yet & I don’t listen to it as much as his other work, but it’s still a great listen nonetheless with it’s phenomenal duality concept. But only 3 months after performing the Super Bowl LVI halftime show, Kendrick has finally returned in the form of the double disc Mr. Morale & the Big Steppers to fulfill his Top Dawg Entertainment contract.

“United in Grief” opens up the album a piano & drum instrumental from oklama himself surprisingly alongside Sounwave amongst a few others talking about mourning differently whereas “N95” works in some synth-horns & hi-hats provided by Boi-1da & Baby Keem to declare that “You’re back outside, but they still lied”, obviously referring to the COVID-19 pandemic. I also loved when he says “You entertain the mediocre, need to stop it. You entertainin’ old friends when they toxic” during the outro. “Worldwide Steppers” takes a more tenser route with co-production from Tae Beast sampling “Breakthrough” by The Funkees talking about how “we’s them killers”, but then the DJ Dahi & FNZ co-produced “Die Hard” shoots for a more catchier vibe down to the hook shared by both Blxst & especially Amanda Reifer flipping “Remember the Rain” by Kadjha Bonet encouraging listeners to not let your past keep me you from your best.

Meanwhile on “Father Time”, we have Kendrick over some solemn boom bap production sampling “You’re Not There” by Hoskins ‘Ncrowd detailing the relationship that he had with his pops with a killer hook from Sampha & the “Rich” interlude is basically Kodak Black detailing what he learned in the business over some bare pianos. “Rich Spirit” turns things into more spacious territory with some finger-snaps, snares & hi-hats talking about staying strong mentally, but then “We Cry Together” is pretty much Kendrick & Taylour Paige (should’ve been Rico Nasty but it is what it is) re-enacting a legitimate argument that K-Dot had with his fiancée Whitney Alford over an Uncle Al beat flipping “June” by Florence + the Machine. It’s tense, but feels reminiscent to “Kim” off of Eminem’s iconic 2000 masterpiece The Marshall Mathers LP.

Ghostface Killah & Summer Walker tag along for the smooth love ballad “Purple Hearts” to the complete the 1st disc even though I can’t stand the “yeah baby” at the end of the hook & the 1 line on Summer’s verse co-written by fellow Compton representative/Shady Records signee Westside Boogie about eating ass had me rollin’ while “Count Me Out” opens up the 2nd disc by mixing trap influences with some catchy vocal melodies taking aim at his detractors. “Crown” is a vulnerable piano ballad admitting that he can’t please everybody while “Silent Hill” easily has the worst hook on the album, although I appreciate Kendrick & Kodak riding a nocturnal trap beat talking about pushing snakes off them catchin’ a bale of Google.

Following that, the “Savior” interlude is in the same vein as “Rich” from the string/piano instrumental to Baby Keem recalling some memories that he had growing up while the actual “Savior” song itself has an irresistibly catchy groove to the beat from Cardo asking if one is really happy for him as well as admitting that he started questioning Kyrie after catching the rona. “Auntie Diaries” starts off with a moodier aesthetic before getting triumphant at the end with Kung Fu Kenny discussing his uncle & one of his cousins being transgender while the song “Mr. Morale” opens up about the heavy shit that’s been on his mind as of late over a Pharrell instrumental with a peppy, futuristic tone to it. The penultimate track “Mother I Sober” is definitely the saddest on the album with it’s bare pianos along with former Portishead frontwoman Beth Gibbons on the hook & K-Dot reflecting on witnessing his mom being sexually assaulted when he was 5 years old as “Mirror” finishes the album by apologizing for choosing himself over anyone else over a colorful beat with an empowering hook.

5 long years later & Kendrick is parting TDE with what I consider to be hip hop’s best double album since Big K.R.I.T. dropped 4eva’s a Mighty Long Time only 6 months after DAMN. came out. Hell, I find Mr. Morale & the Big Steppers to be superior to it’s predecessor because I really admire that he decided to come back after all this time to reflect on his life past & present over production mixing together it’s more trappy, poppier cuts with the politically charged jazz rap from the greatest hip hop album of the 2010s even down to the latter’s experimental, neo-soul undertones.

Score: 4.5/5

Dr. Dre – “The Contract” review

Dr. Dre is a 56 year old producer, rapper & entrepreneur from Compton, California who came up in the mid-80’s as part of the World Class Wreckin’ Cru octet. They would only put out 2 full-lengths before disbanding, but would go on to have a HUGE impact on the culture. Popularizing gangsta rap as part of N.W.A, getting everyone in the whole west coast to ride the g-funk bandwagon with his solo debut The Chronic, expanding that sound on 2001, the Beats headphones & who can forget introducing likes of Eminem or Kendrick Lamar to the world? His previous album Compton: A Soundtrack by Dr. Dre in the summer of 2015 was said to be his “grand finale” but ahead of his Super Bowl LVI halftime performance next weekend, he’s dropping off 6 new songs attached to GTA V’s latest DLC.

“Falling Up” is an entrancing yet charismatic opener co-produced by Dem Jointz with Dre spitting some braggadocio whereas “Gospel” finds him rightfully calling his ex-wife a gold digger & I don’t mind the piano instrumental backing him, but the Eminem verse will test your patience. Bink! weaves in a soul sample for “Black Privilege” to get in his grown man bag while the late Nipsey Hu$$le tags along for “Diamond Mind” to talk about how crazy their lives have been & those guitar licks that Alchemist uses throughout the beat just gives you nothing but summertime vibes.

The penultimate track “ETA” with has an insane sample of “You’re the One For Me” by The Edwards Generation starting off with Anderson .Paak & Dre going back & forth with one another leading into the playful hook that WWE Hall of Famer Snoop Dogg lays down as well as a monstrous Busta Rhymes verse to end it. “The Scenic Route” closes out the EP on a somewhat jazzier note with Dre going back & forth with none other than Rick Ross to talk about putting their families first in line.

A lot of music tie-ins with movies as well as TV shows & video games have become pretty boring in recent years. However, I knew for a fact that this wasn’t going to be the case with this & I stood corrected. The production & guests all come correct as always, but I should also note that The D.O.C. recently replied to a fan on Twitter saying that Dre’s starting to write his own verses now. If that’s indeed the case, then it’s definitely impressive.

Score: 3.5/5

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Silk Sonic – “An Evening with Silk Sonic” review

Silk Sonic is a newly formed superduo consisting of Anderson .Paak & Bruno Mars. The latter coming up in 2010 by dominating the pop charts & the other beginning to turn heads by being featured all over his mentor Dr. Dre’ final album to date Compton: A Soundtrack by Dr. Dre about 5 years later. Their paths first crossed with one another during the European leg of the 24K Magic World Tour where .Paak opened up for Bruno but after announcing the superduo’s full-length debut back in February to high anticipation, they’re finally unleashing it to the world.

After the funky intro, the first song “Leave the Door Open” kicks off the album with a smooth soul banger telling their lovers they’re there for them whereas “Fly as Me” takes a funkier route & the lyrics basically speak for itself. “After Last Night” is a slow jam professing their love for the women they slept with the previous evening just before “Smokin’ Out the Window” works in some Philly soul undertones talking about a woman who belongs to everyone getting into fights with her man like it’s the Endeavor Group Holdings-owned UFC.

Meanwhile on “Put on a Smile”, we have .Paak & Bruno coming together over some strings encouraging listeners to look forward to the better days while the song “777” serves as a groovy pimp anthem. The penultimate track “Skate” is a straight up disco tune flirting with the hottest bitches in the room & finally, “Blast Off” finishes the album off on a glossier note talking about flying to the stars.

Man I knew Silk Sonic was gonna deliver on this album, but they went even harder than I expected them to because An Evening with Silk Sonic is unquestionably the best R&B album that I’ve heard all year. They have a uniquely natural chemistry & it’s amazing how they resurrected the sounds of the 70’s soul down to Bootsy Collins “hosting” it.

Score: 4.5/5

Eminem – “MUSIC TO BE MURDERƎD BY 2: SIDE B” review

Eminem. Slim Shady. Marshall Mathers. B-Rabbit. The white guy from D12. What can be said now about the Detroit icon that hasn’t been said already? Especially since his first 3 major label albums The Slim Shady LP, The Marshall Mathers LP & The Eminem Show are considered by many to be the holy trinity in his discography. However, things have been quite rough for Em in the last 3-4 years. Revival was unquestionably one of the worst albums of the 2010s, which he would vent his frustration with on his last 2 full-lengths Kamikaze & Music to Be Murdered By. But after many rumors, we’re being treated to a sequel to his previous album.

After the “Alfred” intro, the first song “Black Magic” is a questionable opener about this woman having his heart in chains over a glossy beat whereas the next track “Alfred’s Theme” picks things up as Eminem reaffirms his technicality over a zany, cartoonish instrumental. My favorite line was when he said “I won’t buy a designer ’cause I don’t pander”. The song “Tone Deaf” talks about those who try to cancel him along with an awkward line about “playing Fortnite with your grandma” & a dope tribute to King Von over a funky ass beat with co-production from Luis Resto while the track “Book of Rhymes” lets loose every thought he had wrestling an iPad tablet computer developed by Apple Inc. over a generic trap instrumental with co-production from Illa da Producer & a mediocre switch-up. Also of all joints, why have DJ Premier do scratching for this?

The song “Favorite Bitch” looks back on the days when he was young & hungry over an wavy beat while the track “Guns Blazing” with Dr. Dre finds the 2 talking about being back on their bullshit just like the old days over a grand, bassy instrumental. The song “Gnat” compares his lyrics to COVID & throws a redundant MGK jab over a mellow d.a. got that dope beat while the track “Higher” compellingly talks about not knowing where to go from here over a buzzing instrumental. I liked it when Em said “Reminds me of how an overcrowded hospital waitin’ room’ll get, what I mean it’s maybe I have more patience than I’m able to admit“. The song “These Demons” talks about how funny haters are along with a clever Insane Clown Posse reference over a quasi-tropical beat & after the “Key” skit, the track “She Loves Me” talks about this women being “Carmen Electrocute” over a triumphant instrumental from Dre.

The song “Killer” talks about money over a rubbery beat while the track “Zeus” is a “Rap God” sequel backed with a depressive instrumental from T-Minus & I don’t think he’s dissing WWE Hall of Famer Snoop Dogg like a lot of people are saying because Uncle Snoop has always had nothing but love for Em. Also the Rihanna line was dope & the opening line “She says I’m trash, but listens to Tekashi” made me cringe because let’s be real: NOBODY listens to that clown in 2020. And this is coming from someone who’s never even listened to TattleTales. After the “Thus Far” interlude, the closer “Discombobulated” takes it back to the Relapse days as Eminem is rapping in accents about being just that over over a Dr. Dre beat reminiscent to the early 2000s co-produced by Black Bethoven & S1.

We all saw this coming (especially since Aftermath Entertainment’s in-house producer Dem Jointz posted the artwork on Instagram just 2-3 days before) & to be honest, I have to put it right behind it’s predecessor that came out right at the beginning of 2020 couple months before it all went to shit. Nothing that’s gonna change my year-end lists but the production has improved whereas lyrically, Eminem is focusing less on the backlash Revival justifiably received & it also fits the whole Hitchcock theme as much as previously.

Score: 3.5/5

Eminem – “MUSIC TO BE MURDERƎD BY” review

This is the surprise 11th full-length album from Detroit icon Eminem. His first 3 major label albums The Slim Shady LP, The Marshall Mathers LP & The Eminem Show are considered by many to be the holy trinity in discography. The last few years have been rough for Marshall though, as Revival is widely considered to be one of the worst albums of the 2010s. The follow-up Kamikaze was actually a solid return to form & he’s continuing that with Music to Be Murdered By.

The opener “Premonition” sees Em taking a jab at his critics over a surprisingly haunting trap beat from his mentor Dr. Dre while the next song “Unaccommodating” with Young M.A. of all people sees the 2 discussing their titular attitude referencing WWE Hall of Famer Snoop Dogg over a generic trap beat & a very cringey hook. A lot of people are complaining about the Ariana Grande line too, but let’s not forget when Em referenced Columbine on The Marshall Mathers LP. The track “You Gon’ Learn” is a Bad Meets Ǝvil reunion where Em & his partner in rhyme Royce da 5’9″ discuss some of their internal conflicts over a boom bap beat with a mesmerizing soul sample. After the “Alfred” interlude, the song “Those Kinda Nights” reflects on his golden years over a bouncy d.a. got that dope/Fred again.. beat & a needless Ed Sheeran hook while the track “In Too Deep” is packed with relationship melodrama & the beat is pretty uneventful too.

The song “Godzilla” talks about how much of a monster Em is referencing the late WWE Hall of Famer Bobby Heenan over a vibrant trap beat & while I’m surprised to hear the late Juice WRLD on the hook, it’s not bad. The track “Darkness” talks about depression over a bleak instrumental while the song “Leaving Heaven” talks about who he is now over a guitar & some drums going off like gunshots. Also, Skylar Grey’s performance on here is tasteless as she usually is. The track “Yah Yah” sees Bad Meets Ǝvil getting with Black Thought to remind us of their places in the culture as elite MCs over a cluttered beat from dEnAuN.

After the “Stepdad” intro, we get into the actual song “Stepdad”. Where Marshall disses a man who was abusive to him & his mother Debbie when he was younger over a grimy beat from The Alchemist. I get where he’s coming from, but the hook on here is patience testing. The track “Marsh” talks about being out of this world over a trap beat with some plinky keys while the song “Never Love Again” is a sappy breakup song backed-up by a mediocre Dre beat.

The track “Little Engine” talks about losing control over an eerier Dre & Blu2th instrumental while the song “Lock It Up” with Anderson .Paak sees the 2 talking about almost losing it & it sounds like there’s a Chinese sample in the beat. The track “Farewell” talks about his ex-wife Kim over a punchy beat while the song “No Regrets” talks about his come-up over an abrasive beat. Before the “Alfred” outro, the final song “I Will” finds Marshall reuniting Slaughterhouse sans Joe Budden to talk about homicide over a boom bap beat with a haunting organ.

Personally, this is a step-up from Kamikaze. The hooks & the mixing could’ve been better at points, but it’s like a modern day update of the criminally underrated Relapse just 11 years back from Dr. Dre returning behind the boards to the Aflred Hitchcock homages throughout. Hope Marshall continues to go down this path towards redemption.

Score: 3.5/5

Anderson .Paak – “Ventura” review

Anderson .Paak is a 33 year old rapper, singer/songwriter & producer from Oxnard, California who gained notoriety by landing a handful of features on my all-time favorite producer Dr. Dre’s 3rd & final album Compton: A Soundtrack by Dr. Dre in 2015 as well as forming the duo NxWorries with Knxwledge & signing to Stones Throw Records together that same year. He then dropped one of the best R&B albums of the decade with Malibu at the beginning of 2016 & that lead to Dre officially signing him to Aftermath Entertainment a few weeks later. But with his fantastic major label debut Oxnard dropping 5 months ago, it seems like .Paak is now delivering a follow-up.

Things start off with “Come Home”, where .Paak & André 3000 fresh off his role in the A24 Films sci-fi horror High Life ask for their former lovers to reconcile over a jazzy beat & a WWE reference during 3 Stacks’ verse. The next track “Make It Better” talks about mending over a smooth instrumental from Fredwreck & The Alchemist alongside a gorgeous Smokey Robinson hook while the song “Reachin’ 2 Much” is an infectiously funky odyssey about this woman who is excessive for him. The track “Winner’s Circle” is a lust anthem over a beautifully minimalist instrumental while the song “Good Heels” with Jazmine Sullivan sounds like an unfinished duet.

The track “Yada Yada” brushes off his naysayers over a mellow instrumental while the song “King James” of course pays tribute to the Los Angeles Lakers player LeBron James over a funky instrumental. The track “Chosen One” is a dedication to .Paak’s potential soulmate over a spacey beat while the song “Jet Black” talks about this couple peakin’ over a laidback beat. The penultimate track “Twilight” is about this woman who puts .Paak back in place over a vintage Pharrell instrumental, but then the closer “What Can We Do?” is a duet with Nate Dogg about moving on from a past relationship over an uplifting instrumental.

Yeah, it’s just as amazing as the last 2 albums were. There are a few underwhelming moments, but .Paak’s sticking to his R&B guns again in contrast to Oxnard & he continues to show how dynamic of an artist he really is.

Score: 4.5/5

Anderson .Paak – “Oxnard” review

Anderson .Paak is a 32 year old rapper, singer/songwriter & producer from Oxnard, California who first came onto the scene under the name Breezy Lovejoy at the beginning of the decade. He released 2 albums in 2012 but then after changing his moniker & releasing Venice in 2014, that’s when he started getting more recognition. He landed a handful of features on my all-time favorite producer Dr. Dre’s 3rd & final album Compton: A Soundtrack by Dr. Dre in 2015 as well as forming the duo NxWorries with Knxwledge & signing to Stones Throw Records together that same year. Then to kick off 2016, he dropped one of the best R&B albums of the decade with Malibu & that lead to him officially signing with Dre’s Interscope Records imprint Aftermath Entertainment as a solo act a couple weeks after it’s release. He would then link back up with Knxwledge to put out NxWorries’ debut album Yes Lawd! & now 2 years later, .Paak is delivering his long-awaited major label debut.

The album kicks off with “The Chase”, where .Paak talks about this girl being with him in spirit over a blaxploitation film-inspired instrumental. The next track “Headlow” talks about hanging out with this woman over a smooth instrumental while the song “Tints” sees .Paak teaming up with Kendrick Lamar to talk about fame over an infectious synth-funk instrumental while the track “Who R U?” is is a charismatic challenge to .Paak’s competition over a thunderous instrumental from the Quincy Jones of hip hop himself. Despite the fact that Dr. Dre’s made so much money off the headphones that he really doesn’t really need to be making music anymore, it’s very refreshing to hear him producing again with this joint. The track “6 Summers” gets conscious over a settle instrumental while the song “Saviers Road” tells the story of a drug dealer over a boom bap beat from 9th Wonder with some settle guitar licking. The track “Smile / Petty” is a 2-part odyssey about deceiving women over an instrumental that starts off slow, but then cleverly switches up into something more trunk knocking.

The song “Mansa Musa” vents the frustrations with the music industry today over a suiting instrumental & even though Cocoa Sarai’s verse at the start is just ok, the following verses from Dr. Dre & Anderson .Paak take it out the ballpark. The track “Brother’s Keeper” sees .Paak getting spiritual & Pusha T addressing the current status of Clipse over a guitar & these faint, skittering hi-hats while the song “Anywhere” with Snoop Dogg talks about ghetto love over an infectious funk instrumental. The track “Trippy” with J. Cole sees the 2 talking about how their significant others will always be somewhere in between over a settle instrumental & the song “Cheers” sees Paak paying an endearing tribute to Mac Miller while Q-Tip comforts the mothers of his now deceased friends over a luscious instrumental from Focus… with co-production from both Tip & Dre. The penultimate track “Sweet Chick” talks about hooking up with all kinds of women over some horns & then the closer “Left to Right” is an awkward tropical banger complete with .Paak employing a fake patois.

I’ve been waiting for this album all year & at the end, this is on the same level as Malibu. The personal stories are just as compelling, Anderson .Paak’s versatility is more present than ever & the production is almost more vibrant. We all know how much of a perfectionist Dr. Dre is & that’s resulted in multiple Aftermath artists leaving because of their albums being shelved, but I really think this is gonna give .Paak a lot more of the exposure that he truly deserves.

Score: 4.5/5