Jordan Ward – “Backward” review

Jordan Ward is a 29 year old singer/songwriter & dancer from St. Louis, Missouri introducing himself in 2017 off his debut EP A Peak at the Summit, signing to ARTium Recordings & Interscope Records for his debut mixtape Valley Hopefuls as well as another extended play called Remain Calm. His debut album Forward elevated himself beyond his earlier material capturing his potential in the styles of contemporary & alternative R&B, ending the 1st month of 2026 with a sophomore effort.

“Stranger” singing about feeling like a newcomer in his own life with a rush of strings behind him whereas “Smokin’ Potna” featuring SAILORR finds the 2 linking up over a groovier instrumental for a soothing weed smoker’s ode. “High Functioning” sings about how robust he’s coming across being high at the function taking a funkier approach to the beat & after the “BWD” interlude, “Ross Fit” keeps the groovy vibes rolling confessing he has way too much motion.

Things go for more stripped back approach instrumentally during “Noisy Neighbors” praying that his landlord does him right & all of us having our own internal struggles while “Change of Scenery” sings about feeling inspired again over more acoustics suggesting a landscape switch up would mean everything to him. “Juicy” reaches the halfway point advising this woman to forget him since he doesn’t have to be her favorite while “Themselves” sings about turning your passion into your hustle.

“Take-Out” feels like 97 second interlude yearning in the midst of ordering food to go that he’ll return home to his lover some day when he’s touring but after “Til Then” takes a more significantly personal approach to his songwriting singing about saving it all & breaking the cycle, the final single “Champion Sound” dedicates itself to Jordan’s mother calling her a warrior & asking if she’s been cheering him on already after all the success he’s been seeing.

The piano-driven “Y” tells his partner who seeks reassurance that she’ll come with him for the next run of shows praying he’ll find her again if there’s more to this life we all live while “Cutti” featuring Smino finds the pair coming together for a 2-parter combining elements of trap as well as R&B & pop rap. “Carsex” featuring TiaCorine finishes Backward with another track stylistically similar to the previous one advising his lover impatiently desiring to sleep with him in his ride to slow things down due to him touring.

Tyler, The Creator co-signing Jordan Ward prior to Forward coming was what made me a fan of his music Backward continues where the predecessor left off exploring the darker sides of his fame whilst channeling some of music’s most celebrated greats from the late Donny Hathaway to Bob Marley & Joni Mitchell throughout his songwriting. The production’s a bit funkier than Jordan’s debut was a few years earlier assuringly tackling subjects like growth, nostalgia & self-discovery.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

By Storm – “My Ghosts Go Ghost” review

By Storm is an experimental hip hop duo from Phoenix, Arizona consisting of producer Parker Corey & emcee Ritchie with a T. Both of whom were 2/3 of Injury Reserve with Stepa J. Groggs, disbanding out of respect of the latter following his death. They’ve been teasing their full-length studio debut since Injury Reserve’s 2nd & final album By the Time I Get to Phoenix, having my favorite Single of the Year back-to-back years & signing to deadAir Records for this new era of both Ritchie & Parker’s careers that’s been a minute in the making.

“Can I Have You for Myself?” poses the question to Ritchie’s lover a guitar instrumental singing & rapping that they’ve been moving at the same pace & being ready to grow whereas “Dead Weight” goes for a more experimental hip hop vibe explaining he doesn’t need more hands because he has his foot in. “Zig Zag” blends experimental hip hop, ambient pop, neo-psychedelia, folktronica, post-rock, glitch hop, abstract hip hop, slowcore, glitch & neo-soul advising one can’t make unexpected moves to the moon just before “Grapefruit” talks about anything going because everyone has no shame.

Folktronica, experimental hip hop, neo-psychedelia, cloud rap, conscious hip hop, post-rock, downtempo, alternative R&B & ambient pop all collide during “In My Town” capturing where Ritchie’s at currently while “Best Interest” featuring billy woods talks about benefiting them if they’re by their homies. “Double Trio 2” eclectically fuses experimental hip hop, abstract hip hop, avant-garde jazz, jazz rap, nu jazz, IDM, glitch hop, neo-psychedelia, spiritual jazz & art pop continuing to heal from Stepa’s passing.

“& I Dance” takes further elements of experimental hip hop, neo-psychedelia, alternative R&B, cloud rap, glitch, pop rap, illbient & art pop talking about there being nothing to run from while the acoustic title track asks if this was all a show. “Double Trio” still deserves a nod for it’s dosages of experimental hip hop, abstract hip hop, jazz rap, glitch hop, juke, glitch, ambient, neo-soul, avant-garde jazz, wonky & art pop suggesting now’s the time to burn things in addition to shit always repeating because of delays.

Teasing this since the summer of 2023 by dropping 5 incredible singles in a row, Ritchie with a T & Parker Corey at last begin this new era of their careers moving on from Injury Reserve permanently evolving into By Storm with deadAir Records being the most appropriate label for them to do it on. Ritchie’s lyrically telling us where he’s at in his life complimenting Parker’s production masterfully experimenting with electronic, folktronica, glitch hop, neo-psychedelia, alternative R&B, illbient, ambient pop, post-rock, slowcore, glitch, neo-soul, cloud rap, downtempo, avant-garde jazz, jazz rap, nu jazz, IDM, spiritual jazz, pop rap, juke, ambient & wonky.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Chino XL – “Prelude to The Mantis” review

Here we have the 8th studio LP albeit 3rd posthumous offering from East Orange, New Jersey emcee Chino XL. Breaking out in the mid-90s after signing to American Recordings & releasing his classic debut Here to Save You All, he eventually went on to beef with 2Pac & I genuinely feel sorry for anyone who writes him off because of that. Especially since that I Told You So, Poison Pen & the Viper Records-backed RICANstruction: The Black Rosary all contain some of the best songs in his whole discography. Stu Bangas was brought in to produce God’s Carpenter a few summers ago & that became a near-flawless comeback, with Darkness & Other Colors recorded back in 2020 foreshadowing his own death from beyond the grave. Map of Bones recorded between 2008-2012 commemorated what would’ve been Chino’s birthday last April, dropping a Prelude to The Mantis in preparation for his upcoming collaborative effort with Dheezy & of course God’s Carpenter 2.

“The Mantis” produced by Johnny Slash was a great intro from the flute-heavy boom bap beat to the hardcore chopper flows whereas “Blue Bird” takes a more luxuriously dustier route instrumentally although hearing him tackling depression hits differently considering the circumstances of his passing. “I Know” works in some horns thanks to Nick Wiz talking about what every region wants leading into “Steezy” experimenting with cloud rap & trap continuing the mental health themes.

Rittz, Statik KXNG & Tech N9ne all join Chino XL on “Terminally Ill” having all 4 lyricists bodying a Statik Selektah beat for nearly 7 minutes just before Apathy flips some strings during “Blood, Sweat & Tears” making way for Chino to spend 109 seconds speeding up his flow. “Guillotine” has a smoother instrumental flexing his raw glow while the radio friendly “Loving You” featuring Holy Toledo Productions founder M-80 links up for a tacky look at themes of heartbreak.

“Shots Through Ya Vehicle” blends a flute with more kicks & snares spitting intricate wordplay whilst maintaining a chopper-like delivery while “Chi Chops” swaps out the woodwind in favor of some keys talking about his only goal being him wiping out humanity entirely. “A Capella” seems like a moment here that feels completely unfinished since it could’ve easily been used as a guest appearance while “Basquiat” pretty much feels the same except the apocalyptic beat’s alright.

Copywrite & KXNG CROOKED both appear for a “Triple Seize” tearing apart their opponents over a rap rock instrumental while the piano-driven “Paradigms” displays what crazy breath control he had talking about being more than flesh & bones, hence he won’t ever be dead & gone when he has been. “The Rapture” featuring Cappadonna, KXNG CROOKED & Planet Asia brings the 4 together for a raw east coast/west coast crossover while “Chemistry” takes another jab at trap talking about being the type who was smart enough to listen when others didn’t.

“We Just Spit Bars” featuring Canibus could be an outtake from the S.L.I.C.C. (Self Licking Ice Cream Cone) sessions & that to me was one of Bis’ better opuses in recent memory while “Cruel World” keeps it hardcore for almost a minute & a half. “Champion” featuring Killah Priest as well as Kurupt & Ras Kass talks about either being victorious or a victim but after “On My Grind” gruesomely dismisses artists who’s pen isn’t alive, the outro “Grand Finale” concludes with another disjointed verse.

Putting the M-80/Chino XL estate controversy aside, Darkness & Other Colors remains my personal favorite of the 3 posthumous albums we’ve gotten so far & Prelude to The Mantis would have to go right behind it since I enjoy it more than Map of Bones although that’s not to say this warmup for what Chino & Dheezy have coming next doesn’t have flaws of it’s own. As opposed to the last couple full-lengths actually being presented as completed statements, there is some filler that could’ve been utilized more properly although the confrontation of mental health would certainly help those struggling.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Wordsworth – “Chemistry” review

Brooklyn, New York emcee Wordsworth has returned for his 7th studio LP. A member of the duo Punch n Words & the trio eMC, he officially made his solo debut 2 decades ago already with Mirror Music followed by The Photo Album & the Donel Smokes-produced New Beginning. After JSOUL went on to produce his debut EP Blame It on Music & later Sam Brown doing Our World Today respectively, the next EP Undivided Attention would be an improvement over Blame It on Music & The Fragility of Life was overloaded with too many features. Stu Bangas produced 2 Kings & the Chemistry was enough for them to a sequel.

“The Realtor” sets up shop with a boom bap instrumental using a gospel sample comparing himself to a real estate agent whereas “Strangers” featuring Sage Francis & Wrekonize ruggedly talks about their distrust towards that crowd of people. “It Took a Village” featuring Pearl Gates instrumentally keeps things in the basement explaining the cost of raising & keeping them safer just before “It Ain’t Over” eerily details the demise of a character who’ll get their vengeance.

As for the title track, we have Wordsworth over a soulful boom bap beat talking about his & Stu’s talents balancing each other chemically leading into “The Only Sin” featuring Ruste Juxx talking about one not trying being their biggest misdeed. “Don’t Get in the Way” has this apocalyptically raw approach to the instrumental sending advice to everyone listening after having friends become foes while “Username” uses a melodically pitched vocal sample talking about being overwhelmed as of late.

“People in My Neighborhood Too” featuring Masta Ace finds both eMC members linking up to tell stories of their home borough out in Breukelen while the luxuriously dusty “Nominated” celebrates the year he spent elevating himself. “I Was Raised” by Punch n Words featuring Apathy angrily brings the trio together so they can discuss their printings & after the motivational “1 Chance”, we have MidaZ the BEAST & NapsNdreds joining Words for the decent rap rock outro “Get Ya Boy”.

Nearly 26 months since 2 Kings became my 2nd favorite entry in Wordsworth’s solo discography right behind The Photo Album, he & Stu Bangas have done it again leveling up their Chemistry in the process of making another late career highlight for the New York veteran. It has a tighter guest list & Stu’s production continues to rejuvenate Words’ passion enough where the latter lyrically gets more brutal than he was a couple years earlier.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

S.O.S. – “Unloved by God, Unwanted by Satan” review

Horrorcore duo S.O.S. consisting of Denver, Colorado emcee & Lyrikal Snuff Productionz founder Scum alongside his New Mexico underwing Smallz 1 reuniting roughy 2 & a half year since their debut with a sophomore effort. Crossing paths with one another dozens of times over a couple decades almost, they would eventually form a group together in 2022 & drop Blame Us at the Gathering of Dreams of that year’s Gathering of the Juggalos festival. They’re looking to start 2026 by taking us through the minds of a pair who’re Unloved by God, Unwanted by Satan & I was anticipating it since I’ve liked their chemistry since initially familiarizing myself with LSP.

“I Found Out” begins tosses the mic back-&-forth with each other over an industrial boom bap fusion talking about being sinners until the end whereas “Look What I Did” continues to trade more wicked bars slaughtering the sheep & tearing their eyelids off. “Hit ‘Em” aggressively talks about unloading full clips at all the detractors & hoping to strike where it really hurts just before “Imbalance” tackles the subject of mental health, speaking of having missing screws in their heads.

Things go for a quirky boom bap vibe as S.O.S. explains how life’s “A Joke” that falls on everyone from their own perspectives depending on the way others see it leading into “Kick It” dabbling with trap so they can talk about punting muhfuckas in the dick. “Self Opp” explains they don’t need any enemies due to the fact Scum & Smallz can merely harm their own selves while “Don’t Listen” talks about cancelling out all the wack bullshit cornballs try to send their way.

“It’s a Shame” was a relatable way to get the 2nd half of Unloved by God, Unwanted by Satan going by wishing they could go back & undo all the things they’re ashamed of while “6°” blends some pianos & hi-hats trading gory bars with each other. “Backed into a Corner” angrily compares themselves to hungry wolves over more trap production while the trap metal-inspired “Woosah” dedicates itself to anyone who likes to start mosh pits.

The song “Ikarus Fall” produced by Godsynth winds down the last several minutes of S.O.S.’s 2nd album on some cloudy trap shit talking about Team Snuff being the gang & the rest needing to duck from the Gore Hop family while “U Disgust Me” eerily expresses disparaging feelings they have towards their victims prior to cutting them up. “It Don’t Matter” finishes the full-length with Smallz & Scum over pianos & hi-hats 1 last time talking about nobody caring if one of us dies or falls.

Scum & Smallz 1 elevate themselves throughout S.O.S.’ follow-up to their debut roughly 3 & a half years ago did an exciting job of bringing everything that made their previous collaborations so entertaining & Unloved by God, Unwanted by Satan puts itself right behind Blame Us enhancing all it’s perks. There are no issues with the prominent back-&-forth delivery nor the production, but I wouldn’t mind a feature or 2 whenever the underground’s equivalent to the current AAA Mundial Mixtas Parejas Campeons in the inaugural 2-time WWE Women’s United States Champion Chelsea Green & the current NXT North American Champion Ethan Page decides to make another body of work.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

BLAX – “Omnipotent Methodology” review

Milwaukee, Wisconsin emcee/producer BLAX returning for his 4th studio LP. Breaking out over a decade ago off his debut mixtape BLAX x Life x Files followed by the debut EP Archangels & the debut album Be Well, he temporarily changed his moniker to Armstrong Ransome for his sophomore effort Dedicated & the 2nd EP Found before returning to the BLAX moniker on the next couple EPs Angeline &Wembenyama. His last album BLAXPLOITATION a couple years ago took hip hop’s classic sound & threw some modern elements in it, hitting us with Omnipotent Methodology.

“Soul(4)caster” begins with a drumless, lo-fi instrumental talking about shooting high above the clouds whereas “Brass Railz Cabaret” goes for a jazzier vibe feeling like he’s on fire when he’s never claimed to be the hottest previously. “Oneirology” goes for a cloudier boom bap talking about the study of dreaming while “PoetGvngDevoshun(all)” takes a more soulful approach to the beat suggesting those who ain’t talking the same slang isn’t repping the same thing he is.

Continuing with the 2nd quarter, “The Ominous Mobb” combines elements of jazz & boom bap reminding the world what kind of crew people are trying to fuck with up at their spot leading into “Ya Hip Hop Weak” getting a bit more aggressive so he can lyrically rip apart everyone who be churning out bullshit regularly. “24hrs7days” experiments with trap a bit talking about have to get the money every single day of the week just before “Brew City Cab Collective” embraces a funkier tone instrumentally for some slick boasting.

“Agencement Manifesto” starts the other half of Omnipotent Methodology with another drumless beat expressing his belief that there’s no such thing as overnight success while “Young Little Ghetto Boy” does the trap style better than “24hrs7days” did showing a more conscious side to his pen. “Take a Picture” vividly portrays what it was like for his mother raising him in the ghetto over this bluesy instrumental while “Pop, Toast!” featuring Baby Blak talks about envisioning themselves catching Ws like pros shifting towards funkier territory.

To get the full-length’s last leg going, “3rd Eye Open” returns to the boom bap with a luxurious twist speaking of achieving a higher state of consciousness while “Alive Wyre!” swaps out the pianos in favor of a soul sample opting to talk his shit on this one. “Divinity Directions” incorporates some jazzier undertones touching base regarding him staying faithful to God while “Beautiful+Healthy” makes for a soulful conclusion talking about prioritizing him stacking up his money.

Putting it down for the Milwaukee underground for 2 decades already, BLAX makes another career highlight out of Omnipotent Methodology rivaling it’s predecessor in becoming amongst the greatest entries in The God Degree Records founder’s discography. The production’s mostly inspired by jazz music aside from a few detours exploring boom bap or chipmunk soul & trap, representing the culmination of the conscious lyricist’s independent grind since the 2000s.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Megadeth – Self-Titled review

Megadeth is a thrash metal band consisting of bassist James LoMenzo, drummer Dirk Verbeuren, guitarist Teemu Mäntysaari & frontman Dave Mustaine. Making their debut over 4 decades ago off Killing’s My Business…& Business is Good!, the sophomore effort Peace Sells…but Who’s Buying? would become a thrash landmark as would Rust in Peace. They’ve had some albums I’ve liked since such as Countdown to Extinction & The System Has Failed, but have dropped some unbearable stinkers too like Risk & Super Collider to name a couple. However, they’re commemorating a decade of Dystopiaby making the band’s 17th album their last.

“Tipping Point” was actually a solid technical thrash metal single singing about making people fear the sound of voices that aren’t even there until “I Don’t Care” fails at crossing over heavy metal, punk rock, thrash metal & crossover thrash making his point clear that he gives no fucks. “Hey God?!” continues to go for a traditional heavy metal sound feeling insecure as he walks these streets alone just before “Let There Be Shred” embraces some speed metal vibes singing about being born with a guitar in his hands.

Reaching the halfway point, “Puppet Parade” pulls from standard heavy metal once again describing a mundane lifestyle while a favorite of mine “Another Bad Day” puts ourselves inside the shoes of those in our country who’re down on their luck. “Made to Kill” taps back into the band’s thrash origins singing about profits growing where children die while the heavy metal-tinged “Obey the Call” discusses marching down the path where all reason dies. “I’m War” spends almost 4 minutes personifying themselves as an actual war itself & “The Last Note” concludes with an open letter to the public.

In my personal opinion: A great deal of Megadeth’s output since Endgame has been hit or miss, despite always acknowledging their status amongst the big 4 thrash metal bands nor can I take away the impact they’ve had over the course of several decades giving us a couple masterpieces along the way. That said: I can appreciate Dave Mustaine coming to his senses & calling it day after making 1 more studio LP although I’m a bit on the fence with it. Much like Dystopia: The heavy & thrash metal instrumentation’s fine for what it is, although Dave’s vocals aren’t as commanding like they once were.

Score: 2.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Julian Lage – “Scenes from Above” review

Here we have the 10th solo LP from Santa Rosa, California guitarist Julian Lage. Introducing himself in 2009 off his debut Sounding Point, he would go on to drop 8 more albums with the most notable being the sophomore effort Gladwell or Modern Lore & Squint. Making his debut under Blue Note Records a couple years ago off Speak to Me, he’s coming off Her Melodious Lay & Lamentations, he’s back on the greatest jazz label of all-time depicting Scenes from Above.

“Opal” recruits pianist John Medeski, double bassist Jorge Roeder & drummer Kenny Wollesen for a lead single that gives off a heavy summertime vibe whether it be the guitar or the Hammond B3 whereas the improvised “Red Elm” experiments with soul jazz starting with some bass licks preceding the guitar, drums & organ. “Talking Drum” appropriately takes inspiration from the avant-groove trio Medeski, Martin & Wood for a jazz-funk tinged 2nd single leading into “Havens” shining some light on Kenny & John for almost 5 minutes, feeling like the beginning of a Sunday service.

The 3rd & final single “Night Shade” gives us a rush of organ melodies & guitar solos during a great bulk of the longest composition here just before “Solid Air” takes a more atmospherically meditative approach than all the other tracks once again recapturing the mood of sitting in a church prior to the pastor starts an hour long sermon. “Ocala” primarily builds itself around John playing the Hammond B3 once more & some bluesy guitar riffs from Julian but after the loosely structured “Storyville” achieves his goal of having something to talk about once he gets together with his bandmates, “Something More” finished in the form of this 4-part prayer wishing brighter days ahead for us all.

Understandably opting against making a Speak to Me sequel, Julian Lage’s sophomore effort for Blue Note Records minimizes the prominent post-bop direction Scenes from Above’s predecessor took in favor of prioritizing it’s secondary influences of jazz fusion & chamber jazz with hints of soul jazz appearing occasionally. I can’t blame him for putting us inside the shoes of his experiences being a band member considering he already made his grandest statement regarding his capability of bandleading, creating a separate character of it’s own depicting themes of freedom & trust.

Score: /5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Ari Lennox – “Vacancy” review

Ari Lennox is a 34 year old singer/songwriter from Washington, D.C. introducing herself off her debut mixtape 5 Finger Discount & the debut EP Ariography. The latter of which resulted in J. Cole signing her to his Interscope Records imprint Dreamville Records, where she would put out 2 more extended plays Pho & Away Message as well as the debut album Shea Butter Baby. Fulfilling her Dreamville obligations with her sophomore effort age/sex/location, she’s dropping off her 3rd studio LP to begin this new era of her career.

“Mobbin’ in D.C.” begins with this neo-soul intro produced by Elite singing that she’d cut off everybody around her for this guy she’s been talking to whereas the title track combines hip hop soul & contemporary R&B thanks to Jermaine Dupri & BoogzDaBeast wanting her partner to fill this gap in her heart. “Pretzel” goes for a laidback vibe courtesy of both Cardiak & Wu10 singing for her man to flip & fold her in bed just before “Under the Moon” fuses pop soul, neo-soul, doo woo & the Motown sound magnificently sampling “I Only Have Eyes for You” by The Flamingos.

Moving on from there, “High Key” gives off some trap soul undertones yearning to be this guy’s freaky lullaby leading into the contemporary R&B/trap crossover “Twin Flame” asking the person Ari’s with if he loves her the way she does him. JD flips “You’re What I’m All About” by New Birth during “Soft Girl Era” wanting to embrace the youth subculture aesthetics popularized that Ariana Grande popularized until singing about how “Deep Strokes” through her soul gets her high.

“24 Seconds” gets the 2nd half going luxuriously letting her romantic interest know he has that much time left to come get her ass while “Cool Down” heads for a more atmospheric direction instrumentally singing about showing her appreciation for whenever the person she’s been romantically involved with touches her patiently. “Horoscope” packs a bunch of clever zodiac sign wordplay into this tropical 4 & a half minute trap soul cut while “Wake Up” gets back on her bullshit after discovering her man has been seeing another woman behind her back, lying that he was alone when he’s been texting the other hoe.

The song “Company” featuring Buju Banton nears Vacancy’s final moments teaming up experimenting with reggae & R&B expressing a desire for their respective lovers to comfort them while “Dreaming” sings about seeing an ex of hers whenever she has dreams in the evening, wishing she could see him again so they can hold hands sitting on top of a roof & hitting a jacuzzi later. “Hocus Pocus” containing co-production from DJ Camper finishes the album confessing it’s too soon for her to want this man to be hers as much as she does.

I’m very happy Ari Lennox was finally able to get out of her Dreamville deal considering that she was constantly airing out her grievances towards them for shelving her music & Vacancy makes it’s case for being Ari’s greatest body of work yet, making it worth the 34 month gap between this & age/sex/location. The smooth contemporary R&B & neo-soul production feels reminiscent of Shea Butter Baby’s & the constant theme throughout Ari’s career of new beginnings or starting over takes on a whole new meaning of itself.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

DJ Camper – “Campilation” review

DJ Camper is a 35 year old producer, DJ, rapper & singer/songwriter from Atlantic City, New Jersey notable for being a close collaborator of Big K.R.I.T. & formerly an in-house producer for G.O.O.D. Music at 1 point within the past decade. He has since gotten the chance to collaborate with those from YG & Kehlani to Doja Cat & Doechii, notably producing the 2nd single “Boom Bap” off the latter’s Grammy winning 2nd mixtape Alligator Bites Never Heal. However, he’s been compiling a debut solo album where a cast of both well-known R&B singers are jumping over his beats to perform on top of them for some time now & he’s ready to proper introduce himself individually.

“Tonight” by Lucky Daye sets the tone of what’s to come telling his lover not to say things she doesn’t want to show him over a smooth instrumental whereas “War” by Ari Lennox & Jeremih teams up for this triumphant R&B duet singing about being ready to fight people for the love these 2 protagonists have for each other. “Oowee” by Jill Scott & Ty$ takes a more atmospheric approach stylistically for an ode to smoking weed leading into “I Need It” by Syd & Tank declaring this to be the soundtrack to making love.

Camper himself shows off his singing abilities on the minimally produced “Love Me” including Stevie Wonder playing the harmonica during the outro telling his partner she either loves him or not just before “Come Over” by WanMor yearns for the woman in mind to pull up at their place since she’s missing out. “16 Summers” by Alex Isley & Rose Gold recalls the time it’s been since either of them discovered their first loves while “Waiting on You” by Tone Stith incorporates some pianos at the start & strings from Angelina Barrett singing to her man that she’ll be there when he returns.

“Speak to Me” by Arin Ray & Terrace Martin instrumentally switches it up to get the clock going on Campilation’s final moments dabbling with jazz music depicting a couple trying to sort out the issues of their relationship while “Back & Forth” marks DJ Camper’s return to the mic featuring Brandy singing about having nowhere left to go now that he had broken up with a woman whom Brandy does a fine job of portraying. “Love You” by Victoria Monét might be the most lyrically repetitive moment here, although the flute behind her soothing vocals make up for it.

There are only a couple tracks where DJ Camper’s actually singing but as I expected, he spends a great deal of this Campilation getting in his R&B bag & it has me wondering if he’ll do a sequel where he gets a bunch of rappers over his production kinda like what he did here. His production doesn’t lose its smoothness top to bottom & the guest list is primarily consistent other than a few occasional moments that don’t do it for me whatsoever. That said: I can’t deny him amassing a whole cast of artists representing the R&B genre whether it’s the veterans, the ones who’re popular at this moment & those who have more to offer in due time.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!