Stevie Stone – “Black Lion” review

Stevie Stone is a 39 year old MC from Columbia, Missouri who first gained attention as one of the very last 2 artists to ever sign with Ruthless Records alongside Hopsin. Both of their full-length debuts New Kid Comin’ & Gazing at the Moonlight received little to no promotion, leading both artists to leave the crumbling label. Hopsin went on to form Funk Volume shortly after before closing shop in 2016 whereas Stevie signed to Strange Music in 2012. He eventually became one of the label’s biggest artists with albums like Rollin’ Stone, 2 Birds 1 Stone, Malta Bend & my personal favorite: Level Up. Then came the JL collab album Kontra-Band in 2018, which was really good too. But after Tech N9ne dropped his latest album ENTERFEAR this past spring, things over at Strange slowed down drastically due to the pandemic. However, Stevie is helping the Snake & Bat back in their groove by dropping Black Lion.

The album kicks off with “Set in Stone”, where Stevie talks about being unchangeable when it’s all said & done over an acoustic guitar. The next song “V.I.P.” serves as a club banger with a cavernous trap beat while the track “Type of Time” talks about being a threat over a MIKE SUMMERS a.k.a. 7 instrumental with a cool woodwind thrown in.“Underrated” vents about deserving more appreciation over a delicate instrumental while “The Worst for Me” details how this woman can’t leave him over a luxurious boom bap beat.

“Can’t Deny It” talks about a groupie wanting to chill with him over a smooth instrumental & while “Selfish” featuring Flawless Real Talk finds the 2 talking about why they’re so finicky over a vibrant beat with a woodwind sample. The track “No Permission” gives the listeners a proper clue of what his do’s & dont’s are over a druggy instrumental while the song “Teknique” featuring Tech N9ne gets sexual over an hyphy beat.

The track “Conquer” featuring Spaide R.I.P.P.E.R. is a decent mosh pit starter while the song “Jungle” featuring King Iso gets on the more braggadocious tip over a trap beat with a unique cricket loop throughout. “Dope Sick” talks about hard he be going over an intimidating instrumental from Wyshmaster while the track “Holiday” featuring Maez301 is an incredibly fun party anthem.

“Hennessy & Harmony” talks about being all in over a cloudy instrumental while the track “Vibe” featuring ¡MAYDAY! stoner’s tune backed by the reggae style production throughout South of 5th. “Some Days” speaks on having all these emotions bottled up over a piano-inflicted trap beat while the penultimate track “Still Standing” featuring Rittz finds the 2 talking about how far they’ve come over a melancholic instrumental. “Taste” ends the album opening up about how much fame has changed him over a chill beat.

Like I said earlier: Stevie Stone is one of the most prominent acts on Strange Music & this album is a fine example as to why even if it’s said to be his last under the local indie major. There are a couple of features that don’t really land with me, but you’re gonna get a good look at how much he’s changed throughout the years & the artist/person that he has become today.

Score: 4/5

Jay Royale – “The Baltimore Housing Project” review

This is the highly anticipated sophomore album from Baltimore emcee Jay Royale, who came onto my radar not too long ago with the release of his 2018 full-length debut The Ivory Stoop. But after a couple of big features on Vinnie Paz & Daniel Son’s latest albums, he’s back on his own for The Baltimore Housing Project.

The intro is pretty much Jay setting the tone for the whole album on top of a minimal yet punchy beat whereas the next song “Thousand Gram Figero” with Skyzoo sees the 2 coming with the battle bars over an old school boom bap beat. “The Town” pretty much describes the city that he grew up on over a foreboding instrumental while the track “Skee Rack” with Ransom goes at people who doubted them over a hypnotic beat.

The song “Pearl Handle” with Ill Conscious finds both of them talking about being strapped over a beat with a grim guitar passage while the track “Tint Cruddy” with Termanology sees the 2 talking about making it over an instrumental with a heavenly loop. The song “Hate to Love It” talks about his validity over an orchestral beat while the track “Lime” with Willie the Kid talks about how no one can compete with them over a piano & some heavy drums.

The song “Levaz” talks about pushing drugs over a boom bap beat with a luxurious piano loop while the track “Reefer Clouds” paints some dark street imagery over an instrumental with a plucky guitar loop. The song “Charles S. Dutton” gets back with Ill Conscious to reminisce on their childhoods over a flute-tinged instrumental while the penultimate track “Unreasonable Doubted” talks about people doing shit behind his back over a shadowy instrumental. The outro starts off with Jay talking about trying to bring back those classic Nas/AZ vibes on top of a murky beat, but then transitions into a decent “Unreasonably Doubted” remix.

If you liked his verse on “Scorched Earth”, you’d definitely enjoy this album because it’s probably the man’s best work yet if you ask me. The production is a lot more grimier than The Ivory Stoop was & Jay Royale does a great job at taking the listener through the experiences he had in his hometown.

Score: 4/5

Oh! The Horror – “Halloween 365” review

Oh! The Horror is a trio from Sacramento, California consisting of frontman Jonathon Hillhouse, rhythm guitarist Jeremy Terror & lead guitarist/producer Grady Finch. They released an EP just over a year ago called The Devil Made Me Do It & were able to gain even more exposure just a few weeks ago by becoming the very 1st act under Majik Ninja Entertainment’s new sub-label Welcome to the Underground. Of course with this new record deal, the trio had to celebrate by dropping their full-length debut.

The opener “Kill ‘Em All” get murderous over an icy instrumental backed by some heavy guitars whereas the next track “Boom!” tries to incorporate elements of EDM as they talk about how they’re not hard to find. The song “Origins” tells a story about them agreeing to a deal with Satan over a prominently rubbery trap beat while the track “Scream Queen” talks about taking dude’s bitches over a straight up nu metal throwback. The song “Leave Me Alone” talks about wanting to be set free over an beat fusing an amalgamation of different styles of while the track “Pain” with KidCrusher sees the 2 talking about fading in the darkness & the instrumentation on here is some of the best on the entire album.

The song “Idontcare” talks about not giving a fuck over a minimal beat with a dope retro video game sample occasionally popping in & out while the song “Boomstick!” talks about guns over a trap metal fusion. The track “Bodies” talks about having corpses in their basement over some hellish guitars while the track “Scream” starts bragging over a demented instrumental. The penultimate song “Zombie” talks about getting a blowjob over another trap metal beat & then the album finishes with the title track, where the trio talk about how they’re always gonna be freaks over an uncanny beat.

Pretty good album if you ask me. I was expecting a bit more out of the features & even though the whole rap metal shtick might come off as lame to some people, Oh! The Horror is definitely a more unique face in that style & I can definitely see them growing down the line.

Score: 3.5/5

M.A.V. – “Hoodlum” review

M.A.V. is an emcee that some may be familiar with as a member of Da Cloth, a group that’s been taking over the New York underground for the past year or 2 now. He just dropped an incredible collab album with Rob Gates & Big Ghost Ltd. in mid-July called The Darkness but not even a couple weeks later, M.A.V. has seen for to team up with Giallo Point for his full-length debut.

After the intro, the first song “Prepaids & Plush Planning” with Mooch sees both of them talking about the dealer life over a dark instrumental with a rapid keyboard sample whereas the next track “Face Value” pays tribute to his significant other over a laidback boom bap beat. The track “Hand in Hand” with Ty Farris & Asun Eastwood finds the 3 painting some dark imagery over a dark yet minimal instrumental while the song “Are You Not Entertained?” with Rigz sees the 2 going at their opposition over a boom bap beat with a grim synth-line.

The track “First 2 a 3rd” with King Bub Rock goes on about cooking up coke in their auntie’s houses over an airy instrumental while the song “Protocol” gets back with Rigz to speak on betrayal & death over a bloodcurdling beat. “The Lion” calls out those who’ve never been on his level over a cinematic instrumental & before a 1-minute outdo, the final song “Remember” with Rigz & Tekk9 speaks on how the work they all put in will be worth it at the end of day on top of a solemn boom bap beat.

Wasn’t expecting another album to come so quickly after The Dark Side of Nature, but I’m glad it did because this is another yet crown jewel in M.A.V.’s ever-growing discography. Giallo Point continues to be one of the best underground producers in the game today, as he provides a fantastic musical backdrop for M.A.V.’s gritty lyrics.

Score: 4/5

K.A.A.N. – “All Praise is Due” review

K.A.A.N. is a 29 year old emcee from Columbia, Maryland known for his speedy flows & conscious lyricism. The man has made a lengthy yet consistent discography for himself in just 6 years with my favorites being Black Blood, Pure Intentions, Subtle Meditation & Requiem for a Dream Deferred. He just dropped Blissful Awareness back in May & exactly 2 months later, K.A.A.N. is surprise dropping his 14th album with Big Ghost Ltd. producing the whole thing.

Things kick off with “Foreword”, where K.A.A.N. talks about how life seems so slow over a luscious boom bap beat. The next song “Elevation” talks about his growth over a moody instrumental while “The Feeling” talks about having the urge that something’s wrong over a beat with some beautiful choir vocals hanging in the back. The track “Manifesto” cautions that the world will feel something that has never been felt before on top of a dreary instrumental while the song “Valley of Kings” talks about keeping his head high over a dim beat.

The track $100K & a Benz” talks about pushing it to the limit over an intoxicating beat. while the song “Sellasie” talks about how he doesn’t know where he’s going over a somewhat jazzy beat. The track “Flight” talks about trying to lead the blind over a reclining instrumental while “Apparations” is an emotional ballad from the heart. The album finishes off with “After Words”, where K.A.A.N. vents about questions that he’s been wanting answers for over a boom bap beat with a well-incorporated violin loop.

Overall, this is one of the best albums K.A.A.N. has ever made without a doubt. He comes through with some of his most captivating bars to date whereas Big Ghost Ltd.‘s production sounds unlike anything in the past & it turns out beautifully.

Score: 4/5

Logic – “No Pressure” review

Logic is a 30 year old rapper, singer/songwriter, producer & author from Rockville, Maryland who showed quite a bit of potential in the early 2010s with his Young Sinatra mixtape series. His first 2 full-lengths Under Pressure & The Incredible True Story were both solid as well but beginning with the Bobby Tarantino tape in 2016, his discography has been VERY rocky. Mostly because his lyrical topics got trite & he drowned deeper in his influences to the point where it’s distracting. Case in point: His 3rd album ΞVERYBODY in 2017 was pretty much a Dollar Store version of Kendrick Lamar’s To Pimp a Butterfly & then Bobby Tarantino II almost a year after sounded like a poor man’s Travis Scott album. However, I thought Young Sinatra IV was decent at best & MAYBE he would bounce back going forward. But somehow someway, Logic was able to drop 2 of the worst albums of last year in the span of 6 weeks with Supermarket & Confessions of a Dangerous Mind. Of course the backlash both those records justifiably received resulted in him going AWOL & since then, he’s started his own family with a second-wife & conceiving a child together. To focus on that, he’s giving us a sequel to Under Pressure as a parting gift from the music industry.

The album kicks off with the title track, where Logic gets reflective over some old school production. The next song “Hit My Line” talks about hoping God fixes all the bad stuff in the world today over a boom bap beat from longtime collaborator 6ix with some joyous keyboard melodies while the track “GP4” is a lame bastardization of OutKast’s “Elevators (Me & You)”. The song “Celebration” is an ode to his time in the music industry over a soulful No I.D. instrumental & while I like the beat switch on “Aquarius III”, the lyrics are an odd mash-up of “OCD” & “I’m Gone”.

The song “Soul Food II” is a dope revamp of the original “Soul Food” down to the beat while the track “Perfect” talks his shit over a vibrant FNZ instrumental. The song “man i is” talks about being happy with the person he’s become over a sample of Erykah Badu’s “Didn’t Cha Know?”. The song “DadBod” of course speaks on his newfound fatherhood over a delicate instrumental while the track “5 Hooks” charismatically boasts over a dynamic instrumental from Toro y Moi.

The song “Dark Place” talks about his anxiety & depression over a moody beat while the track “A2Z” is a modern take on Blackalicious’ “Alphabet Aerobics” backed by a punchy beat with some haunting keyboards. The song “Heard ‘Em Say” is a motivational anthem that actually goes over & before the spoken word outro “Obediently Yours”, the track “Amen” talks about how grateful he is for everything over a gospel-like boom bap beat.

In the past, a lot of rappers have said they’re gonna retire from making music & almost none of them actually do. But if this truly is the last Logic album, then I’m not mad at all. Easily his best since The Incredible True Story in my opinion. It’s well produced & Logic actually sounds focused this time around. Thank you, Bobby!

Score: 3.5/5

M.A.V. & Rob Gates – “The Dark Side of Nature” review

This is the surprise collaborative album between Rochester emcees M.A.V. & Rob Gates. Both of whom are members of Da Cloth along with Mooch & Rigz, who actually happened to drop their own collab effort with Big Ghost Ltd. production top to bottom late last year called The Only Way Out. Given that, it’s only right for Big Ghost to show off 2 other members of Da Cloth for a full project.

After the “Prelude” intro, the first song “Bad News” opens up about doing what needed to be done over a grimy beat with some rock influences to it whereas the next track “Bloodhounds” gets murderous over a wailing guitar. The song “Said What I Said” talks about how ugly the lives that they’ve lived are on top of an instrumental that sounds like something from a horror flick while the track “Wild Card” angrily paints themselves as mobsters over a melancholic boom bap beat.

The song “Green Light” talks about applying the lesions that they’ve learned throughout the years on top of a somber orchestral loop while the track “Tombstone” talks about engaging in criminal activity over a fuzzy boom bap beat. The song “Left for Dead” with Rigz sonically gets back on the rock side of things as the trio talk about how dudes in their hood don’t play while the track “Said Less, Did More” talks about grinding as over an elegiac piano instrumental.

The song “Authenticated” talks about how their credibility over a hypnotic beat while the penultimate track “By Myself” gives us a glimpse of what it was like for them growing up & I really love the instrumentation gets more layered as the song progresses. The album finishes off with “Smokin’ Aces”, where everyone in Da Cloth gruesomely show us what they’re capable of as a unit for almost 8 minutes.

If you loved The Only Way Out, then you’re gonna enjoy this just as much. Not only because M.A.V. & Rob Gates’ chemistry is just so unique, but Big Ghost Ltd. also continues to show why he’s one of the best producers in hip hop today.

Score: 4/5

Blu & Exile – “Miles: From an Interlude Called Life” review

This is the 3rd full-length album from the critically acclaimed California hip hop duo Blu & Exile. Their 2007 full-length debut Below the Heavens: In Hell Happy with Your New Imaginary Friend is rightfully regarded by many to be one of the best hip hop albums to come out within the past 15 years. This was followed up in 2011 with Give Me My Flowers While I Can Smell Them & then the 2017 rarities compilation In the Beginning: Before the Heavens. But as we enter the 2nd half of 2020, they’re returning with the double-disced Miles.

Things starts off with “Blue”, where Blu makes a bunch of witty references to the titular color including one of WWE Hall of Famer, the shortest reigning WWE Champion & former WWE Tag Team Champion André the Giant on top of a heavenly beat from none other than Exile. The next song “When the Gods Meet” tells the story of an African American meeting a caucasian on a Saturday over a hypnotic instrumental while the track “True & Livin'” sends an impassioned message to the people over a soulful beat. The song “Miles Davis” speaks on how his opponents are washed up & his crew is superior over a jazzy boom bap beat while the track “The Feeling” talks about hope over a gorgeous piano instrumental.

The song “Music is My Everything” with Choosey of course is about how hip hop is their #1 passion over a soothing instrumental while the track “Bright as the Stars” with Aceyalone touches down on their earliest memories in the culture over a delicate beat. The song “Blue as I Can Be” of course talks about how unique he is over a forlorn keyboard instrumental while the track “You Ain’t Never Been Blue” is pretty much Blu talking his shit over a minimalist boom bap beat.

The song “Miles Away” talks about touring over an upbeat instrumental while the track “Troubled Water” comes through with some fiery bars over a harmonious soul sample hanging in the background. The song “Roots of Blue” is an amazing 10-minute black power anthem while the track “African Dream” talks about Africa being “the motherland” over a tribal instrumental. The song “Requiem of Blue” reflects on 2 points in his life in ’83 & ’88 over a flute-tinged beat whereas “The American Dream” talks about wanting it all over a luscious boom bap beat.

The song “Dear Lord” talks about a dream he had where everyone was united backed by a gorgeous horn section while the track “To the Fall, But Not Forgotten” pays tribute to a bunch of famous celebrities who’re no long with us & I really dig the Saloon-style piano chords on here. The song “All the Blues” tells the life story of Miles Davis over a jazz-flavored beat while the penultimate track “Spread Sunshine” talks about positivity over a joyous instrumental. The album then finishes with “The End”, which is a decent Dirty Science posse cut.

Double albums are usually hit or miss with me personally because many of them are just bombarded with filler cuts, but the duo manage it to pull it off very well. For this to be their first release of original material in almost a decade, it’s almost like they never left. Blu reminds us of his place as a West Coast underground titan & Exile’s extravagant production fitting his conscious lyricism like a glove.

Score: 4/5

Mickey Avalon – “Speak of the Devil” review

Mickey Avalon is a 44 year old rapper from Hollywood, California blowing up on Halloween 2006 with the release of his self-titled debut & then the loose single “What Do You Say?” appearing in The Hangover just 3 years later. This resulted in a deal with Suburban Noize Records, who helped Mickey release his 2012 magnum opus Loaded. Since then, he’s kept himself busy by self-releasing the equally fantastic Teardrops on My Tombstone & a handful of EPs. But with Subnoize’s reforming last year, Mickey has seen fit to link back up with Kevin Zinger & the spade for his 4th full-length album entirely produced by Smoov-E.

The opener “Handyman” is essentially Mickey proclaiming himself as that dude to solve all your problems over a trunk-knocking beat whereas the next song “Ulra-Violence” touches down on how nothing’s free over an instrumental with a jangly guitar hanging during the verses. The track “Shooting Up” obviously about doing drugs over an decent EDM beat while the song “Woke AF” takes a jab at the politically correct over a bombastic instrumental. The track “Johnny Come Lately” sees Mickey comparing himself to that of a pimp over a tuba-inflicted trap beat while the song “Dolly Parton” is a strip-club banger backed by some sirens that really kick up the vibe of it.

The track “Bad Luck Billy” tells the story of a man that’s always doing wrong over a stripped-back acoustic instrumental while the song “Let’s Go” finds Mickey getting into a lot of mischief from robbing a bank with a knife to carjacking over an EDM/trap fusion. The song “Rich Friends” brags about Mickey’s homies on top of an instrumental that sounds like something out of an old video game while the closer “End of My Line” gets right back into the acoustic side of things except the lyrics open up about how it’s difficult to look for a woman the opposite of him. The bonus cut “Dodging Bullets” is a teaser from his upcoming collab EP with reggae artist Landon McNamara entitled Highs & Lows.

If you enjoyed Loaded & Teardrops on My Tombstone as much as I did, then you’re gonna enjoy this album too. The lyricism remains wilder than ever before & Smoov-E continues to be a good match for Mickey because the sounds that he comes through with behind the boards continue to compliment his debauchery well.

Score: 3.5/5

Juice WRLD – “Legends Never Die” review

This is the 1st posthumous outing & 3rd full-length album overall from Chicago, Illinois rapper Juice WRLD. Quickly becoming a prominent face in the emo rap trend in 2018 off the strength of his commercial debut Goodbye & Good Riddance, he tragically passed away late last year just 9 months after the release of his sophomore effort Death Race for Love. Now even though I personally found both of those albums to be average at best, the kid was undeniably talented as proven on songs like “Lucid Dreams” & his astonishing 1-hour Tim Westwood freestyle. But just 7 months after Juice’s passing, his estate is coming together with Legends Never Die.

After a spoken word intro, the first song “Conversations” talks about his demons over a spacious Ronny J beat while the track “Titanic” compares himself to that of a sinking ship over a cavernous DY instrumental. The song “Bad Energy” talks about flushing out all the negativity in him over a skeletal instrumental while the track “Righteous” talks about how his anxiety’s the size of a planet over a melancholic beat from longtime collaborator Nick Mira of Internet Money Records.

The song “Blood On My Jeans” is an endearing tribute to his girlfriend Ally Lotti with an acoustic trap beat from Gezin while the track “Tell Me U Luv Me” finds him begging Ally to tell him everything will be ok on top of an instrumental with a bit of a dancehall influence to it. The song “Hate on the Other Side” by Polo G & The Kid LAROI seems out of place since Juice has very little appearance on it whatsoever & the Marshmello production is just kinda plain to me.

After the “Get Through It” interlude, the track “Life’s a Mess” with Halsey is an awkward rapper/pop singer duet that we’ve all seen done a million times already while the song “Come & Go” feeds into another pop rap cliche as Juice goes in on top of an EDM instrumental. The song “I Want It” talks about love over some more acoustic trap production while the track “Fighting Demons” needs no further explanation over a keyboard-inflicted beat.

The song “Wishing Well” talks about how he deals with fame over a glossy instrumental while the track “Screw Juice” tells the listener if he made it as far as he did, they can as well & the beat on here is just monstrous. The track “Up Up & Away” talks about getting high over an acoustic instrumental & after The Man, The Myth, The Legend” instrumental, the song “Stay High” talks about balance over a moody beat.

The track “Can’t Die” talks about how Ally changed his life over a synth-heavy instrumental from DY & before the album finishes off with the “Juice WRLD Speaks from Heaven” outro, the final song “Man of the Year” is a tearjerking celebration of life over a rap rock instrumental from Skrillex of all fucking people.

This is just a tad bit better than the latest Pop Smoke album Shoot for the Stars, Aim for the Moon. It was clearly put together out of passion rather than just money, but there are slightly more hits than misses during the 55 minutes of this final product.

Score: 3/5