Lorde – “Virgin” review

Lorde is a 28 year old singer/songwriter from Auckland, New Zealand breaking out as an international superstar in the fall of 2013 after signing to Republic Records & putting out her full-length studio debut Pure Heroine many months after the debut of former AEW World Trios Champion, ROH World 6-Man Tag Team Champion, 2-time IWGPヘビー級チャンピオン, IWGPインターコンチネンタルチャンピオン, IWGP USヘビー級チャンピオン & NEVER無差別級チャンピオン Jay White until eventually focusing on her double life in South Park, Colorado as a geologist named Randy Marsh. In all seriousness: Her sophomore effort Melodrama would go on to become the greatest alt-pop album of all-time & Solar Power produced by Jack Antonoff stands as her most polarizing work to this very day, hoping that her 4th LP would recapture the acclaim of her first 2.

“Hammer” fuses alt-pop & electropop with indietronica, Baltimore Club, ghettotech & art pop for an ode to city life & horniness leading into “What Was That?” dabbling with alt-pop, electropop, dance-pop, future garage & synthpop to sing about the aftermath of a breakup. “Shapeshifter” collides alt-pop with a hint of alternative R&B together so she can portray her partner having the ability to transform himself due to mixed signals & misunderstood communication while “Man of the Year” brings some indietronica & singer/songwriter vibes to the the styles of the last track singing about the person she wants to be.

Her relationship with her mother gets touched on during “Favourite Daughter” carrying over the alt-pop & indietronica styles just before “Current Affairs” acoustically samples “Morning Love” by Dexta Daps recalling an experience she had watching Pamela Anderson & Tommy Lee’s sex tape under the influence of both ecstasy & psilocybin. “Clearblue” keeps everything stripped back instrumentally to make caution of becoming pregnant following unprotected sex just before “Grown Woman” finds herself back in an alt-pop direction singing about trying to find a mature female in her life for almost 3 decades & counting.

“Broken Glass” hits the final leg of Virgin with a cathartic take on synthpop bringing up the self-hatred Lorde has towards her own image while “If She Could See Me Now” blends alternative R&B & indietronica reflecting on everything that made her the person she is today expressing her hardiness of a past version of herself being happier with her future self. “David” finishes up the album with a minimal direction up until the halfway point where it starts crescendoing asking if she’ll ever love again & feeling as if she doesn’t belong to anybody.

Flicking a light on inside of her in midst of Solar Power’s divisive feedback & her breakup with Justin Warren at the same time, Virgin diverts away from the prominent folk pop sound of her 2021 predecessor in favor of focusing more on what made her break out in the alt-pop subgenre reflecting on her femininity. The secondary influences of indietronica, singer/songwriter, art pop, electropop & alternative R&B in Jim-E Stack’s production pans out more impressively than what the Bleachers spearhead tried to do with indie folk, psychedelic pop, soft rock & indie pop 4 years ago.

Score: 3.5/5

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Nick Grant – “I Took It Personal” review

Nick Grant is a 36 year old MC from Atlanta, Georgia emerging in 2016 off his debut mixtape ‘88 along with the Epic Records-backed debut album Return of the Cool. His next tape Dreamin’ Out Loud would prelude the acclaimed God Bless the Child produced by Tae Beast of the Top Dawg Entertainment in-house production team Digi+Phonics, which later led to Carolina Diaries & Welcome to Loveland. A year & half since Sunday Dinner however, I Took It Personal has finally arrived a week after its initial release date.

“Unforgettable” sets the tone with a piano/boom bap hybrid sprinkling remnants of the past in his music testifying to the legacy he’s already established for himself whereas “Let It Reign / Read Your Contract” gets split into a soulful first half boasting that everything he writes murders & the other lamenting his time being on a major label including giving advice to anyone who wants to get signed basing it from his own experiences with Grand Hustle Records & later Epic.

The soul sample on “Do You Love Me?” fits the whole theme of love telling his girl that she’s the very reason he bosses up & he’s the realest out of all the fish in the sea leading into “Big Tymers” talking about there not being any other better story than the underdog. “Pass It Out / House Calls” serves as another 2-parter cloudily looking to chalk out his competition during the first half & the other talking about there being a problem if the dogs get called.

Chipmunk soul & boom bap get fused during “The Ritual” boasting that he’s the very reason why the matrix is glitching at the moment just before “No Apologies” belittles everyone who relies on ghostwriters over a jazzy yet soulful instrumental. “Love for the Mob” finds himself keeping it p & moving in silence like psalms showing off some killer wordplay while “The Pride” talks about joking a lot with his girl & still getting deep with her.

“Back Home” experiments with sample drill a bit reflecting on going major now & getting it out the mud when he started while “Product, User, Dealer” talks about making your favorite MC relapsing snorting lines again on top of observation the treachery of them street corners. Moving on from there, “Something to Sei” tackles a kind of love Nick feels should be illegal considering he was selling merch to give her heaven on earth.

The song “Nothing’s Free” brings a darker trap atmosphere to the table blending these hi-hats & ominous piano chords together until a symphonic switch up halfway through saying that America’s eating it’s babies when that couldn’t be any more true while “It Ain’t Personal” caps off the LP with 1 last soul sample chop making y’all think somebody filming him the way he’s shooting muhfuckas.

God Bless the Child was what renewed my interest in Nick during a rough time period in the lives of many & now that we’re pretty much halfway through the decade, I Took It Personal surpasses Return of the Cool as his strongest full-length & I feel like lot of people can learn a few things from it if you want to get involved with the music business. He’s laying out every experience he’s had in the industry whether it be good or bad & the production could be his most eclectic showing influences of boom bap, trap, jazz rap, chipmunk soul, cloud rap & sample drill.

Score: 4/5

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Memphis Bleek – “APT 3D” review

Memphis Bleek is a 46 year old rapper & songwriter from Brooklyn, New York starting as the original hype man for JAY-Z. Hov eventually signed him to Roc-A-Fella Records once their distribution deal with Def Jam Recordings was settled, dropping both his full-length debut Coming of Age & the sophomore effort The Understanding to mixed reception. M.A.D.E. (Money, Attitude, Direction & Education) would become my personal favorite album of his in the winter of 2003 & with the 20-year anniversary of 534 passing last month, the Warehouse Music Group founder is looking to make a comeback with his 5th studio LP.

“Durag Bleek” produced by Just Blaze was a perfect lead single to kick off the rollout talking about the Roc life being bigger than that mob shit whereas “Still R.O.C.” works in a gospel sample to talk about representing the same squad he’s been with for almost 3 decades, which he’s not wrong since Roc Nation Records is distributing Warehouse now. “You Should Know” laughs off those copping out more than they drop out over a soulful Cool & Dre instrumental leading into the mild pop rap cut “On My Way”.

We get a spoken word intro that takes up the first half of “Holla at Cheech” ahead of a 52 second verse off the top flexing that y’all should be following him outside of social media over a Sndtrak beat while “I’m the Type” brings a chipmunk soul vibe to the table talking about being the kind of person to ride with you until the very end. “King’s Design” suggests that he should be charging people the way he be speaking like a boss just before “3 Kings” featuring Benny the Butcher & Smoke DZA finds the trio talking about being royalty around their respective parts.

“Believe It” begins the 3rd & final leg of APT 3D with boom bap instrumental showing off the large lifestyle he’s been involved with ever since his music career took off really while “Choosing You” brings back the pop rap vibes except he & Mario Winans are doing it much better than they did on “On My Way” from the atmospheric sound to the lyrics of always remaining loyal to his partner. “Word to Hov” finishes Bleek’s first body of work in 2 decades with him taking the last 2 & a half minutes to shout out his mentor as well as explain that he had to take time away from music to pick himself back up from personal shit.

Taking it back to the apartment complex in the Marcy Projects that made him, APT 3D rivals M.A.D.E. (Money, Attitude, Direction & Education) by passionately returning to the booth casually shrugging off whatever Memphis Bleek had going on in his life outside of music. The production nostalgically throws it back to when Roc-A-Fella was at their prime as a label in the early 2000s & most of the features doing hooks other than both MCs who were on the 2nd single was a great move on his part since that time away gave him a lot to get off his chest.

Score: 3.5/5

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Bukshot – “Antagonist” review

Louisville, Kentucky emcee & Mobstyle Music founder Bukshot subtly dropping his 10th studio LP. From his lengthy solo discography to the groups & duos that’s formed with some of the biggest names that the underground has to offer, there’s no question that dude’s been putting it down for the culture for a grip at this point. Double Dragon had reunited a couple months ago for their sophomore effort Big Trouble with Double Dragon heavily inspired by the movie Big Trouble in Little China & is finally releasing Antagonist exactly 6 months to the day as Boondox’ most recent EP Black Winter.

After the “Villadictorian” intro, the first song “Bad Guy” produced by none other than MIKE SUMMERS a.k.a. 7 opens with a trap beat talking about being a villain whereas “I Was There” featuring Ill Bill goes for boom bap vibe to discuss never being afraid of the outcome & buckin’ at opps at every opportunity. “No More Fight” keeps it in the basement instrumentally finding his mind drifting further as time goes on leading into “Martyrs” bringing a doomsday atmosphere talking about handling business.

“All I See is Red” featuring Str8jaket likens themselves to the inaugural IWGPヘビー級チャンピオン, former 12-time WWE world champion, WWE tag team champion, 2-time WWE Hall of Famer & Real American Beer founder Hulk Hogan alongside fellow WWE Hall of Famer Eric Bischoff in light of their new promotion Real American Freestyle (RAF) Wrestling holding it’s first show in a couple months just before “Darkest Night” dastardly talks about wanting to see the sun rise.

Jamie Madrox joins Buk on the cavernous trap single “Tear It Off” to talk about being in a standoff & burning the whole place down because their enemies don’t wanna stand tall while “My Woods, My Rules” after the “Hanzel & Gredel” skit morbidly portrays himself as a serial killer riding in a cabin in the forests. “Turbulence” featuring the Lune Squad & Str8jaket unites the quartet over some hellish background vocals talking about being living nightmares while “Chess” checkmates every last one of these heretics.

“Heel Song” after the titular skit references former 3-time CWA Tag Team Champion, WCW World Heavyweight Champion, 2-time WWE United States Champion, 10-time WWE tag team champion, 2-time WCW World Television Champion, 2-time IWGPタッグチャンピオン & 2-time TNA World Tag Team Champion Scott Steiner while “Clocks” featuring Jarren Benton & Stevie Stone asks why everyone’s so foul. “Walk in My Shoes” promises to raise Hell whether he wins or loses while “Proceed with Caution” talks about doing God’s work.

Rittz appears for “Deserted” feeling like they don’t deserve to be left behind yet it’s worth it because they both live beautiful lives while “Bottom Feeders” talks about upgrading his hustle. “Dramacyde” completely dismantles all these so called influencers that we come across all over social media while “Rule My World” featuring Apathy talks about concocting ways of conquering the globe.

“Lovely” faces the concept of self-remorse head-on while “Get It Done” featuring Joey Cool explains that it doesn’t matter how you do your job as long as everything’s completed somehow someway. “Merciless” admits that he’s been in a weird mental place as of late showing absolutely no mercy & after the “Magnum Opus” skit, “Are You Still Down?” talks about people being there for you 1 day & gone the next.

Meanwhile on “Slaughterous” featuring Timbo, we have the father-son duo getting together to unload a full clip at everyone who be spewing bullshit regarding them while “It Ain’t the Same” talks about holding on to memories of a person who isn’t here with him anymore. “Pressure” suggests to shake yesterday off like a bad habit since we’re living for today while “Enough” talks about our families needing us now more than ever.

“Man Down” featuring Chris Webby & Slaine advises to stand your ground instead of running since people will stab you in the back if you’re not watching it while “Wide Awake” talks about being unable to sleep as a result of the thoughts racing through his head. “Loyalty” colorfully explains what allegiance means to him while “Free” featuring Matt Phoenix talks about never letting anyone else steal your shine.

After the “Say Bye to the Bad Guy” interlude, the penultimate track “Summer Vibes” featuring Str8jaket & Wrekonize nears the end of Antagonist with a ballad that thematically revolves around them getting fucked up during the warmest time of the year while “Nuisance” by The Horde featuring 9 Millz by grittily talking about refusing to fuck with any & all dimwits.

For a triple disc offering Antagonist has gotta be the the most I’ve enjoyed a Bukshot solo project in a while. Maybe even surpassing Weirdo as my new favorite of his. 7’s production on this one balances boom bap & trap as opposed to his recent output with Buk focusing more on the latter subgenre with the Mobstyle founder showing a villainous side to himself.

Score: 4.5/5

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Benson Boone – “American Heart” review

Benson Boone is a 22 year old singer/songwriter from Monroe, Washington garnering the attention of Warner Records following “Ghost Town” going viral. Introducing herself to a wider audience off both her EPs Walk Me Home… & Pulse, his inaugural full-length Fireworks & Rollerbladesmarked a poorly received debut in terms of the pop rock style & his follow-up here has been generating a lot of attention from critics & fans so much that I had to give it a listen to hear what made it so appealing.

“Sorry I’m Here for Someone Else” was a mediocre pop rock single to start my off with further showing influences of big music & new wave addressing a former lover whereas “Mr. Electric Blue” sings about his father disrespecting the progressive pop rock band Electric Light Orchestra, who influenced a personal favorite artist of mine in KiD CuDi. “Man in Me” overloads this synth-heavy breakup letter with so much melodrama where it gets annoying after a short & “Mystical Magical” easily sticks out amongst the absolute worst songs I’ve heard all year making the late Olivia Newton-John roll in her grave.

Reaching the halfway point of this torturous listening experience, “Reminds Me of You” makes me miss Bruno Mars in light of 24K Magic turning 10 next fall & of course the Silk Sonic album An Evening with Silk Sonic. “Momma Song” was a disappointingly tiring adult contemporary single dedicated to his mother doing piano & symphonic rock little to no favors leading into “I Wanna Be the One You Call” redundantly exemplifying why it should’ve been on the cutting room floor & Malay’s involvement disappoints because of his production on the best alternative R&B album of all-time in Frank Ocean’s sophomore effort blond right above The Weeknd’s mixtape trilogy.

“Wanted Man” feels like him taking a giant shit on glam rock which the late David Bowie defined with his 1972 magnum opus The Rise & Fall of Ziggy Stardust & The Spiders From Mars followed by “Take Me Home” homaging the EP that broke him out as a star except it underwhelmingly asks to be kissed like the old days. “Young American Heart” finally finishes this shitty album with him & recalling a time where he & his best friend felt limitless & indestructible.

Said to be inspired by heartland rock pioneer Bruce Springsteen & the Americana subgenre of country music, Benson Boone’s sophomore effort feels utterly commercialized to the point where you’d hear it in a dressing room of a store like Kohl’s instead of a generational attempt of solidifying himself as a successor to pop rock alongside adult contemporary & new wave doing the bare minimum of justice to every individual who’s brought out the good of all those styles making them what they are now.

Score: 1/5

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Joshua Redman – “Words Fall Short” review

Joshua Redman is a 56 year old saxophonist from Berkeley, California notable for being the son of the late Dewey Redman. Signing to Warner Records in 1994 with his eponymous debut, he would go on to follow it up Wish as well as Moodswing & Freedom in the Groove. He would stay with Warner for Timeless Tales (For Changing Times) followed by Beyond & Passage of Time, leaving after Elastic in the fall of 2002. Recently signing to the greatest jazz label of all-time, Joshua’s 16th solo LP will now be his official debut under Blue Note Records.

“A Message to Unsend” begins with a 5 minute post-bop composition enlisting labelmate Paul Cornish on piano ahead of his debut You’re Exaggerating! later this summer alongside Philip Norris playing bass & Nazir Ebo handling the drums prior to tenor saxophonist Melissa Aldana joining the quartet for “So It Goes” to improvise 7 minutes of pure swagger. Philip’s bassist skills kicks off the first 60 seconds of the title track until the drums, sax & pianos all come in respectively while “Borrowed Eyes” reaches the halfway point with a bluesier mood.

Getting the ball rollin’ on Words Fall Short’s final act, “Icarus” could be my favorite post-bop song throughout the whole 45 & a half minute runtime bringing trumpeter Skylar Tang along for an exhilarating improvised post-bop jam just before “Over the Jelly-Green Sea” shows Joshua’s appreciation towards the late W.G. Sebald. The final instrumental piece “She Knows” explores his full range with a soprano saxophone giving a shot at avant-garde jazz during it’s 2nd half “Era Ends” by Gabrielle Cavassa sends off the album with a vocal jazz outro reminiscent to the most recent entry of her discography Where Are We?.

Conceived in a working environment that inspired him to dig into compositions that hadn’t found a home yet, Joshua Redman’s approach to bandleading hasn’t changed from the very moment he introduced himself to the world 3 decades earlier still performing with virtuosos who’ve mastered all the different jazz vocabularies & know how to express their individual brilliance through group improvisation & collective interaction. Primarily departing from the vocal jazz direction that took up a good bulk of Where Are We? & turning up the post-bop influences, Josh’s previously unheard collection of originals the beauty of human imperfection sees the light of day as his greatest material since leaving Warner.

Score: 4/5

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Bas & The Hics – “Melanchronica” review

New collaborative LP between Sudanese-American rapper & songwriter Bas alongside London, England, United Kingdom alternative R&B duo The Hics. One of whom began in 2011 by putting out his debut mixtape Quarter Water Raised Me & the 2013 sequel Quarter Water Raised Me 2 would catch the attention of J. Cole, becoming the 2nd act after Omen other than Cole himself to sign to his Interscope Records imprint Dreamville Records. Bas would introduce himself more to the Dreamville fans the next spring on the moderately received full-length debut Last Winter & the sophomore effort Too High to Riot couple years later won them over, as it’s still the most critically acclaimed body of work in Bas’ discography to date. Milky Way was also treated to mild reception as were the couple of EPs that he’s given us since then Spilled Milk & BUMP (Pick Me Up), returning a year & a half after We Only Talk About Real Shit When We’re Fucked Up to team up with The Hics on Melanchronica.

“Out of Sight” was a soulfully orchestral trap fusion were 2 lovers talk about being down & out for each other whereas “Norbit” featuring Ab-Soul references the shitty Eddie Murphy movie that came out at the beginning of 2007 on top of mentioning that they want no parts with politics. “4 Walls” brings the alternative R&B & pop rap vibes they’re both known for in full effect wanting to get to know each other by telling war stories of their worst times while the cloudy “Everyday Ppl” reunites both acts for another R&B/hip hop duet talking about not wanting to fight anymore.

I found “San Junipero” to be a decent 2-parter with a beat switch during the final couple minutes pleading to hold onto love & “Comfort Levels” after the “Roxanne’s Interlude” acoustically talks about never seeing his squad going under since only God knows his hunger. “Mine” featuring Domani finds the quartet going for a tropical direction not wanting to let each other go while “Erehwon” featuring SABA talks about having tons of problems to pay for. “Sometimes” ends the album with a 7-minute closer split in 2 different halves observing tangible qualities in one another.

Breaking free from Interscope albeit staying with Dreamville much like the EARTHGANG did, Melanchronica feels like a longer version of the SNAKEGANG’s eponymous debut EP with the exception of The Hics’ production fusing Bas’ pop rap style with the indietronica/alternative R&B elements of the British duo’s own music. It’s concept is based around the longing of a lost love as well as the battle between our own duality & the pensive self reflection of one’s own shortcomings satisfying fans of both artists encompassing the stories of their lives from pre to post COVID.

Score: 3.5/5

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Ankhlejohn – “Live! at the Disco” review

This is the 7th studio LP from Washington, D.C. emcee/producer Ankhlejohn. Breaking out off his Big Ghost Ltd.-produced sophomore effort Van Ghost, he’s given the underground his last 6 full-lengths as well as 8 EPs & 7 tapes in almost a decade. Other favorites of mine in his discography include the Navy Blue-produced As Above, So Below, the Rome Streetz collaborative effort Genesis 1:27. & more recently the Cookin’ Soul-produced The Michelin Man earlier this year. August Fanon had produced Blu’s widely praised 13th solo album 40 back in April & hearing him produce Live! at the Disco had raised my expectations for it going in.

“Electric Funk Daddy” sets up some woodwinds & keys to get the party going assuring that you best believe he’s got some personal shit poppin’ off in his life right now whereas “Lexus GS300” embraces a funkier direction instrumentally so he can get on his smooth shit on the mic for a couple minutes. “Emilio Pucci” takes the drumless chipmunk soul route giving his flowers to the late founder of the Italian fashion house Pucci just before “The Lordy Way” brings back the funk talking about doing shit the only way he knows how to: his own.

The late “Marion Barry” gets brought up on a song named after him lettin’ y’all know where Lordy comes from over some delicate synthesizers behind him while “Long Overdue” chops up the soul sample again to map out big heists you won’t even believe. “Replica Jazz Club” dives into jazz rap turf talking about new beginnings & his vision being bigger than everyone else’s prior to “Monday Morning” soulfully talks about needing permission from no one except his mother.

“Day by Day” mixed soul & synth-funk showing everyone his imagination smoking the finest mush he could find on the daily while “Eddie Brock” makes reference to The Walt Disney Company subsidiary Marvel-owned Venom’s alter ego turning the jazz influences back up again. “Majic 102.3 Vibes” maintains a jazz rap flare airing out the people who haven’t paid their dues in the game & “Digital Love” ends with a drumless saxophone talking about being that muhfucka.

I did enjoy the Grace Given EP don’t get me wrong, but Live! at the Disco recaptures almost every that made The Michelin Man his best in a while & both of them will be hailed as his most essential listens the more time passes. August Fanon’s production on this one a lot like 40 earlier this spring prominently centers itself around chipmunk soul, jazz rap & drumless swapping out the conscious subject matter Blu is known for in favor of the hardcore lyricism that Lordy’s become popular off of.

Score: 4.5/5

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Crossworm – “Cruelty” review

Here is the 8th studio LP from Grand Rapids, Michigan rapper, singer/songwriter, producer & Dirtcore Music founder Crossworm. Starting as 1/2 of 2Korpse before branching out on his own for the full-length solo debut Phoenix, this was followed up by a sophomore LP Ready to Burn alongside 2 EPs Mouth Full of Dirt & jaws: Deciduous respectively. Taking a few years off after the latter, he returned in the summer of 2014 by dropping 4 more albums: Parasite Avenue, Drowning in Restricting Thought, Finding X & Eat the Weak. I’ve covered the Gōst EP along with the synthpop inspired ANTI & of course the eponymous Bodies Below Sea Level debut, dropping Cruelty a month after both Dirtwave & Shelter Skelter.

The first song “We Rise, They Fall” after the “Live, Laugh, Lobotomy” intro was an industrial rock opener singing about how every single one of us should be standing tall whereas “You Fucking Lying Bitch” by Bodies Below Sea Level gets back on the industrial horrorcore sound of their self-titled effort last fall. “Warning” maintains the vibes of the previous track except Crossworm’s doing the MCing all by himself until “Bully” by Bodies Below Sea Level lets out some overcrowded angst they can’t keep in anymore.

“Liquify My Dick & Drink It” hops over an industrial beat for 50 second pleading to be left alone with his peace beneath the cold dirt subtly referencing The Beneath the Dirt Podcast in which the Dirtcore CEO produced it’s theme song, but then “Get the Fuck Off My Lawn” featuring Madd Maxxx industrially unites the 2 so they can repeat the same shit until they’re wrong. After the “What Do You Do?” interlude, “You’re Dead to Me” sings over synthesizers with the lyrics airing out some grievances he has leading into the “Vulnerable” interlude AND the “Useless Entitled Cripple” interlude.

Things get minimal for “It’s All My Fault” meshing pianos & an acoustic guitar taking some accountability for himself while “Shatter” by Misery Coast talks about their squad leaving everyone behind in dust. “Some Call Me the Devil” continued the industrial horrorcore hybrids acknowledging some comparing him to Satan while “I Still Hate” experiments with nu metal feeling loathsome. Lastly, “I Have My Reasons” closes Cruelty with a melodic boom bap joint recalling when he used to feel oblivious.

Eat the Weak was considered to be the most aggressive entry in Crossworm’s whole entire solo career up until this point & over 2 decades since Phoenix, he’s taken it to another level on Cruelty. His production feels like a mix of all the sounds he’s employed during the course of his career from horrorcore to industrial music, nu metal, industrial rock & boom bap bringing half of the artists he’s already signed to his increasingly popular underground hip hop label on board balancing his rapping abilities with his singing chops evenly.

Score: 4.5/5

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Daz Dillinger – “Retaliation, Revenge & Get Back 2” review

Daz Dillinger is a 52 year old rapper, producer & songwriter from Long Beach, California who happens to be the cousin of Brandy, her brother Ray J, WWE Hall of Famer Snoop Dogg & the current AEW tbs Champion and RPW British Women’s Champion Mercedes Moné set to face set to face the current CMLL Mundial Femenil Campeon Zeuxis at Grand Slam VI at Arena México this upcoming Wednesday & the current 4-time AEW Women’s World Champion Toni Storm at All In IV at Globe Life Field in Arlington, Texas next month. He eventually signed to Death Row Records & became an original in-house producer under the guidance of its co-founder Dr. Dre, forming Tha Dogg Pound with Kurupt not too long afterwards. Daz finally made his solo debut on ‘98 by putting out Retaliation, Revenge & Get Back on Death Row until departing rather quickly to put out 19 more LPs of his own with almost 3 decades of experience in the game. We just had the Dogg Pound Gangstaz make a return to form with W.A.W.G. (We All We Got) under Tha Row last spring & his 21st album looks to take it back to the essence of his own debut.

After the “Level 4 Yard Bizniz” intro, the first song “Death Row N’Matez” by Tha Dogg Pound featuring RBX & Soopafly was a funky west coast hardcore hip hop intro with all 4 of them justifiably showing off their status as O.G.s of The Untouchable west coast label whereas the soulful “Calculate the Time” talks about the chosen few who’re simply too cold. “West Coast is the Best Coast” boastfully represents the sunshine state to the fullest since hip hop’s a habit to him & after the “Get Down You Clown” interlude, “Set Trippin’” advises that those who ain’t from the same block as him to watch their step.

“Retaliation & Revenge” apocalyptically suggests you better not come around his parts or the city anymore bringing images of gang violence to life so he can back up the warning message he’s sending out just before “Get Bacc” lets y’all know the exact moment the guns start to blow reaffirming he’s always been with the gang life then, now & forever. “Start Bacc Bangin’” featuring a verse from the late Big Skye finds the 2 linking up for a modernized g-funk vibe flexing their Crip ties, but then “We Came to Play” featuring B-Legit goes for a traditional g-funk approach to dedicate itself to the playas.

Lil’ C-Style formerly of the LBC Crew joins Diggity Daz for “Switchin’ Lanez” working in more synthesizers so they can fondly recall the people in their lives who gave them a sack simply because they knew how hard both of them were hustlin’ until getting signed back in the day while “Like a Movie” by Tha Dogg Pound takes the trap route a little asking if you’re ready to do & comparing the way they live to a theatrical film. “Destiny” samples The Jackson 5 single of the same name standing tall because he was born for it while “On the Dead Homies” puts it all on the people in his life who aren’t with us today.

“The Reason” was a cloudy g-funk crossover breaking down why he’s been grinding with a purpose all this time while “Ask the Homie Daz” pulls from trap music again instrumentally to tell anyone who got questions for him to take them to someone else due to him having nothing for ya. “Chitty Chitty Bang Bang” dives into g-funk turf once again talking about the gangsta lifestyle he lived during his younger days & “Mentally Crazy” finishes Retaliation, Revenge & Get Back 2 with a powerful reflection on mental health explaining the stigma around that touchy subject makes it hard to reach out for help when it absolutely does.

It’s no secret a vast majority of Daz’ solo material since DPGC: U Know What I’m Throwin’ Up has been either received positively such as the So So Def Recordings-backed So So Gangsta & Dazamataz or left west coast heads divided in Matter of Dayz’ case. Retaliation, Revenge & Get Back 2 on the contrary makes for a worthy sequel to the album he broke out as a solo act with. His production takes cues from the west coast’s past & present, enlisting a more consistent guest list than The Adventures of Dilly tha Dogg exactly 6 months ago who perform on his same level rather than constantly being subpar.

Score: 4/5

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