Trade Voorhees – “Happy Saturday the 14th” review

Las Vegas, Nevada emcee/producer Trade Voorhees celebrating his birthday weekend by putting out his 4th full-length studio album through Bandcamp a day early. Since 2001, he’s been steadily hustlin’ within the Sin City underground by putting out a a trilogy of eponymous full-lengths in addition to 5 EPs & 14 mixtapes. I even had the honor of meeting him at the 2021 Gathering of the Juggalos during the last day of that year’s festival & it was all love. Continuing the spirit of his Saturday the 14th series however, Trade’s wishing everyone a Happy Saturday the 14th.

The self-produced title track happens to be drumless intro talking about how it’s a celebration up in this bitch whereas “16mm (Spooky Movie)” takes the ominous trap route instrumentally cautioning to make sure your house is fully lit since he’s creepin’ in the shadows. “This Should Be Televised” shifts gears into piano boom bap territory to talk about his greatness being common sense, but then “Rainy Dayz” featuring LEROYCHOPS maintains the kicks & snares suggesting another day being another chance to hustle.

“Rainy Dayz 2” picks up right where the predecessor left off removing the drums in favor of going for an atmospheric direction having no doubt he’s one of the best just before the 78 second “Dirty Forever” brings a cool lo-fi vibe to it coming to terms with himself being an anomaly. “Life Goes On” heads for a funky boom bap direction suggesting the best days come from not giving a fuck leading into “Barracuda” maintaining the rawness talking about the long grind he’s been on.

The somber boom bap tone of “I’m 37, I’m Not Old” spends a minute & a half reflecting on his 37 birthday coming up this weekend while “Killswitch” boasts that he & Johnny Millz have that same very safety mechanism on them. “$1M Idea” drops ideas as if the ads will pay him while the lo-fi “Rob Zombie Movie” talks about making everyone lose it. The closer “Selfishness” featuring Proper Like I ties it all up with them tired of waking up unimpressed with shit.

Paying attention to Trade through his collaborations with Chapter 17/Psychopathic Records in-house producer and Lazy & Crazy Clothing founder Shaggytheairhead these past several years, Happy Saturday the 14th is easily one of the most important entries in his discography yet. His production teeters between boom bap, drumless & lo-fi hip hop bringing on a couple guests to join him in recapping these past 14 months in roughly 25 minutes.

Score: 4/5

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Z-Ro – “Call Me Rother” review

Here we have the 27th full-length studio LP from Houston, Texas emcee & singer/songwriter Z-Ro. A member of the Screwed Up Click collective, he’s been holding it down for 3 decades already whether it be the Rap-A-Lot Records debut & my personal favorite in his discography The Life of Joseph W. McVey or his output as part of the Guerilla Maab & later the duo ABN. He dropped The Ghetto Gospel earlier this spring & fast forward 9 months later, he’s coming back telling everyone to Call Me Rother.

After the “Geto Boys Reloaded” intro, the first song “Charging” is this trap opener talking about it living life on the grind & getting his every single time whereas “Kingz” maintains a vainglorious trap vibe instrumentally rather keeping it peaceful when it’s anything but. “Live My Dreams” featuring Slim Thug keeps it rollin’ by talking about wanting to build shit with their cliques prior to “Side Dicc” gets back in the trap tip showing a sensual side to him.

“No Ice” mixes elements of dirty south & trap refusing to let anyone else sip with him admitting that he’s drunk as fuck already leading into the hypnotic trap joint “Paybacc” talks about getting his lick back & owing someone an ass-whoopin’ out of pure vengeance. “Vandross” produced by N.O. Joe boasts that he’s the young Luther Vandross & asking for everyone to keep their hands off while the guitar-driven trap joint “My People” makes a plea for everyone in his life believing it’s time for us all to come together.

As for “Log On”, we have Z-Ro over a moody trap beat finding all the haters runnin’ their lips whenever he turns around assuming that the circus is in his city with all these clowns just before “Love in These Streets” talks about his legacy out in the city that made him. “Rother” has a cool interpolation of “In the Air Tonight” by Phil Collins on the hook not shrugging off his detractors while “Him” featuring Cee-Lo Green is another favorite from the Cory Mo instrumental to the boastful lyricism.

“Neva 4get” reaches the encore of Call Me Rother by hooking up an acoustic guitar & hi-hats with an occasional saxophone bringing all his guns for a specific individual promising that he’ll be a muhfucka that one won’t ever forget of going forward while “Motion” talks about having the very thing that a lot of these other people out here are severely lacking in. The closer “Die” wraps up his 2nd offering of 2024 by pondering where he’ll actually end up going in the afterlife.

Z-Ro’s recent output has ranged from the potent introspection of No Love Boulevard to the mediocrity of SäDISM & for his 2nd album this year, I happen to like it more than the predecessor. The production has improved, there are lesser guest appearances in comparison & he seems to be more comfortable playing the villain in your story this time around.

Score: 3.5/5

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Paul Wall – “Once Upon a Grind” review

Houston, Texas emcee, DJ & businessman Paul Wall returning with his 15th full-length studio LP. An affiliate of Swishahouse Entertaimment & a co-founder of The Color Changin’ Click, his 2005 sophomore effort albeit major label debut The People’s Champpropelled him as an H-Town veteran & has since been steadily dropping music whether it be Bounce Backs Over Setbacks becoming the best album of his from the previous decade to the mixed reception of The Great Wall last winter. Ahead of the latter’s 1-year anniversary this weekend, he’s got a story to tell Once Upon a Grind.

“Woke Up a Millionaire” produced by DJ Fresh perfectly starts with a spacious beat talking about how amazing it is the way he be stackin’ up his paper whereas “Platinum Playa” fuses Mobb & trap flexing his aptly titled status. “I Get Down” takes the ominous trap route instrumentally dedicating this one to all the go-getters listening worldwide just before “Can’t Talk, Chasing a Check” featuring Lil’ Keke & Slim Thug finds the trio tryna collect paychecks refusing to chit chat.

As for “All Money Good”, we have Paul heading for a soulful trap direction letting it be known that all kinds of money around his parts is good money as far as he’s concerned leading into “Way 2 Wet” reconnects with DJ Fresh once more for an anthem built his candy-painted whip. “Swang Down” featuring Z-Ro shoots for a laidback approach advising the soldiers to slowly do exactly that, but then “All Night” is another DJ Fresh banger getting what’s his throughout the whole evening.

“Underground Ambassador” featuring Berner, Big K.R.I.T., Freeway, Rich the Factor & Termanology starts the encore of Once Upon a Grind with a nearly 5 minute posse cut while “Pocket Fulla Money” brings the Mobb flare from earlier back in the equation talking about his pockets being swole. “Run to the Money” featuring Yung Al sees the pair getting in that mode soon as they hop out of bed & “Love 4 Rent” sends it all off spreading the word of money being unable to buy love.

Once Upon a Grind redeems Paul Wall from the mixed reception of it’s predecessor almost 365 days ago & I’ll even make the argument that it’s the most I’ve enjoyed a solo effort from him in quite a while. It’s more well-produced, the guests’ performances stick the landing for the most part & Paul himself coming off more focused all culminates in this 41 minute LP that he conceived out of love for the very city that made him.

Score: 3.5/5

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Fashawn – “Carte Blanche” review

Fresno, California emcee Fashawn tapping in with New York producer Little Vic for his 5th studio LP. Breaking out 15 years ago off his 7th mixtape The Antidote, his profile would begin to increase from there whether it be the Exile-produced debut album Boy Meets World. or The Alchemist-produced debut EP FASH-ionably Late & the Mass Appeal Records-backed sophomore effort The Ecology during my senior year of high school. Although his music since for me personally has been hit or miss with this fall’s You Owe Us with Interest being a more recent example, I have enjoyed Little Vic’s production work in the past & that made me anticipate Carte Blanche.

“Crown Vic” is this piano-driven boom bap intro turning muhfuckas into sacrifices similar to that of Jesus Christ himself whereas “1 Eyed King” works in a soul sample with some kicks & snares giving handcuffs for Christmas in addition to a middle finger for the already corrupt system. “Pearly Gates” featuring Rasheed Chappell finds the 2 promising that they’ll still rising like murder rate even when they’re gone leading into “Autumn in New York” providing a boom bap anthem dedicated to fall in the City of Dreams.

As for “168”, we have Little Vic keeping it in the basement instrumentally as Fashawn looks for a 187 while “Victim” talks about everyone being soft & this being as hard as it gets. After the “Waygu” interlude, “Mac n Cheese” returns to the boom bap unloading a short but deadly 37 second verse on top of it just before “Capo” brings back the soul sampling getting in his battle rap bag. “Spaghetti Western” though ends Carte Blanche talking about pumpin’ weight instead of pumpin’ fake.

Coming from 2 different worlds, these guys bring unique stories & sounds that excellently blend the raw with the refined. Little Vic’s production creates a soundscape that mirrors the rags-to-riches journey that he & the Fresno lyricist represent flexing between hard-hitting rhythms & delicately soulful sounds that match the conceptually gritty yet sophisticated journey through life’s harsh realities & ultimate triumphs that Fashawn vividly paints.

Score: 4/5

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Mikahl Lawless – “The Snuff Gremlin” review

This is the sophomore effort from York, Pennsylvania rapper Mikahl Lawless. Signing to Lyrikal Snuff Productionz a couple years ago, he made his full-length debut a few months later with Gangri-La & shortly after teamed up with MC Welchs for a collaborative EP called Carnevil. However to celebrate with the 2 year anniversary of his record deal, it makes absolute since for Mikahl to celebrate by unleashing The Snuff Gremlin on Friday the 13th & have it coincide with labelmate Chuckklez’ own sophomore effort Horrors from the Unstable fully produced by DJ Ill Sprite.

“Maybe Another Life” is this trap intro flexing that everyone wants a piece of the demonic spirit within him & losing all reason whereas “No Angel” talks about embracing his demons & asking for strength in the flames he’s feeling. “Hit the Deck” fuses trap & gangsta rap advising to drop to the ground as he lets shots ring out from his heater that is until “Let It Go” embraces the trap metal sound hoping y’all see the other side after tonight.

Scum joins Mikahl on “When I Think About It” coming clean that it excites them when thinking of some day reading of a couple people that they wish death on getting what’s coming to them just before the dejecting “Finding Distance” admits that he doesn’t feel like people want to get to know him. The anthemic title track aggressively represents his crew for 2 & a half minutes leading into the sample-driven “After Everything” saying that if he has to take a soul, he’ll go there.

“Kreepin’” brings back the trap metal vibes assuring that you’ll be purified through the flames of Hell itself & catchin’ him lurkin’ through his hood while “Relationship A.D.” takes 125 seconds to talk about his murderous tendencies. “Dead” mixes elements of rage & horrorcore in an interesting way teaching that sometimes blood has to be spilled to find your footing while “My Haunted House” talks about The Wraith carrying him from all his pain.

The song “Smiley” pushes further towards the encore of The Snuff Gremlin by giving everyone a dose of the very psychosis that he so happens to suffer from while the cloudy penultimate track “Low” talks about being persecuted like no other when he used to represent the confederate flag & Insane Clown Posse had a highlight on their debut album Carnival of Carnage called “Fuck Your Rebel Flag”, but I digress & mean absolutely no disrespect by mentioning that. The closer however “Bleed Out” ends on a trap metal note justifying his demons.

Some in the underground wicked shit scene are reasonably quick to dismiss Mikahl as a juff for the whole rebel flag thing & even putting that aside, I was still open-minded enough to go into The Snuff Gremlin expecting to get a better understanding of who he is artistically & I can say that there are improvements over his debut. The production’s more versatile whether it be trap, trap metal, cloud rap & a hint of rage to suit the horrorcore & gangsta rap lyricism that the east coast artist delivers.

Score: 3.5/5

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Chuckklez – “Horrors from the Unstable” review

Here we have the sophomore effort from San Jose, California emcee Chuckklez. Emerging on Halloween of 2018 with the full-length debut A Mind of Evilness, he would later sign to Lyrikal Snuff Productionz & I even got to meet him in person at Fright Fest a couple years back. For his official LSP debut however, he’s tapping in with DJ Ill Sprite to produce Horrors from the Unstable in it’s entirety & putting it out on Friday the 13th to coincide with labelmate Mikahl Lawless’ own sophomore effort The Snuff Gremlin.

After the intro, the first song “Welcome to the Carnevil” is a grim trap opener giving y’all a glimpse of the horror show whereas “The Eater of Worlds” further emphasizes a heinous atmosphere instrumentally making people’s blood curl with the sickness. “Bloody Chainsaw” gives me a bombastic trap vibe to the beat likening himself to The Texas Chainsaw Massacre antagonist Leatherface just before “I See Dead People” featuring Razakel finds the 2 unable to get the images of corpses out their heads.

“A Scary Story” keeps it going by admitting that the sins of his life feel like they were ripped right out of a horror flick surrounded by hatred & vengeance while “Don’t Sleep” heinously talks about everyone looking at a bastard of 100 maniacs promising to reveal who the real face of horror is. “Furious & Dangerous” has some cool Memphis undertones simultaneously experiencing feelings of both fury & peril, but then “Gore Hounds” featuring Doc Gruesome & Donnie Menace goes trap metal comparing themselves to vicious dogs.

Sinizter joins Chuckklez on “Let the Bodies Burn” screaming over trap production that he wants to see all y’all go up in flames after throwing a molotov while “Murder All the Time” pulls from trap metal once again talking about going on killing sprees. “The Last Laugh” is this organ-trap hybrid flexing the very thing that he gets in the end while “Darker Side” featuring Kung Fu Vampire finds the 2 talking about how they’ll never see it coming when the darker sides of themselves get reintroduced.

“Going Mental” angrily boasts that he’ll murder any instrumental that comes his way while the bass-heavy “Possessed Mode” featuring Bloody Ruckus talks about being possessed by demons. “Crime Scene” featuring VLNC is another trap metal cut with them catching bodies while “Hell’z Bells” takes us a trip to the fiery depths of eternal Hell itself. “Nameless Grave” ends the LP with a 5 minute closer pleading his headstone to be left nameless to hide his shame.

The LSP roster has been experiencing an exponential growth in recent years & Chuckklez’ follow-up to A Mind of Evilness surpasses it’s predecessor by amplifying everything that makes him right at home with the Denver gore hop powerhouse. DJ Ill Sprite’s production is a refinement of the San Jose emcee’s debut 6 years ago, the features are mostly on point & Chuckklez himself puts his Horrors from the Unstable on full display.

Score: 4/5

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Ouija Macc – “Temple of Ash” review

Las Vegas, Nevada emcee Ouija Macc finishing his 2024 with the 6th studio LP in his discography. Breaking out in the fall of 2017 after the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently, Ouija has since proven himself as the hatchet’s biggest solo act dropping his last 5 full-lengths, 2 greatest hits compilations, 8 mixtapes & 5 EPs all in the span of nearly 7 years. He even started his own label Chapter 17 Records & made the big homie HEXXX the first signee to putting out his first 2 classic west coast wicked shit albums Demon Season & Tales of a Cursed G before amicably fulfilling all contractual obligations with the Psychopathic subsidiary last fall. Darby O’Trill is now the only C17 artist other than Ouija, teaming up with each other back in April for the excellent collab effort Anemoia & Darcc Planet became the darccest material of his career. 3 months after Psycho Babbel though, we’re now entering the Temple of Ash following his recent JCW Lunacy appearances during the March of Madness Tour.

“The Approach” produced by Devereaux is this trap intro pointing out nobody wants consequences or suffering whereas “Bumpalation” calls it back to “Murder Go Round” by reminding that y’all can’t fuck with a wicced clown. “Dart Pimpson” takes the Memphis route instrumentally to talk about shooting darts in muhfuckas’ necks & not wanting to see scrubs as lit as him while “7 Deadly Symptoms” gives off an eerie trap direction to the beat pleading that his religion puts an end to your condition.

As for “Spligwitter”, we have Ouija talking about splitting wigs by spittin’ the wicced shit leading into “Lil Jokaro” hopping over a sample of ICP’s cover of “Assassins” by the Geto Boys off The Amazing Jeckel Brothers reassuring that he ain’t the person to be fucked with at all. The funky trap banger “Across da Window Sill” leaving corpses on the grill prior to “In da Trunk” morbidly talks about dead bodies going in the back of his ride for nearly 3 minutes.

“Purple Wraith” heads for a hypnotic direction teasing Pyramid of Skulls while “Burns on Da Skin” gives off a heavily apocalyptic trap vibe advising to walk with him carrying torches since the temple’s dark as the sun. “Flashbacc” comes clean that he was buggin’ off analepsis stabbing a muhfucca with a stethoscope while “Hatchet Samurai” is a fun joint about not being like any other samurai creeping out the casket with his hatchet by his side

Beginning the final leg, “Everything Gone” discussing that everything’s waste & we’re living in the hole while “Where I Stand” finds Ouija riding with the Psychopathic family since he never had any friends. “Praise 2 da Phonk” experiments with the phonk sound & putting his own wicced spin on it while “Acrylamide” welcomes everyone to the psycho side paying homage to the first ever Dark Lotus track “Echo Side” off The Amazing Jeckel Brothers during the hook.

“Sir Leemy of Lone” somberly finishes up by becoming content with the voices in his head & once the bonus track “Fire of Forever” assures death is nonexistent with an uncanny organ flip, I also wanted to give a mention to “Stankenstein” featuring the hatchet’s newest family member Wakko the Kidd since it basically justifies the fact the latter’s cannabis strain Airheadz will make you trip out harder than Amanda Bynes.

Capping off what’s been a huge year for the C17 CEO, he takes us through the Temple of Ash with only less than 2 weeks from Christmas & it continues to take Ouija Macc to a whole new level artistically by maintaining the caliber of his last couple LPs. The production is mostly grounded in the occult trap sound that he came up with other than some occasional phonk & Memphis rap detours laying out a well-structured concept.

Score: 4.5/5

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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 been 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” referencing Amazon founder Jeff Bezos and WWE Hall of Famer, the shortest reigning WWE Champion & former WWE Tag Team Champion André the Giant. “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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Fat Joe – “The World Changed on Me” review

This is the 11th full-length studio LP from Bronx emcee, songwriter & actor Fat Joe. A member of D.I.T.C. & the Terror Squad, his first 3 albums Represent, J.O.E. (Jealous Ones Envy) & Don Cartagena are considered by many to be the best in his discography. However, much of his output since then has been either hit or miss from the underrated The Elephant in the Room to the horrendous J.O.S.E. 2 (Jealous Ones Still Envy 2). Cool & Dre produced the What Would Big Do? EP few years back & that was the most I’ve enjoyed Joey Crack’s music in a while, giving me hope for The World Changed on Me.

“Talking Hot” begins with a drumless Cool & Dreinstrumental letting it known that they gon’ be gettin’ shit poppin’ in here whereas “Mini Birki” featuring Ty$ happens to be a decent blend of trap & pop rap telling their respective partners Lorena & Zalia that they mean everything to them. “Us” featuring Remy Ma with co-production from 808-Ray makes a cutthroat toast to hip hop music leading into the underwhelming “Dog House” continuing the themes of romance albeit not as enjoyable as “Mini Birki” was.

As for “Me & U”, we have Joe over some horns & hi-hats talking about being alone with Lorena improving on what the previous joint lacked just before “Bad Man” featuring Tuggawar gets back on the drumless tip thanks to Don Cannon flexing their authenticity whilst everyone else be with the scams. “I Got You” was another mediocre pop rap joint that I could do without despite the Babyface hook, but then “Fresh” featuring Tony Sunshine finds the pair refusing to stop until they bring home Grammies.

The song “Paradise” was an obnoxious choice of a lead single from the DJ Khaled beat heavily ruining a sample as one would expect Khaled to do & in this case “Spring Love (Come Back to Me)” by Stevie B to the lyrics about giving his lover what she wants when she wants while the title track hops over a soulful STREETRUNNER instrumental confessing to feeling as if everyone switched on him. “They Don’t Love You” ends the LP with 1 more drumless cut laying passionate verses on top of this bare loop.

I’ve been wanting Cool & Dre to produce an album for Fat Joe since I feel like they’ve been bringing the best out of him in recent memory & considering that they produced 54% of it, I’ll still take it since it’s better than I had anticipated in it being even if it’s still average as a whole. The production’s actually consistent for a good portion of it & I like that he’s recapping the last 15 years of his life, it’s that the pop rap joints are hit or miss for me.

Score: 3/5

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Roc Marciano – “The Skeleton Key” review

This is the 12th full-length studio LP from Long Island emcee/producer Roc Marciano. Beginning in the very late 90’s as a member of the Flipmode Squad, he then went solo in 2008 to drop classic albums that would pave the way for those like Griselda such as Marcberg & Reloaded. He would begin focusing on producing projects for other artists like Flee Lord & Bronze Nazareth following Mt. Marci & of course returning to enlist The Alchemist to produce The Elephant Man’s Bones, which I gave a perfect score. He & Uncle Al are now presenting The Skeleton Key coming off a lesson in Marciology exactly 3 months since former AEW tbs Champion & the inaugural 新日本プロレス強い女子チャンピオン Willow Nightingale’s reign as CMLL Mundial Femenil Campeon ended.

The opener “Mystery Gawd” takes us to the basement instrumentally showing these lil muhfuckas what grown men do comparing him & Alchemist to gatekeepers whereas “Street Magic” goes for a bit of jazz rap direction suggesting that y’all should check the score. “Chopstick” brings a more morbid atmosphere to the table rightfully talking about embodying hip hop culture referencing 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 while “Knock It Off” wants to know why some of these cats be looking devilish yet angelic.

“Acid” hooks up these prominent piano chords flexing that they still drawing him even though he’s sketchy warning the pipsqueaks that shit really ain’t sweet leading into the soulful “Rauf” talking about running up a tab to receive himself a decent vehicle. “Chateau Josué” goes completely drumless to discuss doing it his way & that his hoe has no say whatsoever, but then “Skirt Streak” keeps the drums out of the equation once more advising how dirty the game is.

The track “Cryotherapy” hooks up this psychedelic beat feeling like he’s running out of hands to count & refusing to give handouts while the closer “Make Sure” symphonically talks about how he should be doing his own thing. The first of 2 bonus tracks “Hard Drugz” brings the soul samples back boasting that squares don’t fit into his circle whatsoever & finally, the other “Bleu Mouson” rounds it all out with a mafioso flare showing off his genius & status as a boss in all regions.

Merging all of Roc Marciano & The Alchemist’s individual qualities together, The Skeleton Key offers hip hop a collection of tracks that blend innovation with authenticity & also highlights their shared philosophy of creating art that stands the test of time while cementing their legacy as leaders & trendsetters in the field of communication through music. It’s additionally a thank you to their fans above all else & came from a place of gratitude for their continued support further solidifying themselves as undisputed trailblazers & tastemakers.

Score: 5/5

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