This is the 21st EP from New Orleans veteran Curren$y. Getting his start with No Limit Records in 2002, would then hop over to Young Money Entertainment & Cash Money Records in 2006 before branching out in 2008 with his own label Jet Life Recordings. He has made a name for himself by dropping a handful of projects every single year, the most recent being an EP trilogy with Harry Fraud that was released throughout the 2nd half of 2020. However 3 months later, we’re diving right into Collection Agency.
The EP starts out with “Kush Through the Sunroof”, where Spitta talks about being in an armored Mercedes over a bluesy trap beat from Trauma Tone. The next song “Smiled on Me” talks about his ancestors looking down on him from above over a glamorous instrumental from DJ Fresh while the track “Arrival” talks about pulling up stoned over a jazzy beat from Harry Fraud himself. The song “I Don’t Call” talks about the shit he has that never uses over a synth-laced trap instrumental from Purps while the track “Jermaine Dupri” boasts over a glossy beat.
The song “Closing Date” gets in his shit-talking bag over a smoked out instrumental while the track “Shout Out” with Larry June finds the 2 showing love to the real over a comatose beat. The song “Ferrari Engine” talks about leaving the block trembling over a stripped-back instrumental while the penultimate track “Above the Law” talks about how they don’t want a war over a soul sample provided by Rrsonist of The Heatmakerz. The EP finishes off with “Misty”, where Curren$y talks about how the Chevy’s on switches over a trap beat with some horns laced in.
It’s not one of my favorite projects Spitta has ever put out, but I do find Collection Agency to be an enjoyable EP for the most part. He still manages to do a good job at balancing quantity & quality as his flows are still silky smooth this deep into his career & his ear for production remains top notch.
Jim Jones is a 44 year old rapper from The Bronx, New York who came up in as a member of The Diplomats in the 2000s. His first 5 full-lengths from 2004-2011 had some highlights in them, but they were all average at best as whole albums. However it wouldn’t be until 2018 after dropping Wasted Talent where he would really start putting out his best material ever & then came out with his magnum opus the following year El Capo. But just 3 months after putting out the sequel El Capo 2, we’re already being treated to Jimmy’s 9th full-length album produced entirely by Harry Fraud.
The opener “Laps Around the Sun” talks about being grateful over a bare flute instrumental whereas the next song “Fucked Up” is about a lil bitch who got her perception of Jimmy wrong over some harmonizing & a saxophone. The track “Aunt Viola” with Dave East finds the duo talking waiting your turn & then turning tables over an airy trap beat while the song “Lose Lose” talks about his success over a soul sample & some snares.
The track “Bada Bing” with French Montana sees the 2 on their gangsta shit over a rubbery beat while the song “Barry White” talks about turning the hood into a paradise over a ghostly instrumental. The track “Say a Prayer” with Curren$y & Jay Worthy finds the trio talking about hustling on the block over a triumphant beat while “The People” with Conway the Machine sees the 2 talking about George Floyd’s murder over a boom bap instrumental with a haunting vocal sample.
The track “Luxury Lies” shows his doubters what he can do over a jubilant beat while song “3 Cuts” with Maino finds the duo on their fly shit over some exuberant horns. The album finishes off with “Make It Home”, where Jimmy talks about his fallen homies over a boom bap beat with some dour keys.
It’s very rare for artists to be putting out their best material later in their careers, but this puts Jimmy on a 3-peat because I like The Fraud Department almost as much as El Capo & El Capo 2. Harry Fraud comes correct on the production as he usually does & when it comes to Jimmy’s lyrics, it seems like this isn’t even his final form.
Devin the Dude is a 50 year old rapper & singer from Houston, Texas who came up as a member of the trio Coughee Brothaz. They would eventually catch the attention of J. Prince in 1993 & sign to Rap-A-Lot Records, only releasing 1 album Fadanuf fa Erybody!!. However, Devin would break out as a solo artist by releasing 4 albums before departing in 2008. He’s gone on to make 6 albums since then but much like his previous effort Still Rolling’ Up: Somethin’ to Ride With that dropped a couple summers ago, Devin is teaming up with Blyne Rob for his 11th full-length outing.
It all starts with the title track, where Devin talks about wanting the pandemic to end & go back on the road over a synth-funk instrumental. The next song “Discouraged” talks about life not being easy over a tranquil beat while the track “To Each His Own” talks about the rap game over a slow boom bap instrumental. The song “Nothin’ Really Just Chillin’” perfectly lives up to it’s name as Devin talks about relaxing over a druggy trap beat while the track “My Left Nut Itch” talks about sluts over a skeletal instrumental.
The song “Just Ridin’ By” with Big Pokey & Lil Keke finds the trio talking about pulling up into a party over a psychedelic beat while the track “You Got No Time to Play” gets romantic over a sensual instrumental. The song “He Don’t Have to Know” talks about infidelity over an acoustic beat while the track “P.L.A.N.S.A. (Please Leave A N****’s Shit Alone)” lyrically speaks for itself over a funky instrumental.
The song “A Good Woman” gives some romantic advise over an spacious beat while the track “High & Trippin’” with 14k sees the 2 talking about bugging out over an odd boom bap instrumental. The song “BREAK-fast” gets in his storytelling bag over a bluesy beat while the penultimate track “Live & Let Live” with Slim Thug & Scarface finds the 3 talking about learning how to take care of business over some heavy drums & some keyboards buried behind. The album ends with “We Smokin’”, where the Coughee Brothaz get together for a weed anthem backed by a bass-line & some bells.
Devin is one of the greatest to ever come out of H-Town & even in his 50s, he hasn’t lost a single step. His versatility & charisma are still stronger than ever whereas Blyne Rob cooks up some slick ass production for him.
This is the debut EP from College Park, Georgia rapper Rich the Kid. Coming to my attention in 2018 off the viral single “New Freezer”, his popularity would eventually peak with his first 2 full-length albums The World is Yours & The World is Yours 2. He would leave Interscope Records shortly after & team up with Republic Records for his previous album Boss Man but since he’s completely independent as of this year, Rich the Kid is celebrating by dropping Lucky 7.
The EP kicks off with “Split”, where Rich gets materialistic over a bland instrumental. The next song “Laughin’” with DaBaby sees the 2 talks about getting hoes over a Medieval-sounding beat while the track “Money Machine” talks about not going broke again over a generic beat. The song “Boom Boom” with Lil Mosey finds the 2 talking about having shooters over an intoxicating instrumental with some heavy bass while the track “Right” rambles about nothing sex over an ethereal instrumental from DJ Spinz. The penultimate song “Nasty” with Flo Milli, Latto & Rubi Rose sees the 4 getting raunchy over a vibrant Buddah Bless beat then the closer “Too Blessed” with Unc & Phew finds the trio talking about their gratefulness over an woodwind-infused instrumental from DJ Durel.
I wasn’t expecting much from this new EP & unsuprisingly, I didn’t get a whole lot out of it at all. It’s overloaded with features, Rich the Kid’s lyrics are shallow as Hell & the production ranges from being mediocre to forgettable.
This is a brand new soundtrack album brought to you in part by Buffalo hip hop labels Griselda Records & Black Soprano Family Records. Both of whom have been taking over hip hop with a plethora of high quality albums, EPs & mixtapes since late 2015. They just released their first feature-length film Conflicted this weekend & of course the movie had to be accompanied by songs from or inspired by it.
After the intro, the first song “Mobbin’” finds Benny the Butcher teaming up with Chase Fetti & Heem to talk about just that over a devilish instrumental while the track “Element of Surprise” by Lloyd Banks talks about being mindful of snitches over a supernatural beat. The song “Ain’t Hit Nobody” by Westside Gunn, Flee Lord & Eto sees the trio coming together for the brick buyers over a grim, drumless instrumental from Daringer while the track “Pride” by Ransom triumphantly talks about his success over a soulful beat from the man himself.
“Welcome Home DMX” by Dave East & Jonesy finds the 2 comparing themselves to Sam Giancana & John Gotti over a weepy trap instrumental from the late DJ Shay & the 808 Mafia while the track “Squaaaaad” by Elcamino, Rick Hyde & Smoke DZA sees the 3 talking about being baptized by the streets over a victorious beat. The song “3:30 in Houston” by Benny the Butcher addresses being shot a few months back over a despondent instrumental while the track “Voices” by Boldy James, Chase Fetti & Heem finds the trio telling their opposition to run over a bloodcurdling beat.
The song “Rank” by YN Billy gets braggadocious over a mediocre trap instrumental & after the “I’m Not the Enemy” skit, the track “Nerve of You” by Armani Caesar talks about someone doing her dirty over a Camouflage Monk beat with some plinky keys. The song “Conflicted” by Flee Lord talks about the hustler lifestyle over a dreary instrumental from GhostDave while the penultimate track “Mission Accomplished” by Armani Caesar, Benny the Butcher & Westside Gunn sees the 3 talking about turning to the boss life. “The Hurt Business” by Westside Gunn, Smoke DZA & Wale named after the titular WWE faction then talks about being the flyest in the game over a thunderous instrumental including a reference to WWE Hall of Famer, former 3-time WWE United States Champion, 9-time WWE Tag Team Champion & WWE Intercontinental Champion Greg Valentine.
I was curious to hear how this would turn out given how cheesy a lot of soundtrack albums turn out nowadays, but I’m actually pretty impressed with what we got here & it has me even more curious to watch the movie when it comes out next weekend. Much like Griselda’s collective debut W.W.C.D. (What Would Chinegun Do?) that was released under Shady Records a couple years back, everyone involved manages to stay true to themselves & not whip up a focusgrouped product.
This is the surprise 8th full-length album from Bronx veteran Jim Jones. Coming up as a member of The Diplomats in the 2000s. He’s released a total of 7 solo efforts since, with the last one prior El Capo going on to become his magnum opus. But after much anticipation, Jim is reuniting with The Heatmakerz for El Capo 2.
The album kicks off with “Election”, where Jim & Juelz Santana get political over a suspenseful beat. The next song “Anybody” is an R&B-flavored duet with Sandra Conte that goes over better than I originally anticipated it to be while the track “Chasing the Feeling” gets introspective over a lush boom bap beat. The song “M.M.T.C. (Mink Matching the Coupe)” with Vado sees the 2 getting braggadocious over some popping drums while the track “Father Forgive Us” with Maino finds the 2 talking about how the ghetto made then sin over a soulful instrumental.
The song “For the Better” talks about living like it’s no tomorrow now over a piano & gorgeous vocal harmonies while the track “Pardon My Thoughts” with Dave East sees the 2 painting some vivid street imagery over an amazing Evanescence sample. The song “Everything” talks about wanting it all over a savory instrumental while the track “Try Again” with Conway the Machine finds the 2 coming with some grown man bars over a beat with an old school Kanye feel to it.
The song “Been Like That” talks about coming back from any L over a heavenly loop while the track “Bad Boyz” with Nino Man & the late Fred the Godson sees the trio talking about being up to no good over an amazing EPMD sample. “A Monster Made It” talks about how it’s hard for him to leave the game over a hypnotic beat while the song “Finito” reunites with Fred the Godson to talk about slanging over a prominent organ. the penultimate song “Gospel” talks about preaching facts over a legimate gospel sample & then “I’m Alive” is uplifting positivity anthem to send the album off.
If you enjoyed the first El Capo as much as I did, then I don’t see why you wouldn’t enjoy this follow-up. Once again, Jimmy’s lyricism in comparison to his previous efforts continue to be a night & day difference as The Heatmakerz continue to bring the best out of him with the soundscapes they deliver to the table.
Busta Rhymes is a 48 year old MC from Brooklyn, New York who came up as a member of the Leaders of the New School. Becoming the stand out member of the quartet, he branched out for a very successful solo career & dropped 4 classics in a row from 1996-2000. Last we heard from Busta was in 2012 when he released the universally panned Year of the Dragon but after 8 years, he’s back with a sequel to E.L.E. (Extinction Level Event): The Final World Front.
The intro starts off with Busta rapping about being a God over a boom bap beat from Nottz with some strings & a vibraphone, but then Rakim accompanied him as it switches up into a more atmosphere instrumental. The next song “The Purge” talks about rioting over a Swizz Beatz instrumental with some prominent sirens while the track “Strap Yourself Down” talks about challenging his opponents over a dynamic beat from the late J Dilla & Pete Rock. The song “Czar” featuring M.O.P. finds the 3 talking about being the leaders of the new shit over a symphonic instrumental from Rockwilder while the track “Outta My Mind” is a fun club banger backed by a sample of Bell Biv DeVoe’s “Poison”.
The title track gets conscious then over a monstrous instrumental whereas “Slow Flow” is a sequel to “I Remain Raw” backed by a video game-esque beat & sampling Ol’ Dirty Bastard’s “Brooklyn Zoo” for the hook. The song “Don’t Go” with Q-Tip sees the 2 getting romantic over a luxurious piano instrumental while the track “Boomp!” talks about every hood having love for him over a boom bap beat from DJ Scratch with some keys & a synthesizer.
The song “True Indeed” talks about leaving dudes dead over a DJ Premier instrumental with a suspenseful loop while the track “Master Fard Muhammad” with Rick Ross finds the 2 getting materialistic over a jazzy beat from Hi-Tek & Terrace Martin. “YUUUU” featuring Anderson .Paak sees the 2 talking about money over a snap instrumental while the track ”Oh No” takes aim at anyone fucking with his click over a wavy trap beat.
“The Don & The Boss” featuring Vybz Kartel finds the 2 talking about strippers over a triumphant instrumental while the song “Best I Can” with Rapsody sees the 2 talking parenthood over a soulful beat from none other than 9th Wonder. The track “Right Where I Belong” is a redundant sequel to “I Know What You Want” down to the Rick Rock production while “Deep Thought” gets confessional over a dreary boom bap beat from Busta himself.
After the “Young God Speaks” interlude, the track “Look Over Your Shoulder” featuring Kendrick Lamar finds the 2 talking about hip hop needing them over a sample of The Jackson 5’s “I’ll Be There” while the song “Another Me” talks about being unique over a smooth beat. The penultimate track “Freedom?” gets back on the conscious tip over a moody boom bap instrumental & then the album ends with “Satanic”, where Busta gets religious over an angelic beat.
“Blowing the Speakers” starts the deluxe run with some trap vibes thanks to Murda Beatz talking about fucking up the streets again while “Who Are You?” makes the hood fiend with Jahlil Beats. “Hope Your Dreams Come True” gives a middle finger to everyone who ain’t fucking with him while “Calm Down” featuring Eminem finds Scoop DeVille sampling “Harlem Shuffle” by Bob & Earl to battle each other.
The song “Follow the Wave” marks the reunion of the Flipmode Squad for 7 minutes of hardcore lyricism while “Blow 1,000,000 Racks” loosens up a little for a mediocre strip club anthem. The final bonus track “Hey You” featuring Trillian finishes up with the father/son duo over pianos & hi-hats to ask what one would wanna do because they gotta get to the money.
It’s been a longtime coming but at the end of the day, this is a great return to form for Busta & I’ll even say it’s his best since The Big Bang. There are a few filler cuts in the track listing, but I really enjoy how he spends most of the album sticking to his guns instead of trying to appeal to an audience that doesn’t exist.
This is the sophomore album from Buffalo emcee Benny the Butcher. Coming up as the leader of the Black Soprano Family collective as well as a signee to Westside Gunn & Conway the Machine’s label Griselda Records, he would make his presence known in the culture with his Butcher on Steroids that dropped on his birthday in 2017 as well as his full-length debut Tana Talk 3 on Black Friday 2018. This was followed up 7 months later by releasing The Plugs I Met but a little over a year later, he’s teaming up with Hit-Boy for Burden of Proof.
The title track that kicks the album off is pretty much Benny talking about expanding himself over a boom bap beat with some horns along with an outro from Pain in da Ass whereas the next song “Where Would I Go?” with Rick Ross sees the 2 talking about being big bosses over a heavenly instrumental. The track “Sly Green” talks about money ain’t changing shit for him over a beat that kinda has a JAY-Z feel to it while the song “1 Way Flight” with Freddie Gibbs finds the 2 talking about bitches over a soulful instrumental. The track “Famous” talks about how he still doesn’t feel like a celebrity over an climatic beat while the song “Timeless” with Big Sean & Lil Wayne sees the 3 talking about their legacies over an energized instrumental.
The track “New Streets” talks about only being concerned of what hustlers think rather than haters over a classy soul sample while the song “Over the Limit” talks about success over a smooth, cavernous instrumental & it’s great to hear The Madd Rapper during the outro. The track “Trade It All” talks about his desire to give up his wealth to see those he’s lost once more over a somber beat while the song “Thank God I Made It” talks about being grateful for where he is today over a lavish instrumental. The penultimate track “War Paint” with Conway the Machine finds the 2 spitting the usual pusher bars over a beat with hypnotic vocal loop hanging in the background & then the album finishes with “Legend”, where Benny proclaims himself as such over a delicate instrumental.
Even though I’d have to go with From King to a God for my Album of the Year pick so far, this is just as great in my personal opinion. The production Hit-Boy brings to the table is somewhat more glamorous & clean in comparison to Tana Talk 3 & The Plugs I Met, but it manages to suit Benny well as we get to hear him at his most mature.
Papoose is a 42 year old MC from New York City who rose to fame by dropping a slew of mixtapes throughout the 2000s. His full-length debut The Nacirema Dream finally saw the light of day in 2013, which was followed up with You Can’t Stop Destiny in 2015 & then Underrated at the beginning of last year. However, Papoose has decided to enlist Brady Watt to produce a bulk of his 4th full-length album over here.
The album kicks off with “Billionaire”, where Papoose talks about getting a big bag out of this rap shit before time runs out over some keyboards & organs with the drums popping in midway through while the next track “Boxcutter” talks about having the deadliest pen of them all over a deadly boom bap beat. The song “Cobra Scale” brags about how he’s living over a harp loop while the track “Kickback” with Conway the Machine & French Montana sees the 3 spitting battle bars over a luxurious instrumental.
“The Human Body (The Brain)” is a full-blown science lesson with a dystopian beat while the song “COVID-19” gives a run-down of the ongoing pandemic backed by a ghostly instrumental. The track “Maturity” pays tribute to his wife Remy Ma over some piano chords while the song “Hate Be Real” talks about those who’re envious of him over a rock inspired beat.
The following track is a killer sequel to Numerical Slaughter” accompanied by some strings while the song “Antidote” compares his raps to just that over a whimsical beat. The penultimate track “Workin'” over an creepy instrumental from DJ Premier & then the closer “Tribute” pretty much freestyles over 50 Cent’s “Many Men (Wish) Death” paying homage to those who were murdered by corrupt cops.
This dude’s last 3 albums have been either hit or miss with me personally, but I think this might be his best one to date. The production on here is a lot more consistent to my surprise & Papoose’s lyrical talents are still as off the way as they were when he first came up.
TR Dee is a rapper from Ypsilanti, Michigan notable for being 1/3 of the ShittyBoyz alongside Babytron & Stanwill. Signing to Detroit music executive Lando Bando’s own The Hip Hop Lab Records as a group & as solo artists, the time for him to become the 3rd & final member of the trio that co-founded the Dog $hit Militia to branch out on his own has arrived with him releasing a debut mixtape a little over a couple months since Stanwill became 2nd at bat with his highly acclaimed debut EP $camwill.
The title track starts with some 808s & bells talking about nobody else from the city being able to fuck with him whereas “On a Boat” hooks up a more uptempo Detroit trap instrumental to admit he hasn’t been the same since Kobe Bryant’s death. “Wakanda” featuring Kasher Quon talks about their only fear being going broke while “Groove” suggests glasses for those who ain’t seeing the Ws they’re catching.
“Me vs. Me” goes for a cavernous Detroit sound talking about himself being the only competition while my 2nd favorite song “Big Show” by the ShittyBoyz produced by Danny G references current AEW performer & commentator as well as former 7-time WWE world champion, 11-time WWE Tag Team Champion, WWE Intercontinental Champion, WWE United States Champion & 3-time WWE Hardcore Champion Paul Wight.
Danny G sticks around for another standout track “Run To” promising that he’ll ball until he can’t anymore while the funereal “It’s Not Easy” talks about living today up because he might not see tomorrow over more 808s & bells. “Malice at the Palice” refers to the most infamous NBA brawl of all-time but once the 2 & a half minute “Party Pooper” bodies a Stanwill instrumental pulling from electro, “Billie Jean” ends by sampling the hit Michael Jackson single of the same name.
Similarly to Bin Reaper last Halloween season & $camwill a few months earlier, Trapped in My Bag counts down the 4th quarter of what’s been an unbearable year for many others by proving that TR Dee has as much of a promising solo career as Stanwill despite Babytron becoming the most popular ShittyBoy of the 3. In terms of the production, we’re still getting some creatively used samples brought into the fold & the Ypsilanti native holds his own weight to warm up for Sleeve Nash this Halloween.
Legends Will Never Die 