Jay Worthy & MadeinTYO – “Time After Time” review

Vancouver, British Columbia, Canada born albeit Compton, California raised emcee Jay Worthy as well as Honolulu, Hawaii born/Tokyo, Japan raised rapper, singer & producer MadeinTYO joining forces for a new collaborative EP fully produced by the latter. One of whom has been grinding in the underground for the last 7 years & the other landing a spot in the 2017 XXL Freshman Class producing Ransom’s latest EP Smoke & Mirrors earlier this summer. However, Mr. Tokyo’s continuing to apply pressure by linking up with Jay for Time After Time.

After the intro, the first song “Master Delux” is a drumless opener to the EP with both of them provide the soundtrack to motherfuckers making bread whereas “Nino” jazzily keeps the drums out the picture boasting that the paper be doing double flips in their dreams. “School Daze” hops over yet another bare jazz loop refusing to lay up having work to do prior to “Chop” drumlessly talking about having the milk & not referring to dairy whatsoever.

“Fashion Week” maintains the jazz rap vibes working some drums in this time hoping that God forgives them for their fortunes & after the interlude, “London Carry-On” goes drumless again keeping extra sugar in their sweet tea. The final song “Antiqua Barrio” telling wack MCs to get off the mic being black as they are Off-White & the outro finishes the EP with a 3-minute instrumental piece.

Like I said a couple months ago during the Smoke & Mirrors review: I’ve never considered himself a MadeinTYO fan other than maybe “Uber Everywhere”, but he & Jay Worthy cooked up a collab EP that’s as enjoyable as THE AM3RICAN DREAM. His production’s more jazzier than it was on the Ransom EP keeping it prominently drumless in addition to that & lyrically, he & Jay Worthy ping off each other impressively during the course of the 24 minutes you get out of Time After Time.

Score: 4/5

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ShittyBoyz – “3 Man Weave” review

Detroit trap trio the ShittyBoyz returning for their 4th album. Consisting of Babytron alongside Stanwill & TR Dee, they emerged off their debut mixtape 3-Peat under the mentorship of Lando Bando in the summer of 2019 taking the motor city by storm & following it up with another tape. They even have 3 full-lengths in Trifecta as well as the the sequel & of course the trilogy chapter. Babytron in particular has been increasingly popular in recent memory from being the son of former Psychopathic Records rap metal band Motown Rage frontman Mr. Sadistic to landing a XXL Freshman Class spot & more recently earning a stellar verse on “Toby” off Eminem’s latest album THE DƎATH OF SLIM SHADY (COUP DE GRÂCE) earlier this summer, they’re releasing 3 Man Weave a day earlier than intended.

“‘07 Bron” is this futuristic Detroit trap opener to the LP that Jakesand cooked up flexing their kick spots jumpin’ like Los Angeles Lakers star LeBron James nearing the end of his first stint with the Cleveland Cavaliers whereas “5 Minutes of Barkin’” featuring Beannskii, Fordio, MJPaid & Prince Jefe moves forward with a full-blown Dog $hit Militia posse cut produced by Drego. “Polynesian” hooks up those dope ass woodwind talking about the bullets spreading similarly to COVID-19 & “Maroon 5” apocalyptically reps the squad they showcased a couple joints earlier.

Tommy G joins the ShittyBoyz for “Big Dawgs” pulling inspiration from the Bay Area instrumentally showing off their statuses on top while “Brand New” works in this alluring vocal sample talking about being a whole new version of themselves with the new ice around their necks. “Ed, Edd n Eddy” pays homage to one of THE greatest Cartoon Network shows of all-time calling themselves hippies & the middle finger being the peace sign prior to the bell-heavy “5 Guys” leaving them where they stand.

“Intercontinental” menacingly talks about having no time to sleep since all that’s on their minds hustling doubling their work & sending bullets like Detroit Lions QB Jared Goff, but then “Last Dragon 2” serves as a sequel to a highlight track off the trio’s debut mixtape 3-Peat. “Live from the Lab” psychedelically represents The Hip Hop Lab Records now backed by EMPIRE Distribution while the synth-Detroit trap crossover “Back 3 Back” talks about going 3-for-3.

Further continuing the 2nd half of 3 Man Weave, we have the ShittyBoyz promising that they’re gonna box on every single threat who comes to them the moment they drop the pin on them while the synth-driven “Project X” referencing the film of the same name saying life’s simply a win or lose deal. “Skippin’ Skates” maintains the Motor City’s unique trap sound having to teach themselves that nothing fair in life while the mobb-influenced “Stilly Willy” stealing bitches looking for winners.

“Suited & Booted” showcases the trio’s back-&-forth chemistry over upbeat 808 percussion to begin 3 Man Weave’s encore while the song “Therapist” further elaborates that ain’t nothing free in life & that you really just have to get it all out of the mud refusing to swap out their sticks over a Danny G beat. The penultimate track “Talkin’ Crazy” by TR Dee brings the bells back being flyer than Jeff Hardy of former 2-time TNA World Tag Team Champions & my personal favorite WWE tag team growing up The Hardy Boyz off the turnbuckle while “T.S.W.N. (That Shit Wasn’t Nothing)” featuring FMB DZ & GlockBoyz TeeJaee brings the quintet together making 20k like it ain’t shit.

Named after a track off the ShittyBoyz’ 2nd mixtape 4-Peat & the first project that I’ve ever reviewed from them, 3 Man Weave further proves that wake makes the trio successful in the Detroit trap scene a little over 5 years in the game is that they use the timeless basketball drill moving up & down the court working together & communicating as demonstrated by their unique ear for production in regards to the signature style they’ve become known for on top of the wittiness each member holds of their own amplifying it as a unit.

Score: 4/5

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OG Parker – “Moments” review

OG Parker is a 27 year old producer & songwriter from Fayetteville, Georgia who became an in-house producer for Quality Control Music in 2015. He even went on to form his own label Neutral Records in 2021 & produced DDG’s debut mixtape Die 4 Respect around that same time, except I was highly looking forward to that tape only to be disappointed by the time it officially saw the light of day. However, seeing that Parker was putting out a solo EP most certainly caught my interest.

“No Fuss” by PARTYNEXTDOOR starts with what could easily be the best song on the entire EP telling this girl to stay in her lane over a chilled out guitar passage whereas the trap-flavored “Rain Down” by Chris Brown, Latto, Layton Greene & the late PnB Rock finds the quartet continue to delve further into the themes of romance. “Still Work” by Muni Long & Ty$ is a trap soul duet singing about their numbers are both operationally functioning while the dance-inspired trap joint “All I Need” by Yung Bleu furthermore gets lustful. “In Person” by Lakeyah & Tyga ends the EP with a woodwind trap flare flexing they look better in the flesh.

Producer curated projects are generally looked at as being either hit-or-miss & there’s no question in my mind that OG Parker has the capability of pulling of an entire body of work producing songs for other artists & compiling them together. However, Moments stands out as an average beginning of treading those waters. There’s nothing with his signature take on the stylings of trap & R&B music, but some of the performances from the guests themselves are generally a mixed bag.

Score: 2.5/5

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Pouya – “They Could Never Make Me Hate You” review

Pouya is a 30 year old rapper & singer/songwriter from Miami, Florida who’s a pioneer of the early underground rap scene that began on SoundCloud in 2012 & discovering the $uicideboy$ in their early career. His 2016 debut Underground Underdog was released to mixed reception although 5 showed considerable improvement as did The South Got Something to Say & Blood Was Never Thick as Water. 17 months after Gator was said to be his final LP, the BatKave & Buffet Boys member is returning for a 4th album.

“LORD FORGIVE ME FOR THE PAIN I INFLICT ON MYSELF” is a cloudy Memphis opener to talk about earning his stripes over a decade in the game whereas “FORGET ABOUT EVERYTHING” has a smoother trap flare encouraging to let go of the bullshit to hop in the ride with him & not getting too high. “BLAME GAME” blends jazz & trap instrumentally assuring that he doesn’t want to be pointing fingers at anyone, but then “WHERE DID I GO WRONG?” shoots for a Memphis-inspired atmosphere once again saying he’s been singing the same song.

Rick Ross joins Pouya for the single “UH OH” pulling from mobb music referring to themselves as hood rats hanging out the window of the ride just before “BACK THE FUCK UP” returns to the Memphis sound so he can talk about dying a legend. “LAND OF IGUANAS” brings a cloudy boom bap vibe to the table only waking up for money & sex while “LEMONADE (DEAD MAN WALKING)” talks needing something to numb the pain. “WHAT UU BOUT” finishes the LP crossing over trap & jazz knowing what he’s gotta do.

22 months in the making & what Pouya has given us in They Could Never Make Me Hate You has to very well be a step above his last few albums & quite possibly the biggest one of his entire career spanning over a decade long. The production ranges from trap to jazz rap, Memphis rap & mobb music flexing his underground status & breaking down the lifestyle that comes with it all.

Score: 3.5/5

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Larry June – “Doing it for Me” review

Vallejo, California emcee Larry June back with his 11th LP. Steadily grinding his ass off since dropping out of high school by dropping his last 10 studio efforts as well as 14 EPs & 7 mixtapes with the highlights of his ever-growing discography including the Lex Luger-produced Trap Larry, the Cardo-produced Cruise USA& it’s sequel Into the Late Night, the Harry Fraud-produced Keep Going & more recently the mobb music-influenced Jay Worthy collab effort 2 P’z in a Pod, The Alchemist-produced The Great Escape & The Night Shift. 9 months after the latter, Larry’s reassuring that he’s Doing it for Me.

After the “Free Uncle Herm 5” intro, the first song “Magnum P.I.” is a futuristically slick west coast opener flexing that he’s hopping out the whip looking like the titular TV show character whereas “Morning Calculations” produced by Harry Fraud was an early standout from the soulful instrumental to the lyrics advising to check that bitch instead of checking him. “A Little While” has a spacious vibe thanks to Jake One & DJ Khalil telling his romantic interest that she sure looks good to him just before “Stinson Beach” keeps it going with a funky ode to not having your day fucked up.

“Real Talk, Pt. 2” gives Detroit trap a shot detailing the gangsta lifestyle he involves himself in leading into Cardo bringing the synths in the fold for another favorite of mine “3 Piece” shrugging off any hate that comes his way since he be ridin’. “Where I’m Going” resurrects the Detroit trap vibe cautioning that nobody wants war with him, but then “Meet Me in Napa” was a decently spacious single discussing his desire of wanting to meet a woman in the titular California valley.

The orchestrally jazzy boom bap flare of “Breakfast in Gold Coast” is a nice change of pace talking to his sunshine while “Imported Couches” keeps the strings, kicks & snares together not giving a fuck about being 1 hit away rather focusing his attention on doing his thing. “Cleaning My Spot” keeps the jazz influences & strips the drums going so hard working towards his goals while “Like a Mack” makes trap music for pimps.

“Dreams” pushes towards the final moments of Doing it for Me telling everyone who’s tired of the sucka shit to come fuck with the big dogs headed for a dystopian direction to the beat & the closer “Money Bag” that Cookin’ Soul laced ends by hooking up a soul sample telling the world your own people will snake you, others might turn on you & hoes will play you out here for the paper.

Something amazing worth noting is that I found a lot of Doing it for Me’s singles to be average enough that it had me anticipating it less then The Great Escape & The Night Shift when I found myself enjoying a lot of the songs off this new album more than I had initially anticipated. The glitz & glamour from guest stars are being completely tossed out the window in favor of delivering lovesick bars over classic West Coast funk beats, reestablishing his status as one of the smoothest voices in hip hop today.

Score: 3.5/5

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Jakesand – “Sandbox” review

This is the 2nd EP from Michigan producer Jakesand. Releasing his debut EP El Fureidis in the summer of 2018, he has since become an in-house producer for Lando Bando’s own EMPIRE Distribution imprint The Hip Hop Lab Records working with some of their biggest acts from the ShittyBoyz both as a group & as solo artists to $weet-T & Prince Jefe. 6 years later, he’s making a comeback & putting out Sandbox through the biggest Detroit trap label out amassing what looks to be an immensely promising list of guest performers.

“Motion Picture” by Babytron co-produced by Danny G references WWE Hall of Famer, 7-time WWE Women’s Champion & former WWE Hardcore Champion Trish Stratus while “Business” by Lil P might be the only track I don’t care for despite the rich Detroit trap instrumental. “Jonah Hex” by J1Hunnit has a witty bar referring to the Paramount Skydance Corporation subsidiary NBCUniversal-owned Shrek franchise while “100 Routes” by Stanwill talks about having 100 methods.

Tony Shhnow surprisingly has his own song with “Sell a Dream” boasting that he’s in love with the money & wakes up every morning with the intention of making more of it just before “Pints, Pills, Prescriptions” by Babytron, Fordio & MJPaid finishes up the Sandbox experience with all 3 members of the Dog $hit Militia trading brief verses with one another & everyone holding their own weight.

Between this & the El Fureidis EP, it’s no debate from my perspective that Sandbox is the best solo offering that we’ve gotten from Jakesand thus far. I’m confident that we’ll be getting a sequel to it at some point sooner rather than later because his production as strong as the predecessors, except there’s more consistency from the guests who’re performing over his Detroit trap beats.

Score: 4/5

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Jay Worthy – “Magic Hour” review

This is the 5th mixtape from Vancouver, British Columbia, Canada born albeit Compton, California raised emcee Jay Worthy. Coming on my radar in 2017 after The Alchemist produced his debut EP Fantasy Island from top to bottom, he would go onto drop 5 more EPs & a fantastic collab album with Larry June called 2 P’z in a Pod even though initial plans of putting it out through Griselda Records fell through for whatever reason. Harry Fraud produced You Take the Credit, We’ll Take the Check & DJ Muggs did What They Hittin’ 4 to significant acclaim, but the Roc Marciano-produced Nothing Bigger Than the Program was still good despite having too many features. Once I heard DāM-FunK was producing Magic Hour top to bottom, I was hoping it would surpass the predecessor from 14 months ago.

“San Dimas” featuring G Perico starts off on some flawless g-funk shit asking if you’re turned the fuck in at this point whereas “Westside” delves further into the relax & organic sound featuring live instrumentation, use of P-Funk samples & high-pitched synth lines to represent California to the fullest. “Rich Today” embraces the g-funk sound heavier talking about how it ain’t nothing to a pimp like him just before “Boogie” featuring the late Nate Dogg’s son NHale builds upon Nate’s sound that he was the King of spitting that g shit continuing his dad’s tradition.

Meanwhile on “Can’t Do That”, we have Worthy mellowly slickly talking about being on his MJ shit & on a new bag at this point in his career ahead of the spacious g-funk banger “105 West” featuring Channel Tres, DJ Quik & Ty$ for all the party people to slide to. “It’s So Hard” featuring Obsce Chill keeping the gangsta funk alive staying in the ghetto like Too $hort explaining the hardships of being a g, but then “Untouchable” featuring P-Lo futuristically advises that this joint in particular is exclusively for the playas.

After the “Olde 8 Again” interlude, “Heartstop” featuring Channel Tres goes into synth-funk turf explaining that their hearts legitimately stop when they don’t get to see one another while the beat on “Connected” featuring Barney Bones gives me Rainbow Road Mario Kart vibes instrumentally flexing the ties they have. “Bounce” featuring Soopafly takes you a whole millennium head to the future for a joint to the west to bounce to while the g-funk track “Watch Your Tone” advises to do simply that around them.

“Caught Up” heavily builds itself around synthesizers as a way of nearing the conclusion of Magic Hour while “Let You Go” featuring $ha Hef brings the East/West emcees together over a g-funk beat breaking the news to their significant others that they’re cutting off romantic ties with one another going forward. Last but not least, “Can’t Fade the Funk” ends the album charmingly gets self-explanatory for 1 last song showing P dabbling in DāM’s production style.

It was a bit disappointing that Nothing Bigger Than the Program was overloaded with features considering that Marci proved his status as a underrated producer on Marciology earlier on in the year but anyway, I’m finding myself preferring Magic Hour more in comparison. DāM-FunK’s production as one would expect fully embraces the g-funk sound Dr. Dre popularized in the 90s & conceptually, Jay’s paying homage to the roots of west coast hip hop in a modern way.

Score: 4/5

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Babytron & Certified Trapper – “Mario & Luigi” review

This is a brand new collaborative mixtape from Detroit, Michigan trap sensation Babytron as well as Milwaukee, Wisconsin lowend rapper/producer Certified Trapper. One of whom rose to stardom in the late 2010s as a member of the ShittyBoyz & the other has been gaining popularity of his own landing a major label deal with Columbia Records. Both are managed by The Hip Hop Lab Records founder Lando Bando, so in that sense I can see why he brought them together for Mario & Luigi.

“iGlocks” starts with both of them over a Detroit trap instrumental telling you that shit’s bout to get intense when it’s really anything but referencing NXT commentator, 2-time WWE Hall of Famer, 6-time WWE world champion, 4-time WWE United States Champion, 14-time WWE tag team champion, 2-time WWE Hardcore Champion, RoW Tag Team Champion & TNA World Tag Team Champion Booker T whereas “Saucony” works in some interesting synth melodies with hi-hats further displaying a back-&-forth chemistry further revealing Tron to be the most interesting of the 2. “Rulebreakers” produced by Certified Trapper himself takes the lowend route so they can boast their mob ties leading into the murderous Detroit trap joint “Psychopaths” showing their psychotic tendencies.

Moving on from there, “Young Fly Muthafuckas” further emphasizes an eerier atmosphere to the beat flexing how young & fly they both are just before “Woulda Coulda Shoulda” jumps over ominous chords so they can portray the gangsta lifestyles. “So the Fuck What?” specializing in talking shit to the point where they need Mentos remaining in the Detroit trap realm, but then “Rescue Mission” returns to the lowend vibes warning to watch your mouth since they pop bitches.

“Blue $trip Bandits” brings a quirkier flare instrumentally thanks to Danny G calling themselves outlaws for the Ben Franks while “Bling Bling” once again goes lowend to be pickin’ plays up. The song “Day w/ TSF” featuring Peso Peso & Sauce Walka menacingly shows off their real g statuses with Tron & Sauce shining the most while “No Cameraman Around” talks about having $100K on them each. “Boogey Woogey Night” ends the tape with the best lowend track & maybe my favorite here.

I’ve given Tron his praise for already being one of the best from Detroit in recent memory, yet I could never get into Certified Trapper since I’ve heard the lowend style done better. Case in point: Polo Perks, AyooLii & Feardonian’s collab album A Dog’s Chance from a few weeks ago. Mario & Luigi on the contrary has some highlights of it’s own except it’s one of the weaker entries in Babytron’s discography. Their sounds mix well, except Certified Trapper himself on the mic feels as if he’s a Great Value version of his contemporary down to the flow.

Score: 1.5/5

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Fury & Tre Lb – “You Already Know” review

Bristol, Connecticut emcee Fury joined by Detroit, Michigan emcee/producer Tre Lb. The latter starting out accompanied by Southwest Sol as 1/2 of the Chop Shop being the younger brother of Psychopathic Records co-founder Shaggy 2 Dope of the Insane Clown Posse with the other being the founder of Leathal Wreckords, the organizer of the Leathal Weekend festival held in New Hampshire for almost 10 years & even 1/2 of Something Awful alongside Bizarre of prior D12 fame. We’ve never heard both parties on wax together previously but since Tre’s performed at Leathal Weekend 5 with his brother a couple years back, I was more than open about You Already Know heading into it.

“Burning Bridges” gets the EP going jumping over pianos & hi-hats explaining the bridge is burned so y’all can’t cross that river at all whereas “Rydin’ Though” produced by Tre Lb himself goes into a cloudy trap direction instrumentally to talk about taking shots & making the show pop soon as they hit the spot up. “Laughing to the Grave” featuring Dr. Gigglez brings a hellish tone to the beat finding humor in things that aren’t appropriate & “Stars” wraps it all up profoundly talking about flying away when looking at the sky during the evening.

1/12 & The Return of the Absent Minded Producer are great places to start for any underground head who isn’t already familiar with Fury or Tre Lb respectively, but to hear them crossing paths with one another for the duration of an EP wound up becoming my favorite project either one of them have done since the latter 2 I mentioned earlier. The production’s more trap-based, both MCs match each other’s intensity & gear fans up for the 7th installment of Leathal Weekend later this summer headlined by the newly reformed Kottonmouth Kings, Monday Night RAW Superstar/WWE World Tag Team Champion R-Truth of the Awesome Truth, Bizarre, Esham & Mastamind and King Gordy.

Score: 3.5/5

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DJ Quik & Jason Martin – “Chupacabra” review

Compton, California producer/emcee DJ Quik reuniting with German-American emcee Jason Martin formerly known as Problem for their 2nd collaborative LP. One is amongst THE most underappreciated producers of all-time who I consider to be on the same level as the Quincy Jones of hip hop himself Dr. Dre behind the boards & the other started out in the mid-2000s crossing paths with QDT during the sessions for WWE Hall of Famer Snoop Dogg’s 9th album Ego Trippin’. 9 years later, they linked up for the first time on Rosecrans in the spring of 2017 to significant acclaim & are reuniting 7 years later to put out Chupacabra.

The title track featuring The Game starts with pianos, kicks & snares stellarly portraying themselves as 2 versions of the monster even though I respectfully think Game is corny for dissing Rick Ross & siding with Drake in his beef with Kendrick Lamar on “Freeway’s Revenge” to spite Dr. Dre for not letting him perform the Super Bowl LVI halftime show exactly like he did when he made “The Black Slim Shady” off his last album Drillmatic: Heart vs. Mind whereas “Dern & Spruce” uses the same sample Madlib did on “No More Parties in L.A.” by Ye formerly known as Kanye West featuring Kendrick talking about being back in this bitch.

“Eazy Call” by DJ Quik himself & Big Hit finds the 2 flipping “Heartz of Men” by 2Pac for an Eazy-E tribute while “Cold Ass 2 Step” works in these carefree horns & claps so Suga Free the pimp himself can handle the verses. Jay Worthy’s crew Meet the Whoops get their very own title track on Chupacabra with the quintet flowing over a boom bap beat for 2 & a half minutes approximately that is until we get a soulful sequel to “She’s Not Around” solely performed by The Game which is as solid as the titular intro & certainly better than the STB Entertainment compilation Time that he hosted last weekend.

Jason returns to the mic with Jay Worthy himself & Larry June for “Gurbs & Youngs” for a smooth ass dedication to both of those types of people while “Workout” heavily samples “U Don’t Hear Me Tho” by Rodney O & Joe Cooley so Jason can talk about expressing yourself by doing your thing in the mirror reminding that we all make mistakes. “Chupa’s Groove” serves as a this funky instrumental intermission that Quik & Thundercat cooked up together in the lab closing out the album’s first half until “Two Hi (Waves)” by Quik featuring Channel Tres & Wiz Khalifa is this fun summertime jam to start the other.

“Fresh White T” featuring D. Blake & Shiro prior to the “Quik Message” interlude from DJ Drama hooks up a guitar & hi-hats boasting that there ain’t too many like them while “Since I Was Lil” featuring Bun B, Curren$y & Jay Worthy kinda gives off a g-funk vibe talking about how long they’ve been doing this shit. Dom Kennedy lands a solo cut in the form of the bass guitar-infused “Money, Cars & Guns” speaking those 3 things & Jason returns again accompanied by Barney Bones on “AYO” for a KAYTRANADA joint that’ll rock the dance floors. “DITTO” by CeeLo Green, Shiro & Gwen Bunn finds the pair rapping & singing about needing time ahead of “Soul Circus” by Ab-Soul ends on a drumless note.

What Jason & Quik gave us on Chupacabra achieves the goal that both artists & its curator Jay Worthy had set out to do from the start restoring a feeling that’s been missing from California music as a whole. Just like they did on Rosecrans about 7 years ago, you have both Compton powerhouses joining forces 1 more time for the city showcasing their musical talents including a creative chemistry that date back over 15 years & how far they’ve come since ‘08. Just when one of the greatest west coast producers of all-time was gonna hang it up, Jason helped Quik find his passion in the process.

Score: 4.5/5

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