Stezo – “The Last Dance” review

Stezo was a 52 year old MC/producer from New Haven, Connecticut who broke out in 1989 off his full-length debut Crazy Noise. This was followed up with the Where’s the Funk At? EP & C.T. (The Lost State) but now with his unexpected death a little over a year ago, Fat Beats is dropping a 3rd & final album containing his last recordings.

After the “Main Event” intro, “Keep the Grove” with Johnny Famous is a somewhat minimal opener calling out the industry. After the “Hip Hop Eulogy 1” interlude, we get a decent remix to the 1996 joint “Where the Funk At?” just before the cinematic “Opera House” goes at those who can’t flow.

Following the “Hip Hop Eulogy 2” interlude, Ed O.G. tags along with Masta Ace & Craig G for the grim “Psychopathic Maniac” declaring themselves as such. After the “Hip Hop Eulogy 3” interlude, we got Chubb Rock & Grand Puba coming in for the jazzy boom bap banger “Check 1, 2” flexing their lyricism.

“Rapzone” with Special Ed & Tash has a more futuristic sound taking listeners down a dimension of penmanship & after the the “Hip Hop Eulogy 4” interlude, “Lucky Me” is a gorgeous declaration of how grateful he was.

After the “Hip Hop Eulogy 5” interlude, Stezo & the late Biz Markie show an immaculate chemistry on “Steve N the Biz”. He later reflects on the hard times of his life for the airy “Homeless Stevie” & then the “It’s My Turn” sequel is just alright, as much I fuck with the original. Hakim Green & Tall T help flex their prowess on “Bring the Horns” with despite it’s title is heavy on some live drumming.

After the 6th & final “Hip Hop Eulogy” interlude, the penultimate track “Ruff N Rugged” is a dusty ode to the underground & the closer “4 Stezo” is basically a Shomari song given that Stezo himself isn’t on it at all. However, it’s a touching tribute to the man.

For a posthumous album, I think it’s pretty respectable. I think the remixes to older joints & the interludes are a bit unnecessary, but Chris Lowe’s production is raw as Hell & the guests do a great job at complimenting Stezo rather than just being there for a paycheck.

Score: 4/5

Bread – “A Breath of Fresh Air” review

Bread is a 45 year old MC from Los Angeles, California who first emerged in 1999 as a member of the group Kaliwild. He eventually went solo a couple years back by dropping his debut EP New Bread but after signing a joint deal with SomeOthaShip Records & Fat Beats Records, he’s ready to drop a full-length debut on top of everyone’s heads.

“Let Us Begin” is a 2-minute synth-laced opener saying it’ll be as it was in the beginning once it’s all said & done whereas the peaceful “Star” with Lord Jamar & Sadat X finds the trio saying they’re happy as such. Gemini, Keak da Sneak & UR67 tag along for the shimmering “Feels So Good” talking about being happy with where they are now just before the Nottz-produced “What Love Is” goes for a moodier sound & the lyrics detail the definition of love according to Bread.

Meanwhile on “Christie”, we get a slap happy tribute to a woman whom Bread proclaims as a mistress leading into him going into a more summery vibe asking for “Worldwide Peace”. He later boasts his rapping prowess with the luscious “Cornbead” while the song “Eye 4 Eye” works in a keyboard & dusty drums to get political. The penultimate track “God’z Return” with Planet Asia has a more minimal sound telling the Devil to get the fuck out & the Big Shug-assisted closer “Nice Like That” is a jazzy tribute to the late Guru.

As solid as New Bread was, I think A Breath of Fresh Air happens to be his best work yet. He achieves his goal of showing listeners that the style of hip hop that he brings to the table is still thriving with it’s refined production & improved lyricism.

Score: 4/5

Declaime – “In the Beginning” review

This is the 11th full-length album from Oxnard veteran Declaime. Debuting on “WLIX” off Tha Alkaholiks’ sophomore album Coast II Coast in 1995, it wouldn’t be until 2001 when Dudley Perkins started putting out albums under his own name by dropping Andsoitisaid. Last we heard from him was in 2017 when he released Young Spirit but as the 4 year anniversary of that album approaches next month, dude is unearthing 13 joints that were recorded with longtime collaborator Madlib from 1993-1996 & putting them out to the public in the form of In the Beginning.

“Enuff” kicks things off with Declaime & even Madlib himself jump on top of some bass licks & handclaps talking about not letting stress wound, but then “One on One” works in a lo-fi beat & battle rap lyricism. The pair later go into boom bap territory on “Cool Ways” saying he’ll never slip up whereas “2 to da Head” has these dusty drums & what sound like Seagull noises addressing the days we’re living in.

Meanwhile on “Madman”, we have Dudley giving us a rowdy look at someone who’s insane before diving into the “Declaime Speaks” interlude as well as the fuzzy “Black” jabbing at the racist system. “Wake Up” is yet another boom bap cut themed around battle rap while “Out Like Dat” has these vinyl cracklings throughout it’s 2 minute run & Declaime saying there’s no turning back when you hit the street.

After the “Meltdown” interlude, the track “All Over the World” with M.E.D. serves as a funky crowd-mover propping up both the West & the East while the last actual song on the album “2 MC ‘95” is a keyboard-laced take on the Hamlet quote “To be or not to be”. Then there’s “Outrose”, which serves as a 2-minute instrumental piece to finish the album off.

Although the material In the Beginning presents to us was recorded 25-28 years ago, it still sounds really good now & that shouldn’t come a surprise given how well these guys have bounced off each other in the past. Madlib’s production is much more rawer on here & the topics that Declaime covers range from social commentary to braggadocio.

Score: 4/5

Th1rt3en – “A Magnificent Day for an Exorcism” review

Th1rt3en is an East Coast hip hop trio consisting of Marcus Machado on guitar, Daru Jones on drums & Pharoahe Monch on the mic. The trio have been working together for a little over a year now but with Joe Biden being inaugurated as the 46th president of the United States earlier this week, it’s only right for them to come together for their full-length debut.

Things kick off with “Cult 45”, where Monch takes a well-written dig at the Trump administration over a dingey boom bap beat from Nottz. The next song “Triskaidekaphobia” gets on the horrorcore tip over a bloodcurdling instrumental from Monch himself alongside Parks of The Joe Budden Podcast while “The Magician” compares himself to such over a rap rock beat. The song “666 (3-6 Word Stories)” is a unexpected & decent recreation of the Black Sabbath joint “Hand of Doom” while the track “Goat’s Head” reminds listeners of his lyrical prowess over a beat with a crunchy ass guitar line.

The song “Scarecrow” talks about being on the yellow brick road over an anarchic instrumental from Shylow while the track “Fight” talks about racial injustice over a rock/boom bap fusion. The song “Racist” compares the skinheads to Satanists over an infernal beat while the track “Oxygen” talks about needing this woman in his life over a supernatural instrumental from Marco Polo.

The song “Kill ‘Em All Again” talks about those who can’t see the bigger picture over an impassioned beat while “The Exorcist” makes numerous references to the apocalypse & Medusa over yet another boom bap/rock fusion. The penultimate track “Amnesia” expresses his desire to hold this woman in his arms over a more unwinding instrumental & then the albums ends with “Kill Kill Kill”, where Monch talks about losing his mind some fast drumming along with a guitar & a organ.

When artists make an album stylistically departing from their signature sound, it can turn out 50/50. However, Th1rt3en knocks it out of the park. Not only do Marcus & Daru do a good job with the live instrumentation, but Pharoahe Monch comes through with some of his most political lyrics yet reflecting on all the hardships we faced in 2020.

Score: 4.5/5

Vangarde – Self-Titled review

Vangarde is a newly formed MC/producer duo from Boston, Massachusetts consisting of veterans Mr. Lif & Stu Bangas. They first united at the beginning of the year after appearing on Stu’s latest EP Beats & Blood but fast forward 10 months later, they’re coming together for an official full-length debut.

After the “Global Shift” intro, the first song “Shelter in Place” enlists the help of Blacastan to discuss wanting America to do better over a noisy boom bap beat whereas the next track “Basquiat” boasts his lyricism over a dreary instrumental. The song “8:46” with Reef the Lost Cauze, Blueprint, MURS & Puma Ptah serves as a response to George Floyd’s murder over a funky boom bap beat & after the “Old World Brokeness” interlude, the track “Wave the Flag” talks about COVID-19 over an ominous instrumental.

The song “Sonar” finds The Perceptionists reuniting to get on the woke tip over a diabolical beat & after the “New World Adjustments” interlude, the track “Now’s Only Now” talks about not losing hope for the future over a monstrous boom bap beat with some keys & strings. “The New Normal” pays tribute to Gang Starr over a charismatic instrumental & then the closer “No Hitter” talks about being meant to rebel over a quasi-jazzy beat.

Stu Bangas has been having a Hell of a 2020 musically & Vangarde’s eponymous debut is no exception whatsoever. He continues to remind listeners of his place as one of the greatest producers that the underground has to offer & his sound meshes with Mr. Lif’s ever-thought provoking lyricism very well. Would love to see these 2 veterans work more with one another in the future.

Score: 4/5

Clear Soul Forces – “Forceswithyou” review

This is the 6th & final full-length album from Detroit quartet the Clear Soul Forces, who blew up at the beginning of 2012 with the viral sensation of their viral “Get No Better” music video. They put out their magnum opus Still just a little over a year ago but with 313 Day being this weekend, they’re celebrating with one last hurrah.

The album starts with “Gimmie the Mic”, where the group spit some charismatic battle bars with each other for 2 minutes over a funky beat from Ilajide. The next song “Bussaflow” finds everybody going back & forth with each other over a dystopian instrumental while the track “Chinese Funk” sees the 4 showing off their skills over a flute-tinged boom bap beat. The song “Funky Enough” is a slick crowd mover while the track “Like That” shows you how they do things over a punchy instrumental.

The song “95” is them saying they’d rather be rapping instead of working a day job over an instrumental with an infectious groove while the track “Watch Your Mouth” is a warming to those talking down on them over a synthy boom bap beat. The song “We Gets Busy” talks about their hustle over a trunk-knocking beat while the penultimate track “SS2” is a lethal sequel to “Suspect Spiterzzz” over an electro-boom bap beat. The album then finishes with “Chip$”, where the group talk about making money over a hypnotic beat.

This is a damn near perfect way for the group to go out. It’s a little too short only running at a half hour but in that short amount of time, they remind us all why they are one of the greatest groups to come out of Detroit in recent memory from the evolving sound to the tight lyricism. Best of luck to E-Fav, Ilajide, L.A.Z. & Noveliss on their future endeavors.

Score: 4.5/5

Clear Soul Forces – “Still” review

The Clear Soul Forces are a hip hop quartet from Detroit, Michigan consisting of E-Fav, Ilajide, L.A.Z. & Noveliss. They blew up at the beginning of 2012 with the viral sensation of their “Get No Better” music video but now 7 years later, they’re delivering their 5th full-length album.

Things kick off with “Blaow”, where the 4 spit battle bars over a semi-jazzy boom bap beat. The song “Hit Me Now” is a perfect display of their skills over a vibrant boom bap beat while the track “Diamond Rhymin'” is a chilled out crowd mover comparing themselves to former 3-time WCW World Heavyweight Champion, 2-time WWE United States Champion, 5-time WWE tag team champion & WCW World Television Champion Diamond Dallas Page refusing to join the nWo. The “Sword Play” remix is a pretty great revision of the song that the group did on Noveliss’ Kenjutsu Under the Moonlight EP from a couple years back while the song “Kick It” kinda reminds of the classic Tribe Called Quest track with the same name, but updated for a modern audience.

The track “Dinner Time” is filled with lyrical acrobatics over a J Dilla-esque instrumental while the song “They Shootin'” is a flawless display of the quartet’s chemistry referencing WWE Hall of Famer, former WWE Intercontinental Champion, WWE United States Champion & WCW World Tag Team Champion Rick Rude accompanied by a mellow beat with some thumping drums. The track “Say (What)” is a well put together freestyle with a funky beat & after the “Still Enterlude”, the penultimate song “Pump Pump” is an infectious club banger. The album then finishes with “Don’t Stop”, which is a 7 & a half minute odyssey about their success including a reference to WWE Hall of Famer as well as former WWE Intercontinental Champion & WWE Tag Team Champion The Godfather a.k.a. Papa Shango.

This is easily the group’s best album yet, in my opinion. The chemistry between each member is tighter than ever, their lyricism has gotten a lot more sharper with time & the production has that Detroit soul to it making the palates sounds gorgeous. If they continue to outdo themselves with each album like this, then I have a feeling that they’ll grow closer to reaching the potential as one of the greatest groups to come out of Detroit.

Score: 4/5

Masta Ace – “A Breukelen Story” review

Masta Ace is a 51 year old MC who started out as a member of the Juice Crew. He released his criminally underrated debut Take a Look Around in the summer of 1990 & then after the Juice Crew’s disbandment the following year, he went on to sign to Delicious Vinyl & release 2 albums under the name Masta Ace Incorporated] He then disappeared from the music industry, returning in 2001 with one of the greatest concept albums in all of hip hop Disposable Arts. The closer on that album “No Regrets” sparked rumors that it would be Ace’s final album until he returned with A Long Hot Summer in 2004, which was a near perfect prequel to Disposable Arts. He then started focusing on his eMC crew up until 2012, when he released MA_Doom: Son of Yvonne. An album where Ace took a bunch of instrumentals from MF DOOM’s Special Herbs series of instrumental albums & made a tribute to his departed mother out of it. His last album The Falling Season in 2016 told a story of Masta Ace’s high school years, but was weighed down by an overabundance of skits. He has since been teasing his 8th full-length album over here with Marco Polo producing it in it’s entirety, a concept album about his hometown of Brooklyn.

The album kicks off with “Kings”, where Ace talks about unity & how the older generation’s parents were telling them the same thing they’ve been saying to the new generation these days over a punchy piano instrumental. After the “Dad’s Talk” skit, we go into the next song “Breukelen “Brooklyn””. Here, Ace links up with Smif-n-Wessun of the Boot Camp Clik to pay tribute to their hometown & all of the greats to come from there over a boom bap beat with some somber piano chords. The track “Get Shot” of course gets confrontational over a boom bap beat with a funky bass-line, keyboards, & some harmonious female background vocals while the song “Still Love Her” is a vivid yet mellow dedication to this woman from Ace’s teenage years.

The track “Man Law” with Styles P sees the 2 talking about counting your blessings over an orchestral boom bap beat while the song “You & I” is a dedication to Ace’s wife with some smooth guitar passages. After the “Gotta Go” skit, we go into the song “Sunken Place”. Here, Ace talks about being raised in the ghetto over some drums & a fair vocal sample. The track “Corporal Punishment” with eLZhi takes a jab at the industry over an eerie beat & after the “Landlord of the Flies” skit, we go into the song “Count ‘Em Up”. Here, Ace link’s up with Lil’ Fame tell the story of a raid that occurred in their neighborhood & the one sample on here where a bunch of kids are saying “1, 2, 3, 4, 5” is just flawless.

The track “American Me” talks about the current state of the United States over a soulful boom bap beat & after “The Cutting Room” skit, the song “God Bodies” is a continuation of the conscious themes of the previous joint over a druggy beat. The track “Wanna Be” with Marlon Craft talks about copycats over a chilled out boom bap beat while the song “3” is a perfect eMC reunion over a flute-heavy instrumental. Then before things finish off with the “Mom’s Talk” skit, the final song “The Fight Song” with Pharoahe Monch pretty much speaks for itself over a grimy instrumental with some angelic choir vocals.

I’ve been waiting on this for a little over a year now & the end result is one of the best albums Masta Ace has ever made. He‘s always been one of the most underrated lyricists in the history of the culture & he continues to prove that as Marco Polo’s production suits his storytelling near perfectly.

Score: 4.5/5

Roc Marciano – “Behold a Dark Horse” review

Roc Marciano is a legendary underground MC/producer from Long Island, New York who started out in the very late 90’s as a member of the Flipmode Squad. He then went solo in 2008 & has dropped 5 albums since, with his last one Rosebudd’s Revenge 2: The Bitter Dose being released in February of this year. However, he has decided to drop his 6th full-length album out of nowhere exclusively on his website.

Things start off with “The Horse’s Mouth”, where Roc brags about how dope he is over an eerie beat from Preservation. The next song “Congo” contains some gritty street bars over a Roc instrumental that contains some punchy drums & a guitar while the song “1,000 Deaths” gets confrontational over some strings. The song “Diamond Cutters” with Black Thought sees the 2 spitting battle bars over a middle eastern instrumental referencing Mayweather Promotions founder Floyd Mayweather while the track “Amethyst” talks about being a threat in the streets over a somber instrumental from Animoss, but the hook halfway through was awkward.

The song “Sampson & Delilah” gets back on the battle bar tip including a reference to WWE Hall of Famer Mike Tyson over a woodwind heavy instrumental from Doncee despite another wimpy hook while the track “No Love” with Knowledge the Pirate sees the 2 talking about trust over a beautiful soul sample from Roc himself.

“Trojan Horse” with Busta Rhymes sees the 2 getting mafioso over an instrumental that reminds of me “Wildflower” off of Ghostface Killah’s classic 1996 solo debut Ironman while the track “Fabio” goes at talentless rappers as well as bragging about himself over an instrumental from The Alchemist that starts off laidback, but then switches into something more eerie halfway through.

The song “Secrets” gets romantic over a spacey beat from Roc himself while the penultimate track “Whoolers” returns to the braggadocious tip over a soulful horn-induced beat from Animoss. The album then ends with “Consigliere”, where Roc gets into the lavish life once again as well as challenging his competition over an orchestral instrumental from Q-Tip.

As I expected, Roc didn’t disappoint at all. I don’t care for the parts where he’s singing at all, but the beats & the lyrical content are just as gritty as they’ve always been. If you wanna hear a horribly underrated vet sound rawer than ever before, then give this a listen.

Score: 4/5

Blu & Exile – “In the Beginning: Before the Heavens” review

blu-exile-album-cover-1

To commemorate the 10 year anniversary of their classic debut Below the Heavens: In Hell Happy with Your New Imaginary Friend, Blu & Exile are returning with their 3rd full-length album & it happens to be a prequel to that debut. The opener “Soul Provider” gets braggadocious & Exile’s production enhances the happiness of Blu finally making it. The next track “Another Day” vividly talks about a day in the hood over a lush boom bap instrumental while the song “Constellations” gratefully speaks on success & the hook on there is just as beautiful. The track “All These Ladies” talks about gold diggers over a funky yet smooth instrumental & the song “Party for 2” gets romantic over a jazzy instrumental.

The track “Back to Basics” tells the listener what he’s gonna do for the culture & gets vividly reflective over a laid-back instrumental. The track “On the Radio” vents about wack shit getting mad radio play over a hard boom bap instrumental & his hook is super catchy. The song “You’re Gonna Die Someday” gets vents about the current state of over a soulful instrumental that actually has an amazing J Dilla vibe to it. The track “Life’s a Gamble has some decent verses from Blu & the 3 artists that’re featured & I love how the beat starts off with some spacey synths & a fitting Marvin Gaye sample during the first half, but the switches up during of the second half was unnecessary to me. The song “Things we Say” with Emanon sees Blu & Aloe Blacc both rapping about the stuff they say hypothetically coming to life over a soulful piano boom beat.

The track “Hot for Y’all” has a joyous instrumental & for some reason unlike “Life’s a Gamble”, I think Blu & Donell Smokes compliment each other very well on here. The song “Hard Workers” with Blame 1 gets insightful (especially the latter) over a funky boom bap instrumental & the scratch hook hits the nail on the head. The penultimate track “Sold the Soul” has a nice smooth boom bap beat, but I was Blu was actually rapping over it rather than just talking & then later singing on it. The album closes out with “Stress Off the Chest”, where Blu’s talking about keeping his head up despite the bullshit around him over a nice Latin sample.

This definitely feels like a Below the Heavens b-sides compilation with some of the tracks already being previously released, but it’s a well put together thank you to the fans for supporting them for the past decade

Score: 4/5