Tha Dogg Pound – “W.A.W.G. (We All We Got)” review

Long Beach, California emcee/producer Daz Dillinger & Philadelphia, Pennsylvania emcee Kurupt together known as Tha Dogg Pound returning to Death Row Records for their 9th LP. I really shouldn’t have to say much about their 1995 full-length debut Dogg Food since it’s widely recognized as one of the last great albums that Death Row ever put out, but their comeback effort DPG 4 Life from a few years ago was easily their worst due to being plagued by tacky pop rap tunes. Nevertheless, I was certain W.A.W.G. (We All We Got) had to be the duo’s true return to form.

After the intro, the first song “Smoke Up” featuring Snoop Dogg produced by Rick Rock is this banging g-funk opener for all the west coast heads to light one up to whereas the title track featuring Tha Eastsidaz unites both groups together for the first time talking about having only each other. “Imma Dogg” takes the g-funk route once again thanks to DJ Battlecat reminding themselves of the Doggs they are leading into “Need Some Space” talking about needing their space over a cloudy Mike & Keys instrumental.

“Favorite Color Blue” is this playful club banger dedicated to their roots as Crips while “Inside of Her” picks up from there with a chilled out pop rap jam. “House Party” featuring Snoop Dogg pulls inspiration from Zapp a bit talking about going to the clubs, but then “After Hours” featuring DaBaby & Snoop Dogg warmly expresses their desire for it all even though my only complaint about it being DaBaby’s unnecessary verse at the beginning.

The electronic influences on “LA Kind of Love” feel outdated despite the west coast lyricism while “Grown Up” featuring Snoop Dogg heading for a delicate trap direction to the beat talking about everyone wanting to be grown. “The Weekend” turns the g-funk influences back up courtesy of Soopafly making time for their partners while “Always on My Mind” featuring Snoop Dogg bouncily refuses to give up. “Who da Hardest?” by the N’Matez & Snoop Dogg ends the album jumping over a DJ Premier instrumental flexing their prowesses.

Dogg Pound really couldn’t fumble on W.A.W.G. (We All We Got) much like they did with DPG 4 Life a few years ago especially since it’s their first album of newly recorded material to be released through Death Row in almost 3 decades & thankfully, Snoop helps give Daz & Kurupt their best offering in a while. They return to their roots stylistically on top of demonstrating their growth after being in the game so long, only having each other at the end of the day.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Sexyy Red – “In Sexyy We Trust” review

One of the most polarizing, controversial & popular artists in hip hop today Sexyy Red coming straight outta St. Louis, Missouri ringing in Memorial Day Weekend by releasing her 3rd mixtape. Getting her footing in penning a diss track towards an ex-boyfriend who cheated on her, she subsequently dropped her debut single ”1,000 Jugs” in 2018 & eventually her debut mixtape Ghetto Superstar on Christmas Eve 2021 to subpar reception. Last summer however was when she went viral as a result of her sophomore tape Hood Hottest Princess, which received more mixed responses in the public eye including from myself on the contrary to Anthony Fantano giving it an 8. My interest peaked after learning couple months back that Tay Keith was fully producing her upcoming debut album since he & Sexyy Red have always brought the best out of one another much like Future & Metro Boomin’ since Tay laced some of her biggest hits such as “SkeeYee”, but is preluding it in the form of In Sexyy We Trust.

After the “Tim Talking” intro, the first song “She’s Back” is this admittedly obnoxious trunk-rattling opener about her return whereas “Boss Me Up” produced by Tay Keith really gets the tape started from the piano-driven instrumental to Sexyy’s boisterous lyrics. “U My Everything” featuring Drake uses the exact same sample Metro Boomin’ used for “BBL DRIZZY BPM 150.mp3” earlier this month further validating Kendrick Lamar’s line on “euphoria” where he said “When I see you stand by Sexyy Red, I believe you see 2 bad bitches” leading into the synth-laced strip club anthem “Ova Bad”.

“Get It Sexyy” was a fun single mixing trap, crunk, Memphis rap & snap together so she can energetically do her dance while “Fake Jammin’” has a rubbery quality to the beat calling out everyone who ain’t jammin’ shit like they say they are. “Outside” hooks up some vibraphones & hi-hats courtesy of Mike WiLL Made-It not shying away from making it clear that she stays out here, but then VonOff1700’s verse on “Sexyy Love Money” is almost as laughable as Drake’s despite the ominous piano chords throughout & the lyrics breaking down everything that Sexyy Red herself loves.

Meanwhile on “Sport”, we have Sexyy talking about killing these hoes over one of the weaker instrumentals on the entire tape that is until “TTG (Go)” bounces back eerily dropping braggadocio. The song “Lick Me” featuring Lil Baby richly talks about cunnilingus while the penultimate track “Awesome Jawsome” turns the bass up a bit more encouraging to shake your dreads between her legs. Funny enough, “It’s My Birthday” ends In Sexyy We Trust with what “Ratchet Happy Birthday” by Drake off Scorpion should’ve been.

People online tend to clown on Fantano for giving Hood Hottest Princess an 8 all these months later & even I myself would tell you that it’s a strong 5 to a light 6 on it’s best day, but I also find it ironic that literally every single redeemable quality he saw in that previous tape is EXACTLY what I see in this new one right here. If you wanna get into Sexyy Red, In Sexyy We Trust completely outshines her earlier work. Once you get past a few underwhelming guest performances, rhetorical production mostly handled by Tay Keith is a lot more detailed than what she’s done before & she can be humorous at times.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

4Batz – “U Made Me a St4r” review

4Batz is a 22 year old singer/songwriter from Dallas, Texas gaining popularity this past winter off the single “Date @ 8” earning co-signs from one of my top 10 producers of all-time Ye fka Kanye West to even Drake, who ultimately appeared on the “Date @ 8” remix & signed 4Batz to OVO Sound for a 1-EP deal. Only a month later, the most interesting new name in alternative R&B of 2024 is taking no time at all to prelude it just a week after PARTYNEXTDOOR’s latest album PARTYNEXTDOOR 4.

After the titular intro, the first song “stickerz “99”” starts off with an alternative R&B cut with additional elements of trap soul and chopped & screwed leaving bitches screaming anything whereas “date @ 8” featuring Drake puts a bigger emphasis on the trap soul undertones from earlier giving their significant others $700 for them to get new nails & hair. “on god?” featuring Ye takes the PBR&B route once again throwing additional neo-soul undertones calling out those hard to please & after the “get out yo feelings ho” skit, “fckin u (18+)” continues with a slow jam being able to stop fucking all night long.

“there goes another vase” starts the 2nd half of the EP smoothly delving into a tumultuous relationship where the artist recognizes partner’s toxicity & at the same time feels a deep attachment to her while the stripped-back “mad man” turning sex with this woman into a passion. “all we do is argue, argue” spaciously asks her why she be breaking his heart out here just before the final song “i hate to be alone” is this beautiful closer talking about not wanting to be by his lonely.

You know you’re into something when you get the Ye co-sign & it really makes me excited to hear 4Batz go from here with the release of U Made Me a St4r, which further pushes him as one of the most exciting new faces in the trap soul scene. You also get alternative R&B, neo-soul & pop rap undertones with a hint of chopped & screwed so the Dallas singer/songwriter can pull off his passionate singing chops whilst displaying his abilities with the pen.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Meek Mill & Rick Ross – “Too Good to Be True” review

This is a brand new collaborative full-length LP between Miami Gardens rapper & Maybach Music Group founder Rick Ross as well as his biggest signing in Philadelphia’s very own Meek Mill. Both of whom have been working each other for over a decade at this point including songs like “Ima Boss”or “2Pac Back” & “Believe It”. It’s been quite a while since we’ve heard these guys collaborating but to celebrate the 1-year anniversary of them reuniting, they’re giving back by teaming up & it’s Too Good to Be True.

“Shaq & Kobe” is a decent hardcore hip hop/pop rap opener to the album as Meek & Rozay compare themselves to the titular duo whereas “Star Island” works in some synths & hi-hats from ATL Jacob talking about having a palace at the titular location. “Go to Hell” goes for a luxurious sound courtesy of Cool & Dre reminding that the real recognize real leading into the bombastic “800 Karats” discussing that they’re the biggest bosses.

Fabolous comes into the picture for the vulnerable “Dead Last” produced by TM88 & a hook from Vory admitting that they feel a certain way towards those who be talking behind their backs, but then the instrumental on “They Don’t Really Love You” is a bit disappointing despite the subject matter addressing fake love. “$1M Trap” has this eerie atmosphere in the background mixed with some hi-hats of course throwing a party in the penthouse just before the exuberant “Grandiose” produced by Murda Beatz flexes with 2 bad bitches in the club tryna go up.

DJ Khaled heavily samples “Tha Shiznit” throughout “Above the Law” the point where it just gets annoying on impact even though I accommodate theme of the untouchables being unable to be touched while “Fine Lines” featuring Wale talks about how our lies scar so deep to the point where we can’t uncross things & the beat here is just ok, but I’d still take it over what Khaled did on that last track. “Gold Medals” encourages not to let anyone try to tell you what your place is over a groovy instrumental from Hitmaka & BongoByTheWay while the soulful trap hybrid “Iconic” advises to Never look at pussy from a bitches point of view.

“Lyrical Eazy” hooks up some keys & hi-hats bringing hardcore bars for only a minute & a half while “Pillow Talk” reps the gang over a revitalizing beat from both Tay Keith & Cubeatz. “Millionaire Row” feathering French Montana set out for more money over a born-laced trap instrumental & to end the album, “In Luv with the Money” is this enjoyable Ross solo cut with Southside behind the boards dedicated to the bread.

I’ll admit I wasn’t too sure about how I was gonna feel about this album since the singles were mostly average & that I wasn’t a fan of Meek’s previous album Expensive Pain all that much from a couple years ago. Surely enough, Too Good to Be True is one of the better mainstream collaborative efforts I’ve heard in a while. Although the production can be spotty at times, the chemistry’s there & the features are tight.

Score: 3/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!