October London – “October Nights” review

October London is a 37 year old singer/songwriter from South Bend, Indiana starting out in 2013 off his debut EP The Introduction & both installments of the Color Blind series. He eventually caught the attention of Long Beach icon & WWE Hall of Famer Snoop Dogg, who signed him to Doggystyle Records for his 4th EP Please Leave a Message before Message before moving over to Death Row Records not too long after Snoop bought the label he started out at & teamed with gamma. for a new distribution deal. October has since released his first 2 albums & a couple more EPs through the revived west coast powerhouse with Crypto Winter, Technicolor, The Rebirth of Marvin & The Greatest Gift. However, the singles ahead of his 3rd full-length studio LP here were generating enough buzz for people to tell me that they wanted to see me covering it & I was more than willing to do so since I enjoyed The Rebirth of Marvin the most out of his discography.

The drumless opener “Slander My Name” addressed those who’re slandering him or making it sound like he did dirt on them whereas “Touch on Me” jazzily sings about love making being natural since every single one of us are human & sexual beings at the same time. “A Beautiful Woman” produced by Soopafly shows appreciation to the amazing women in October’s life speaking beautifully to the heart of love prior to “3rd Shift” groovily singing about working 23 hours.

“Don’t Go” pleads for his romantic interest not leave since he needs her in his life over a piano instrumental while “She Keeps Calling” mellowly discusses a woman who keeps blowing up his phone & him eventually coming back to her for more lovemaking. “All I Want is You” featuring Boney James sees the 2 making it clear they don’t want any other woman besides the ones they currently have on top of a trap soul beat, but then the jazzy “Don’t Waste Your Time” courtesy of labelmate Charlie Bereal sings about life not playing the same game as us.

Meanwhile on “Kill Shot”, we have October luxuriously describing a woman who sent the final death blow straight into his heart while “Missing You” magically gets in his breakup bag reflecting on when he was with an ex-girlfriend with the help of Babyface. “Bedroom Bully” featuring Tyrese goes for a minimal approach instrumentally for a lustful duet while “The Best Problem” intoxicatingly referring to his new girl as the best distraction.

“Momma” starts the final moments with a soulful tribute to anyone listening who loves their mother while “Put You On” featuring Snoop Dogg sees the pair coming together so they can uplift & upgrade their current partners over a Mike & Keys beat. “The Reception” featuring Ledisi is another duet painting the imagery of a wedding with both artists playing the newly wedded husband & wife while “Time” closes the LP by promising he’ll love her until the end of time.

Firmly establishing himself as The Rebirth of Marvin when Death Row relaunched, October Nights here if anything proves R&B is alive & well by delivering what I consider to be his 2nd best work behind the predecessor. It has an essence of soul, vulnerability & an innovativeness that’s been missing in the R&B genre for a while, highlighting the artist’s continued evolution & natural sense of identity.

Score: 4/5

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

Rich the Kid – “Life’s a Gamble” review

Rich the Kid is a 31 year old rapper & songwriter from College Park, Georgia notable for being the founder of Rich Forever Music. Following the debut mixtape Been About the Benjamins, he would catch the attention of the local Quality Control Music & signed a distribution deal with them for his next 6 tapes. The World is Yours along with it’s sequel distributed by Interscope Records were both mediocre in their own rights & the Republic Records-backed Boss Man was his worst album yet. His opening verse on the hit single “Carnival” ended up being more enjoyable than I thought it would & now that Rich Forever Music signed a new distribution deal with gamma., Rich is finally releasing his 4th album independently executively produced by ¥$.

The intro starts off hopping over a trap instrumental with the sound of a clock ticking refusing to pause whereas “Gimme a Second” featuring Peso Pluma & produced by DJ Durel links the pair together so they can flex. “Not in the Mood” featuring Offset takes a bouncier route instrumentally dissing everyone out of the loop leading into “New Chanel” going off-the-cuff for about a minute & a half explaining that he’s a big dog that can never be belittled.

“Upside Down” featuring French Montana darkly finds the 2 looking to flip the club off it’s axis while the hyphy joint “Back Then” talking about never feeling like he’s actually make it out & them thinking he was cappin’ in the early days until all the success came. “Louie Coat” featuring Chief Keef kinda has this uncanny atmosphere that Murda Beatz provides showing off their new coats from Louis Vuitton, but then the d.a. got that dope piano-driven “Band Man” continues to boast his wealth.

BIA joins Rich for the exuberant trap cut “Like Yoga” to talk about making a scene like Doja Cat out here just before the cloudy “Hold On” asks how one would doubt him with all the plaques that he has on the wall giving them racks to riches. “Tell Me” featuring Young Adz continues to emphasize on atmosphere asking who else got the hood trappin’ than them while the “Gimme a Second” remix has a simpler beat from Ye formerly known as Kanye West, The Legendary Traxster & Digital Nas in addition to a new ¥$ verse.

“Keep It Exclusive” featuring Quavo woozily tells the listeners not to sleep on the gang while the synth-heavy “Sometimes” admits that he has moments where he would rather want to be himself instead of a rapper. “No Mileage” somberly talks about being unable to trust anyone while “Plain Jane” featuring Ye comes straight from the DONDA 2 sessions boasting their wealth once more. “Rocking & Rolling” ends the album hopping over another cloudy instrumental that Supah Mario cooked up saying he can’t be stopped.

Other than “New Freezer” or “Carnival”, I’ve never really been a fan of Rich the Kid myself since all 3 of his previous albums (more specifically Boss Man) have proven how much of a nonessential character & Life’s a Gamble makes a slight cut above everything he’s done as his best full-length yet albeit not by much. Some of the features punch under their weight, the production’s just ok & Rich himself as performer doesn’t excite me as he did on 2 of the biggest singles of his career.

Score: 1.5/5

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

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 now distributed by gamma. 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 WWE Hall of Famer 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” featuring will.i.am on the remix 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” featuring Jane Jane Handcock & October London 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 following her appearance on the Endeavor-owned TKO Group Holdings division WWE’s developmental brand NXT. 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 gamma.-backed 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 even with the weak reference to former NXT North American Champion Bronson Reed 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 or formerly known as 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 R&B of 2024 is putting out an EP through gamma. only 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 on the remix 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 on the remix 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+)” featuring Usher on the remix crosses over contemporary & alternative R&B with trap soul being unable 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” turns 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 & my personal favorite “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 when his EP deal with OVO is fulfilled on a later date, regardless U Made Me a St4r further pushes him as one of the most exciting new faces in the alternative/contemporary R&B scene. You also get neo-soul, pop rap, trap soul & hip hop soul 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, Florida rapper & Maybach Music Group founder Rick Ross as well as his biggest signing in Philadelphia, Pennsylvania’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 crossing paths 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” featuring Damian Lillard & Shaquille O’Neal is a decent hardcore hip hop/pop rap opener to the album referencing current AEW manager, WWE Hall of Famer & former SMW Heavyweight Champion Jake “The Snake” Roberts 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 boasting they were poppin’ Teslas before meeting it’s CEO Elon Musk & 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 & a decent debut under gamma.’s new distribution deal with MMG. 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!