Rakim – “The Re-Up” review

This is the 2nd EP from pioneering Long Island, New York emcee/producer Rakim. Notable for being 1/2 of the seminal golden age duo Eric B. & Rakim, they put out 4 classic albums together from the mid-80s to the early 90s, with their debut Paid in Full & the sophomore effort Follow the Leader laying out the groundwork for future generations of hip hop to come. Kid Wizard eventually went solo in late ‘97 signing to Universal Music Group for an acclaimed debut The 18th Letter & the follow-up The Master while not as acclaimed still received positive feedback. Reception to The 7th Seal a decade after The Master was more mixed due to the lackluster production although the lyricism was certainly praised & G.O.Ds Network (REB7RTH) was a step in the right direction despite the heavy features, but Big Ghost Ltd. producing 2 new tracks on The Re-Up minus the 7 remixes raised my expectations greatly as a fan of both him & The God.

“I’m Good” makes for the only track of the 2 piece that doesn’t have a guest on it, but The God still delivers on the mic nonetheless over a boom bap instrumental from none other than the The Hands of Zeus himself whereas the final song consisting of brand new material & it’s sole single “Not to Be Defined” featuring Lazarus is also the sole moment that Big Ghost didn’t produce, leading it up to Dem Jointz showing the rhythm of the souls in both lyricists’ hearts.

I’m only gonna rate this purely based on the short batch of material that we got from The Re-Up because 1 thing that I wanna make clear is that the 5 remixes from G.O.Ds Network (REB7RTH) rival the original versions from the previous EP that I prefer more since that was all new material. Nevertheless, I still believe that the 3 newly recorded cuts are worth mentioning because they continue to exemplify that Rakim is still The God almost 4 decades later. G.O.Ds Network (REB7RTH) 2 has been said to have lesser guests than the predecessor & if that’s true, it could be on The 18th Letter caliber.

Score: 3.5/5

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Chino XL – “Map of Bones” review

Right in front of us is the 7th full-length studio LP albeit 2nd posthumous offering from East Orange, New Jersey emcee Chino XL. Breaking out in the mid-90s after signing to American Recordings & releasing the classic full-length debut Here to Save You All, he eventually went on to beef with 2Pac & I genuinely feel sorry for anyone who writes him off because of that. Especially since that I Told You So, Poison Pen & the Viper Records-backed RICANstruction: The Black Rosary all contain some of the best songs in his whole discography. Stu Bangas was brought in to produce God’s Carpenter couple summers & that became a near-flawless comeback, with Darkness & Other Colors recorded back in 2020 foreshadowing his own death from beyond the grave. Continuing to warm up for God’s Carpenter 2, what would’ve been Chino’s 51st birthday is being commemorated with Map of Bones recorded between 2008-2012.

“Hard to Kill” opens up by ruggedly suggesting that you should come heavy if you ever making threats & getting at his best when things get intense whereas “Die 4” angrily asks if anyone wants war with him. “Not Ok” works in these prominent horns so he can tackle the theme of mental health from beyond the grave leading into the heinous “Monster” talks about his beast status.

As for “I’ve Seen”, we have Chino over heavy sampling telling us everything he’s experienced during his time in the music industry just before “‘Til Death Do Us Part” shows his affection towards his wife-now-widow. “Capable” talks about people casting doubt over what he’s competent of doing, but then the chaotic boom bap hybrid “Keep Diggin’” speaks of staying loyal to the code o until the streets phase.

“The Search” becomes 1 with the ocean Jesus once walked on while “Numb” featuring Roc C triumphantly sees the pair back on the block. “You First” gets split into 2-parts with an EDM flare during the 1st half & boom bap for the other getting bloodthirsty while “Still Sailing” refers to every word he wrote as a symphony. The title track hauntingly rounds it out by talking about the suicidal thoughts that sadly took him.

Word’s been going around since last fall regarding Chino XL having a collaborative effort with Dheezy called The Mantis coming out at the end of 2025 & we’ll have to cross that bridge until we get there to see if that actually happens, all I know is that I appreciate Map of Bones for feeling as complete of a product as Darkness & Other Colors was. Even if I find myself preferring Body Bag Ben’s production on the latter, DJ Fokus’ left-of-center style is a bit refreshing & hearing Chino continuing to foreshadow him taking is life over a decade ago hits differently.

Score: 3.5/5

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Stuyville – “Welcome to Stuyville” review

This is the 3rd collaborative project between Brooklyn, New York duo Stuyville consisting of emcees Eddie Kaine & Rim. Both of whom initially got together over 4 years ago on Devil’s Night 2020 for their moderately received 1st collab effort BK Caminates produced by iamT2 followed by the Meta EP a couple summers later to more mixed reception across the spectrum. Welcome to Stuyville on the other hand here had high potential of surpassing both of it’s predecessors soon as it was announced than 38 Spesh & Camoflauge Monk would both be producing it on top of Holy Toledo Productions & Compound Interest Entertainment backing it.

“What’s This” eerily welcomes everyone to Stuyville by spitting that real shit over a grisly boom bap instrumental from Camoflauge Monk whereas “Ice Cold” takes a more soulful route thanks to 38 Spesh talking about their hearts being as cold as they are refusing to fold. “Never Stop” featuring Che Noir hooks up an organ with kicks & snares promising not to hang it up leading into “Check Check” talking about bench-pressing whenever they be lifting weight off the scale.

Hus Kingpin joins Eddie & Rim on “Da Whispers” fusing cloud rap & boom bap into 1 boasting that all 3 of them stay war ready & keepin’ it gutter while “Stay Focused” motivationally talks about still getting to the dough even when the odds are against them. “Salute” featuring Benny the Butcher goes drumless as the trio do exactly what they have to, but then “Breakfast” talks about focusing on being great.

“Reminisce” featuring Kurupt begins the final leg of Welcome to Stuyville on a jazzier note reflecting on the fact that the block ain’t the same these days while “Chop House” strips the drums again in favor of a bare flute suggesting not to ride the wave if you ain’t the skipper. The closing track “Made Men” featuring the late Fred the Godson finishes the LP with everyone talking about their successes in the rap game.

Only a week into the new year, Welcome to Stuyville greatly surpasses BK Caminates & META in being the best collaborative effort that Eddie Kaine & Rim have done with one another & an early Album of the Year candidate that’ll hold it’s strength until next winter. Camoflauge Monk & 38 Spesh’s production here is more palatable than the last couple & the chemistry that the individually talented Brooklyn lyricists share gets elevated.

Score: 4.5/5

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Chino XL – “Darkness & Other Colors” review

This is the 6th full-length studio LP albeit posthumous debut from East Orange, New Jersey emcee Chino XL. Breaking out in the mid-90s after signing to American Recordings & releasing the classic full-length debut Here to Save You All, he eventually went on to beef with 2Pac & I genuinely feel sorry for anyone who writes him off to this day because of that. Especially since that I Told You So, Poison Pen & the Viper Records-backed RICANstruction: The Black Rosary all contain some of the best songs in his whole discography. Stu Bangas was brought in to produce God’s Carpenter last summer & that became a near-flawless comeback, so I was interested in hearing Darkness & Other Colors recorded back in 2020 ahead of God’s Carpenter 2 following Chino’s passing this summer.

The self-produced “Words in the Color of Death” sets the tone of the album perfectly morbidly acknowledging his departure from beyond the grave whereas “Sermon in Crimson” works in a drumlessly symphonic loop talking about putting bars over bullshit. “Sepia Files from the Last Supper” hooks up a boom bap instrumental so he can take selfies at the final meal Jesus shared with his apostles in Jerusalem prior to “The Red You Deserve” finding Body Bag Ben keeping things in the basement flexing he’s iller than anyone who’s still alive.

After the organ heavy “Saged Sleep” interlude, “Byzantium Darkness” mixes this eerie backdrop with kicks & snares addressing the darkness that was following him at that point in time leading into “Blue Obsidian (Been Telling You)” strips the drums once again telling anyone who’s listening to this that he’s in the darkness with all of them. “Burn in Ivory” returns to the boom bap airing out those who ain’t ever stand beside him just before the somber, guitar-driven “Black Room” talks about getting back to people from the titular room.

“Lumps of Silver” samples soul & rock declaring that absolutely nothing can break him regardless of him suffering greatly while “Grey Discipline” featuring Eto after the “Chardikala (Chardi Color)” interlude grittily talks about others only respecting the bickering instead of the discipline. The spine-tingling “Lifted Gods Auburn” featuring Sauce Money shows off the wild style both MCs are known for & “Vanilla Sky” ends the LP soulfully reassures listeners he’s still alive within lucid dreams.

I’m well aware of the drama between Chino’s estate & Holy Toledo Productions founder/A&R extraordinaire M80 surrounding the release of this album but I gotta admit as someone who admires Chino’s art, I can see why M80 wanted to drop Darkness & Other Colors since it very much offers explanation that he was clearly adamant of perfecting it back in 2020 when he was still here with us during the COVID lockdowns.

Score: 4/5

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Rakim – “G.O.Ds Network (REB7RTH)” review

Rakim is a 56 year old MC/producer from Long Island, New York notable for being 1/2 of the seminal golden age duo Eric B. & Rakim. They put out 4 classic albums together from the mid-80s to the early 90s, with their debut Paid in Full & the sophomore effort Follow the Leader laying out the groundwork for future generations of hip hop to come. Kid Wizard eventually went solo in late ‘97 signing to Universal Music Group for an acclaimed debut The 18th Letter & the follow-up The Master while not as acclaimed still received positive feedback. Reception to The 7th Seal a decade after The Master was more mixed due to the lackluster production although the lyricism was certainly praised, but is returning after 15 years for a self-produced solo EP.

“Be Ill” featuring Kurupt & Masta Killa was a soulful boom bap choice of a lead single allowing the trio to talk about being down & real whereas “Now’s the Time” featuring B.G., Compton Menace & Hus Kingpin keeps it rugged explaining that the time is in fact now & they’re the last to know it. “Love’s the Message” featuring the late Nipsey Hu$$le, Planet Asia & WWE Hall of Famer Snoop Dogg takes the cloudy boom bap route instrumentally asking if you can see what they see while the symphonic “God’s Playground” featuring DMX, Fred the Godson, Skyzoo & 38 Spesh declares that the chase is on.

Canibus, Chino XL in what would be the final feature of his lifetime, KXNG CROOKED & La the Darkman all join The God for “Pendulum Swing” hooking up kicks, snares & strings looking to make a major change in the game together referencing Neuralink founded by Tesla CEO, SpaceX founder & Twitter owner Elon Musk leading into “International” featuring Joell Ortiz, Kool G Rap & TriState nearing the conclusion of G.O.Ds Network (REB7RTH) on some piano/boom bap shit wanting the money as opposed to violence. “Sign of 7” featuring Big Twins, Method Man, the late Prodigy & X-Raided finally ends the EP with the quintet luxuriously talking about being the mob including a reference to WWE Hall of Famer Ozzy Osbourne.

This man has to be in my top 3 with Nas & Kendrick Lamar, so it makes me more than thrilled that hear that his “G.O.D.” status extends to more than just lyricism by showing Rakim’s chops as a producer & resulting in one of the best EPs of what’s already been a prolific year in hip hop culture. The God hasn’t lost a step lyrically, the production is WAY better than The 7th Seal & a majority of the guests hold their own weight on the mic being some of the best that the east, west & south have to offer.

Score: 4/5

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Speshal Machinery – Self-Titled review

Speshal Machinery is a newly formed New York superduo consisting of Rochester emcee/producer & TCF Music Group founder 38 Spesh as well as Buffalo emcee, entrepreneur, Drumwork Music Group founder & my personal favorite of the Griselda Records roster Conway the Machine. These guys have worked with one another on numerous instances like “2 23’s” or more recently “Lalo”, but are looking to kicking things up a notch by coming together for an eponymous full-length debut album.

The intro sets it off with drumless organs so both MCs can trade the mic back & forth with one another excellently for about a minute & a half whereas “Latex Gloves” featuring Lloyd Banks goes for a groovier direction sonically talking about pushing weight. “Last Week” dives into spacey boom bap territory boasting that they were gone 3 days flat the week leading into “Been Through” featuring Elcamino finding the trio making it clear that people don’t know everything each artist has experienced up to this point over horns, kicks & snares.

The title track is sample-based boom bap heater talking about both of them being as rare form as they come just before “Fireplace” is more of a 38 Spesh solo cut lasting only a couple minutes ruggedly comparing the trap house to a place for domestic fire with an angelic loop on top of kicks & snares. La Maquina returns for the angelic boom bap single “Goodfellas” featuring Benny the Butcher so all 3 of them can air out those salty that they ain’t on their level, but then “Unruly” works some jazzy undertones into the fold explaining how disorderly they are.

“Made Bosses” draws near the end of Speshal Machinery’s eponymous debut by cooking up a luxurious boom bap ballad with Emanny on the hook boasting about the fact that both of them have made it in the industry & “We Outside” featuring Che Noir& Pharoahe Monch closes out the album in the form of a 3-minute soulful barfest.

TCF & Griselda have long maintained a mutual respect & prosperous working relationship with one another like I mentioned at the beginning, so it made since for Spesh & Con form a duo & drop a full-length album together because I’m positive that it’s a little bit better than the Pain Provided Profit EP that Conway dropped with Jae Skeese earlier on in the year. 38 Spesh’s production is stronger & he keeps up with the Drumwork founder on the lyrical end just fine.

Score: 4/5

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Canibus – “Self Licking Ice Cream Cone” review

This is the 18th full-length album Kingston emcee Canibus. Coming up as 1/2 of the duo T.H.E.M. alongside C.I. back in ‘92, they eventually split up a few years later & Bis would blow up in ‘97 after appearing on the LL Cool J song “4, 3, 2, 1” that later resulted in a beef between both parties. He would then go on to make a lengthy yet consistent discography with albums like Rip the Jacker being breathtaking at best & then Mind Control being unlistenable at worst. Now I haven’t covered Bis’ music since Kaiju which was an impressive comeback after & 6 & a half years away, but was thrilled when Johnny Slash was enlisted behind the boards for Self Licking Ice Cream Cone.

“S.L.I.C.C. (Self Licking Ice Cream Cone)” is a haunting yet raw opener to the album with Canibus talking about how y’all can’t absorb the rhymes he records whereas “Slack Jaw Fascists” is a menacing boom bap follow-up telling y’all how he thinks y’all be moving in the rap game. “Every Right Thinking American” has a more chaotic sound to it acknowledging what they call him prior to Hus Kingpin & Rock both tagging along for “The Demi-Side” to ruggedly talk about coming correct on the mic always.

Meanwhile on “Weedabuk”, we have Canibus over some synthesizers letting it be known he don’t give a fuck what people do or so leading into The HRSMN forming like Volton for the gritty “Part 2” to deliver an lyrical onslaught verse after verse after verse after verse. “He, Who Cut Down the Hemp Tree” aggressively belittles those who don’t understand the environment while the song “4 Characters” with Ab-Soul dives into trap turf talking about introducing you to your maker. The penultimate track “Press – PussyPanic Button” returns to the boom bap to get conscious until “Loyalty (Ex Rap Villain, The BKL Dylan)” with Chris Rivers, Kool G Rap & KXNG CROOKED is gully closer about allegiance.

1 Step a Closer to Infinity was just ok to me personally & I hope I don’t come off as disrespectful by saying that, but I actually happened to come away from Self Licking Ice Cream Cone considering it to be better than Kaiju & even amongst Canibus’ best albums to date. Johnny Slash’s production is more consistent than the last one & the bars that the rapping scientist hit much harder.

Score: 4.5/5

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Gotti Mob – “Don’t Be Stupid” review

The Gotti Mob is a newly formed hip hop duo consisting of Kurupt & C-Mob. One is a Philadelphia, Pennsylvania born albeit Los Angeles, California bred veteran notable for being 1/2 of Tha Dogg Pound alongside Daz Dillinger & the latter coming straight outta Marion, Indiana turning heads in the underground since 2005, particularly within the horrorcore scene. They’ve only crossed paths with each other on wax a few times over the years, but are linking together & putting their chemistry to the test with a full-length debut.

“Mid West” is a grim piano/boom bap opener produced by Tone Spliff to start off the album talking about being so much more than the images that both MCs have portrayed whereas “Want Smoke!” works in some melodic vocal chops & dusty drums courtesy of Johnny Slash acknowledging that people don’t wanna fuck with them. Too $hort tags along for “Dumb Shit (Delirious)” to talk about not dealing with stupidity over a syrupy sample just before “I Ain’t Even Know!” has a more spacious sound speaking on living their lives & not trying to do anyone wrong.

Moving on from there with “Player’s Ball”, we have WWE Hall of Famer Snoop Dogg joining the Gotti Mob over some production blending g-funk & boom bap referencing the titular gathering of pimps that takes place in Chicago every year leading into “Da Buzine$$” diving into trap territory talking about doing big business only. After the “Game Recognize Game” interlude, Sacramento veteran & the newest addition to the Strange Music roster X-Raided comes into the picture for the bell-infused “Often” advising to take caution prior to the bouncy “Take Me Away” showing a more romantic side lyrically.

“Medicine” with MC Eiht finds all 3 of them over a dark trap beat asking if one wants to do some gangsta shit or handle a certain situation like gentlemen while the song “Move Nice” pulls from hyphy music instrumentally recommending that one needs to be aware of all the tension surrounding them. The penultimate track “Wanna Be a Ho” returns to the trap sound 1 last time telling their significant others to be themselves around them, but then “Everywhere” with KXNG CROOKED & Spice 1 truly ends the album with a delirious ballad about being all over the place.

Now despite already being familiar with Kurupt at a young age due to his history with Death Row Records & the D.P.G.C. collective, I personally haven’t really heard much of C-Mob’s own material outside of some features he’s done for artists like Tech N9ne & Kung Fu Vampire throughout the last 3 years. All of that being said: the Gotti Mob gave us a pretty solid debut here & only time will tell if they plan on working with one another more down the road. The production from start to finish is trunk-rattling & the styles of both MCs gel with one another impressively.

Score: 4/5

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Cappadonna – “3rd Chamber Grail Bars” review

Cappadonna is a 53 year old MC from New York City notable for being a member of the almighty Wu-Tang Clan since the mid/late 90s. His verse on “Winter Warz” is still regarded by many to this day to be one of the greatest verses in hip hop history & as much as I love his criminally underrated solo debut The Pillage, I’m pretty sure it’s safe to say with all respect that his solo discography since has been nothing short of inconsistent ranging to be mediocre at best & complete trash at worst. But when it was announced that underground veteran Stu Bangas was going behind the boards for Cappa’s 15th album right here, my expectations for it were very high considering that Stu has been on a ROLL for the past few years now producing projects for the likes of Ill Bill & Recognize Ali only to name a couple.

After the intro, the first song “Bring It Out” sets it all off with some braggadocio on top of some suspenseful boom bap production whereas “Get Lost” takes a more solemn route talking about how the Wu’s the hardest team. After the “Discovery” interlude, Celph Titled tags along for the horn-laced “Toss the Blick” to get on their hardcore shit just before “How We Rolling” dives into more playful turf talking about a fun night out.

Meanwhile on “Continuous Threat”, we have Planet Asia accompanying Cappa over a keyboard-driven boom bap instrumental spitting some lethal battle raps leading into Sick Jacken coming into the picture for the dusty “Everything is Measured” talking about how fly both of them are. The track “No Fake Dreads” following the “Redemption” interlude works in some more horns to get that bread & prior to the outro, the final song “Tryna Survive” with Ill Bill ends the album on an uncanny note talking about life in the projects.

All 3 of the singles that Cappa has dropped throughout the summer had me anticipating 3rd Chamber Grail Bars to be amongst his best solo albums yet & not only did it achieve that status, but it’s also my favorite project to come out of the Wu-Tang Clan anthology this year. Stu Bangas’ production is a breath of fresh air compared to most of Cappa’s output post-The Pillage & lyrically, he reminds everyone exactly who the fuck he is.

Score: 4/5

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Canibus – “C” review

This is the 5th EP from Kingston emcee Canibus. Coming up as 1/2 of the duo T.H.E.M. alongside C.I. about 3 decades ago, they eventually split up a few years later & Bis would blow up in ‘97 after appearing on the LL Cool J song “4, 3, 2, 1” that later resulted in a beef between both parties. He would then go on to make a lengthy yet consistent discography with albums like Rip the Jacker being breathtaking at best & then Mind Control being unlistenable at worst. He just dropped Body Bag Ben-produced 16th full-length Kaiju this past winter after a 3 year break & it wounded up being one of his better albums in his discography, even though the follow-up 1 Step Closer to ∞ was a little underwhelming. But when I found out that one of my top 5 producers Pete Rock was coming in to lace C from front to back, I had to check it out for myself.

“Princibly This” is an incredibly jazzy opener with ‘Bis talking about how life’s a bitch while the next track “Poet’s Palaquin” pulls from some Bollywood influences spitting bars like “They stealth bombed Wakanda after they killed Black Panther” & “You know this, still the dopest. Free the people like Moses, hyper focused with both barrels loaded ‘cause I’m a Poet”. The closer however is just a remix of the song they did on Time Flys, Life Dies…Phoenix Rise almost 7 years ago at this point except it’s more soulful & Bronze Nazareth is spitting a fresh verse on it.

Even though I’m a little disappointed that it’s only 2 songs & a remix, I still enjoyed what I heard & I’d definitely recommend it to the hardcore fans. Canibus sounds much more focused than he did on 1 Step Closer to ∞ & as far as the production goes, it’s pretty much night & day unsurprisingly.

Score: 3.5/5