Reuben Vincent – “Welcome Home” review

Here is the highly anticipated 3rd album from Charlotte, North Carolina emcee Reuben Vincent. Emerging under the original moniker Esau, his debut tape IDOL.escent would catch the attention of 9th Wonder & would sign Reuben to Jamla Records in 2016. His debut album Myers Park would be released the next fall followed by the previous EP Boy Meets World, the latter of which resulted in Roc Nation Records handling distribution for Reuben’s future output much like fellow Jamla signee Rapsody beginning with the sophomore effort Love is War almost 3 years ago continuing to elevate his popularity. General Admission was ok in comparison, coming off the well received Hit Me When You Get Here earlier this spring to finally drop Welcome Home.

“Homecoming” promises over a slick boom bap instrumental that the blood, sweat & tears he puts into his music won’t be in vein whereas “Day by Day” works in a soul sample to send praises to the most high on the daily. “God’s Children” featuring Ab-Soul finds the 2 nostalgically homaging Ahmad’s hit single “Back in the Day” just before the charming “Gotta Get It” talks about getting paid.

As for “Queen City”, we have Reuben observes the excessive wannabes out nowadays in addition to dismissing the crowd who stays in his ear telling him what he can & can’t leading into the triumphantly funky “Get Up (Get Down)” talking about being here to flip the pages. “Issa Dee” takes a summery approach to the beat facing the concept of insecurity directly leading into “Anything” talking about doing whatever makes his partner happy.

“So I Pray” featuring Heather Victoria teams up for a luxurious ode to both Jamla artists’ spirituality while “Dre & Sydney” finds himself trying to figure out how this man & woman are so close yet so far sampling soul music once again. “Get It Girl” featuring Wale shows a flirtatious side to themselves over some synthesizers while “Sweet & Good” continues the theme of love over an orchestral boom bap instrumental.

Jourden Cox joins Reuben on the soulful “Just 4 Me” talking about God making their soulmates solely for them while “Cup of Love (Fools)” explains his preference of living like a country boy instead of winning awards. “I’m Good” featuring Marco+ links up for 5 & a half minutes assuring everyone concerned of them that they’re doing well while “In My Life” wraps things up with a line referring to my favorite Roy Ayers track “Searching”.

Taking it back to the foundation of Reuben Vincent’s artistry, Welcome Home represents a full-circle moment from the standpoint of 9th Wonder being the person to give him 1st chance in this game & they back to where it all began for them simultaneously elevating their artistic bond. He might’ve lost friends & family to get to where he is presently, but he gained things worth more than living in the process finally seeing the fruits after remaining focused.

Score: 4/5

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The Musalini & Wais P – “Choose or Lose” review

This is a brand new collaborative EP between from New York emcees The Musalini & Wais P entirely produced by Boston veteran Statik Selektah. One of whom has been signed to Jamla Records for the past few years now recently releasing a sequel to Pure Izm produced by Khrysis & the other also put out an EP with Khrysis last year called Hocaine. We’ve only heard them together once on a Planet Asia single last summer, so them uniting on Choose or Lose was exciting as a fan of Mu$ & Statik.

“Can a Player Live?” featuring Izzy Hott kicks it all off with a bluesy boom bap instrumental talking about forever gliding with no roadblocks of any kind in sight whereas “Return of the Mack” goes for an orchestrally dusty vibe to take us through the perspective of pimps. “How to Knocka” shows listeners the proper way to knock a bitch down keeping it in the basement instrumentally just before “Live in the Flesh” silkily takes about bringing it live & direct.

To get the 2nd half started, “4 Real” featuring Planet Asia clarifies that you’re fucking with 3 of the best MCs out currently maintaining a raw boom bap edge leading into the synthesizer heavy “Cashmere Coast” also featuring Planet Asia once again flexing that they’re dead nice. “Sake Bombs” brings some refreshing organs into the fold talking about their statuses being already solidified & “Pimpin’ Saved” ends with a warning that Mu$’ next LP could possibly get him banned.

If fans of either or have ever wondered what The Musalini & Wais P would sound like doing a whole entire body of work with one another, Choose or Lose collides both worlds with one another over rich boom bap production from the Showoff Records founder himself Statik Selektah to offer the player protocol of running to the game instead of running away from it.

Score: 4/5

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The Musalini – “Live & Let Die” review

California producer DJ Fresh teaming with New York emcee & Jamla Records recording artist The Musalinifor the latter’s 10th studio LP. Beginning to take the underground by storm since 2018 after dropping his debut mixtape Musalini Season, he went on to release 3 full-lengths & another tape before signing to TCF Music Group. Since then, he’s made himself home by dropping a few EPs & Return of the Oro in the early part of this decade. In God We Trust produced by 38 Spesh, The Don & Eye alongside its sequel fully produced 9th Wonder & Pure Izm produced by Khrysis have all quickly become his best material over the past 3 years. Mackaroni produced by Cookin’ Soul became my favorite of the 4 projects Mu$ put out last year & The Pierre Hotel was overloaded with features although the production was outstanding. Fast forward a few months, Live & Let Die is in front of us.

“Late Nite” works in some pianos only to break the door down with a cloudy boom bap instrumental telling his babygirl to live it up whereas “Moneyyyyyy” describes the affection he has for his ride or die. “Speeding” breaks down the explanation of him having more time than he does patience until “Player’s Ball” featuring Planet Asia & Silent Snipers finds the trio portraying themselves as pimps taking a funkier approach to the beat.

Izzy Hott joins Mu$ for “Double Life” advises everyone to know what you’re getting themselves into before they wind up getting themselves into it sampling soul music leading into “Good Game” going for a trap approach to talk about him giving her D is all he does. “Polo Scarf” brings a jazzy boom bap flare to the table always keeping it real & knowing what the agenda is, but then the soulful “Old Soul” talking about time costing money.

The title track featuring O Finess unites the 2 continuing the funkier vibes instrumentally reminding everyone of the way they be living while “Red Eye” calmingly talks about falling asleep on the plane that he boarded in his home state & woke up right when they landed over in the west coast. “Fly Zone” featuring John Dutch sees the pair calling themselves the flyest muhfuckas in the world & “Can’t Buy Love” featuring Silent Snipers ends by talking about not taking life for granted.

Taking a west coast producer & an east coast lyricist, Live & Let Die makes up for the disappointment I had towards The Pierre Hotel with a 33 & a half minute body of work that I think is Mu$’ most enjoyable since Mackaroni almost 14 months ago. He & DJ Fresh are basically paying homage to Kool G Rap & DJ Polo’s 3rd & final album Live & Let Die where both regions take everything distinct of what makes their scenes special & flowing into each other seamlessly.

Score: 3.5/5

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Reuben Vincent – “Hit Me When You Get Here” review

Charlotte, North Carolina emcee Reuben Vincent preluding his upcoming 3rd album by putting out his 3rd mixtape. Emerging under the original moniker Esau, his debut tape IDOL.escent would catch the attention of 9th Wonder & would sign Reuben to Jamla Records in 2016. His debut album Myers Park would be released the next fall followed by the previous EP Boy Meets World, the latter of which resulted in Roc Nation Records handling distribution for Reuben’s future output much like fellow Jamla signee Rapsody beginning with the sophomore effort Love is War almost 2 & a half years ago continuing to elevate his popularity. General Admission was ok in comparison & with the next LP set to be fully produced by 9th Wonder, they’re dropping off Hit Me When You Get Here in anticipation of it.

After the “Mama” intro, the first song “Mama’s Prayer” begins with this soulful instrumental likening himself to a pimp tryna get his cake up whereas “God’s Children” works in a crooning vocal sample taking more of a boom bap route looking back on the days before their innocence was taken from them stuck in their ignorance. “In Search Of” flips a piano to talk about going from being 13 to getting a deal while “Surfin’” gives off a chipmunk soul vibe initially thinking the picture would be perfect when it’s torn.

“The Way (You Love Me)” keeps the sample chops going addressing a romantic interest that he can’t get off his mind leading into “Let You Down” giving off a significantly jazzier approach to the beat talking about not wanting to disappoint anyone he deeply cares for. “Getting Along” featuring Foggieraw tells their lovers they do this music shit because they love it as opposed to selfishness prior to “Anything (Have!)” talking about his dream girl having whatever she wants.

As for “Good to Me”, we have Reuben over more soulful boom bap production expressing the large amount of gratitude he has currently on top of the hip hop game treating him greatly & “It’s Alright” gets back on the chipmunk soul tip to finish up Hit Me When You Get Here the way it really began talking about the familiar feeling of the world crashing down on us & God having a plan for everything.

Granted I felt that General Admission & As If Nobody’s Listening… were more average compared to Myles Park & Love is War, it shouldn’t really come off as that much of a surprise that Hit Me When You Get Here clears both of those projects & ranks as the greatest mixtape of his career. 9th Wonder’s sample-heavy production unsurprisingly doesn’t miss for anyone familiar with his general sound & Reuben fully locks in regarding his own performances.

Score: 4.5/5

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Rapsody – “Please Don’t Cry” review

This is the long-awaited & highly anticipated 4th full-length studio LP from Raleigh-Durham, North Carolina emcee Rapsody. Rising to prominence last decade with a handful of mixtapes & EPs, he 2012 debut album The Idea of Beautiful continued to show her potential until the Roc Nation Records backed Laila’s Wisdom in 2017 truly refined her style & sound almost perfectly. 2 years later, she signed to Def Jam Recordings releasing EVE to similar acclaim, but is returning after 5 long years with Please Don’t Cry.

After the “She’s Expecting You” intro, the first song “Marlanna” produced by Sndtrak mixes boom bap & trap together so she can remind everyone exactly who she is whereas “Asteroids” takes a luxurious route instrumentally thanks to Hit-Boy hurling back at everyone that threw rocks at her. “Look What You’ve Done” brings an angelic vibe to the beat giving you what you need & that you can chase the bag just before “DND (It’s Not Personal)” funkily talks having one of those days of being left alone.

“Black Popstar” puts a bigger emphasis on the trap sound charismatically boasting on the lyrical tip leading into Eric G. giving “Stand Tall” some jazzy undertones refusing to let anyone trigger her & being true to bounce back on the days that she eventually does. “That One Time” talks about learning to be okay with your imperfections over some woodwinds & that life is a process every single one of us goes through, but then “3:AM” addresses a lover who makes her feel like a new person on top of S1 & Lonestarrmuzik drawing inspiration from neo-soul behind the boards together.

Meanwhile on “Loose Rocks”, we have Rapsody over a cloudier instrumental asking where her future lies if she doesn’t know the truth already by now prior to the S1 & Wu10 guitar-laced “Diary of a Mad Bitch” portrays an angrier side to as she takes this time to call out an ex who doesn’t deserve her. “Never Enough” featuring Keznamdi brings the pair together over a reggae/trap fusion talking about how everyone has wants & needs as well as being unable to find peace in Babylon while “He Shot Me” returning to the boom bap interpolating “I Shot the Sheriff” by Bob Marley during the hook tackling racially charged gun violence.

“God’s Light” marks a groovier turn within the instrumental talking about forever shining in the eternal light of the High Power himself while “Back in My Bag” hooks up these prominent horns & hi-hats so she can passionately getting back in her zone as if she never took a few years off to begin with. After the Niko Brim interlude showcasing his talents for a whole minute laying a verse on top of a classy beat, “Raw” featuring Lil Wayne fresh off performing for former 10-time WWE tag team champion Jey Uso’s entrance at WrestleMania XL last month against his former 9-time WWE tag team champion brother Jimmy unites both MCs over kicks & snares flexing their lyrical prowesses while “Lonely Woman” psychedelically encourages lonely women to love themselves.

Baby Tate joins Rapsody on “A Ballad for the Homegirls” smoothly talking about becoming more & more like their mothers the older they become & after the titular interlude, “Faith” nears the conclusion of Please Don’t Cry telling everyone to maintain their faith over pianos & a chipmunk soulful hook that is until the closer “Forget Me Not” officially closes up shop by fittingly talking about not wanting to say goodbye & acknowledging that we love too deep to really ever be at peace with the ones that have passed despite the world being so bad.

Rapsody much like Sa-Roc has always been one of the very first people who come to mind when I hear out-of-touch heads bitching & moaning over women in hip hop this day in age severely lacking & Please Don’t Cry proves my point yet again. We get an artist who’s unafraid to draw on lifelong influences to find their true voice & pulling back the curtain on who she is off-stage as a person. She even reconciles with the past to empower her future, exploring the depth of her technical dexterity with more vulnerability than she has been previously.

Score: 4.5/5

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Reuben Vincent – “General Admission” review

This is the 2nd EP from Charlotte, North Carolina emcee Reuben Vincent. Emerging under the original moniker Esau, his debut mixtape IDOL.escent would catch the attention of 9th Wonder & would sign Reuben to Jamla Records in 2016. His debut album Myers Park would be released the next fall followed by the previous EP Boy Meets World, the latter of which resulted in Roc Nation Records handling distribution for Reuben’s future output much like fellow Jamla signee Rapsody beginning with the sophomore effort Love is War almost a year & a half ago continuing to elevate his popularity. But starting the 2nd quarter of 2024, he’s following it up with General Admission.

“Troops” is a dizzying trap opener talking about the block boilin’ whereas the hypnotic “Big Bank” likening his pockets being deeper than Toni Braxton feelin’ like Mike Jones simultaneously. “Fufu” brings a more playful trap vibe instrumentally to tell everyone business is business, but then “32 Flavors” hooks up a sample & hi-hats talking about his closer coming in 32 different flavors & the crew like the 36 Chambers a.k.a. the almighty Wu-Tang Clan.

Beginning the encore of the EP, the lead single “Grand Cherry” goes for a luxurious atmosphere likening the taste of revenge to exactly that although I respectfully prefer the original version over the remix featuring Chris Patrick & SWAVAY that follows “Jump” featuring Southfield, Michigan’s very own Malaya properly concluding General Admission fusing pop rap with trap & R&B talking about bringing some change if you tell ’em what you goin’ through.

It makes me happy to see Reuben getting more love as of lately & this EP much like the last album continues to find himself continually evolving from an artistic standpoint. He’s at his most introspective balancing the wordplay, awareness & bravado you have come to expect from him exploring generational trauma & triumph, self-identity, success, struggle & growth all over a gumbo palette of soulful, southern & tribal sounds.

Score: 3.5/5

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The Musalini – “Mackaroni” review

New York emcee & Jamla Records recording artist The Musalini teaming up with Cookin’ Soul for his 6th EP. Beginning to take the underground by storm since 2018 after dropping his debut mixtape Musalini Season, he went on to release 3 full-lengths & another tape before signing to TCF Music Group. Since then, he’s made himself home by dropping a few EPs & Return of the Oro in the early part of this decade. In God We Trust produced by 38 Spesh, The Don & Eye alongside its sequel fully produced 9th Wonder & Pure Izm produced by Khrysis have all quickly become his best material over the past 3 years. And with the run Cookin’ Soul’s been on these past couple months, I can say stakes for Mackaroni were pretty high personally.

“Say You Love Me” featuring Hus Kingpin & Reuben Vincent starts us off with the trio over a soulful admitting to their flings that can’t say they care whereas “Never Be a Stranger” takes the groovy boom bap route talking about being a pimp. “‘92 Olympics” featuring Tha God Fahim gives me a mafioso atmosphere a bit instrumentally likening themselves to the US men’s basketball team over 3 decades ago just before “I Want It All” featuring Planet Asia taking the luxurious route expressing their desire for everything.

MadeinTYO interestingly joins Mu$ on the luxurious boom bap cut “Mack of the Year” talking about being the pimp’s pimps of 2024 leading into “Got Her” showing a J Dilla influence to the beat getting in his romance shit. “1 Time” featuring Le$ works in these organ-synths with kicks & snares bringing that style for the block whilst turning it up a notch while “Fresh Air” featuring Raz Fresco & Skratch Bastid keeps it boom bap with lavish piano chords talking about mornings on the beach. “Lay Up” warmly looks to turn everything he touches into chicken & “Pay the Man” is a jazzy closer demanding to be paid what he is owed.

Despite the fact that some of of Mu$’ output can be a bit too overloaded with the amount guests, I’m not gonna deny that Mackaroni is the most I’ve enjoyed his music in a while. Cookin’ Soul goes on a 3-peat with the production since it’s on par with Supreme Dump Legend: Soul Cook Saga’s & Bakin’ Soul’s, the performances from the features themselves are more consistent & Mu$’ is straight mackin’ for nearly 26 minutes.

Score: 4/5

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Hus Kingpin – “The Supergoat” review

If I’m not mistaken, I believe this is the 8th proper full-length studio LP from New York underground veteran Hus Kingpin. In addition to being 1/2 of Tha Connection with SmooVth, he has also built up over both a dozen mixtapes & EP in his discography all in the span of over 15 years with my personal favorites being Cocaine Beach produced by Big Ghost Ltd. & the Portishead-inspired Portishus. However when it was announced that 9th Wonder was gonna fully produced The Supergoat, I had a feeling it was going to surpass both of those as his strongest album.

“Rewind” is a great kickstarter with a luxurious sample cooking up a sunrise song for those slidin’ on motherfuckers whereas “King is Born” featuring fuckin’ Rosco P. Coldchain takes the drumlessly jazzier route likening themselves to that of royalty. The title track shifts into soulful territory telling y’all how to address him, but then “Friends” gives off a spacier boom bap flare to the instrumental showing a more sensual side to Hus.

Meanwhile, “Behind the Scenes” hooks up these strings with kicks & snares spilling some behind the scenes sex on the set shit just before “Famous Poet” fuses chipmunk soul & boom bap talking about not being misunderstood amongst those in serendipity figuring he would know it. “What It Is” featuring The Musalini strips the drums once more saying everyone knows exactly what the fuck it is leading into “The Waviest” returning to an orchestral vibe boasting that he really is the waviest of them all.

“Chaos” continues the sampling of soul music by telling a real story on wax while “Already” by Tha Connection with a melodic hook from Sweata yet again displays a sensual side to Hus except he’s joined by his partner-in-rhyme SmooVth. To tie up The Supergoat the closer “Box Office” links up with Fredro Starr of Onyx for a synth-funk/hip hop hybrid getting on some big screen type of flexing.

Cocaine Beach has been my favorite LP of Hus’ for almost 7 years up to this point, but I gotta say here that The Supergoat has now dethroned it for that spot. Not just because 9th Wonder’s production masterfully goes from boom bap to drumless & chipmunk soul, but there’s less features here in comparison & they’re all unparalleled to the waviest as he drops some of my favorite performances of his yet.

Score: 4.5/5

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The Musalini – “The Don & Eye” review

The Musalini is a 34 year old MC from New York City who’s been making noise in the underground since 2018 after dropping his debut mixtape Musalini Season. He would go on to release 3 full-lengths & 1 more tape before signing to TCF Music Group, where he’s made himself home since then by dropping a couple EPs & Return of the Oro in the early part of this decade. But to follow up his 38 Spesh-produced 3rd EP In God We Trust that came out over the fall, he’s enlisting 9th Wonder behind the boards throughout his 5th album right here.

Planet Asia tags along for the charming opener “Summer League” spitting that fly shit on top of a guitar whereas “Skyview” has a more rich, boom bap quality to it talking about how he still gets around. “Been a Minute” goes into a more calmer route telling his lover that he ain’t like other guys, but then “Paid in Full” works in an incredible jazz sample talking about how even the blind can see the whole different sequence.

Meanwhile on “Don Music”, we have 38 Spesh joining Mus on top of some horns of course getting in their mafioso bag leading into the soulful “Cat Daddy” talking about the girl he sees in his dreams being all on him now. “Deja Vu” is a cool little anthem detailing that nobody can stop his crew just before “Sun Child” has a more drumless feel to it talking about how he’s that dude.

The song “Tunnel Vision” with Izzy Hott incorporates some strings taking aim at those who tried to break them down while the penultimate track “Miami Vice” with Ice Lord mixes a vocal loop with some keyboards to spit that braggadocio. And to round it out, King Draft & Swank come into the picture for “Sincerely” once again going into jazz territory to remind listeners they spit the shit they do because they live it.

For all the readers out there who’re fans of both parties, then you’re gonna absolutely be enamored by this album. The features at the back end of it can be hit or miss & a few of the songs could’ve been more fully fleshed out in my opinion but nonetheless, 9th cooks the best production of any Mus project & the latter scorches everything in his path lyrically.

Score: 4/5

Khrysis – “The Hour of Khrysis” review

Khrysis is a 39 year old producer & occasional MC from Durham, North Carolina coming up 1/2 of the duo The Away Team alongside Sean Boog. He’s also a key member of Jamla Records’ in-house production team The Soul Council, lacing a chockfull of albums for the label up to this point. But with 4 solo albums under his belt already, Khrysis is celebrating 4/20 by dropping a 5th one.

The opener “Never Change” is actually Khrysis himself spitting about always staying true over some bongos & a guitar, but then the next song “Granted” by Mumu Fresh is literally her expressing hope that she doesn’t get taken for granted over a funky instrumental with some popping drums. The song “Delta9” by Geechi Suede is of course about getting stoned & the instrumental has a trippier edge to it, but then “Mr. Big Mouth II” by De La Soul goes into a boom bap direction as the trio deliver a sequel to “Big Mouth” off their 2009 mixtape Are You In?.

The Away Team reunite like they haven’t stopped working together on the keyboard-laced “The Return” & then “Why?” by Jason Martin is about being clueless towards the haters he has on top of a soul sample & some militant drums. The song “Asylum” by Evidence is more synth-induced as he spits about being an original gentleman, but then “Colombian Necktie” returns to the boom bap sound as Niko Is delivers one of the more underwhelming performances on the album.

“The Code” by Chi-Ali is a jazzier cut that’s about him being happy to be released from prison after murdering his ex-girlfriend’s brother while “The Devil Wears Designer” by Reuben Vincent is about a deceitful woman over a horn-inflicted beat. “Negro Spiritual” finds Khrysis joining Busta Rhymes & Pharoahe Monch has a crooning vocal sample in the back as the trio spit that Black Power shit, but then “The Disrespect” by Rapsody & Sa-Roc goes into that College Dropout sound as the 2 go in about being disrespected.

The penultimate track “Keep on Walkin’” by Del the Funky Homosapien is a piano-boom bap banger about how nobody owes you shit & then the album finishes off with “Be Alright”, which is Khrysis himself hopping on top of a soul-tinged Eric G. instrumental to spit about working too hard for earn loyalty.

In comparison to his previous solo efforts, I think this is Khrysis’ best one yet. There are only a couple guests I could’ve done without, but almost every one of them delivery fiery performances as the dude presents a well-tuned showcasing of what he’s capable of doing behind the boards with a dash of his MC skills every here & there.

Score: 4/5