Eto & Flee Lord – “RocAmeriKKKa III” review

Rochester, New York emcee/producer Eto teaming with Queens emcee Flee Lord for their 3rd collaborative studio LP. Both of whom have become prolific in the modern day east coast underground hip hop scene & crossed paths with each other on several occasions over the course of time, most notably on RocAmeriKKKa in the fall of 2019 & RocAmeriKKKa II on Devil’s Night the following year. They’ve both spent the next 3 & half years continuing to carve their own paths with their solo careers, finally linking back up to finish the RocAmeriKKKa trilogy.

The intro is mostly Flee Lord hopping over a slowed down instrumental with a hint of psychedelia sprinkled in talking about coming from the state where you’re either wearing it or you’re buying it whereas “Cash Conversion” bring the pair together over a mellow yet dusty beat that Eto cooked up himself blasting anyone with no questions asked. “Digi Scales” featuring Conway the Machine works in some pianos to talk about their days moving weight while “Broken Phone Deals” hooks up a funky organ flip admitting the fast life didn’t change them.

“Kitchen” featuring NEMS maintains a boom bap vibe continuing to talk that Pyrex shit just before “Power” ominously boasting that they stay gettin’ litty without a chaperone. “Zip of Badu” featuring Vel 9 unites the trio so they can dustily talk about keeping the lips sealed during convos regarding money while “Moral of Struggle” featuring Starz Coleman takes on the message of hardships. “Self Crowned” featuring Mummz has one of my favorite instrumentals from godBLESSbeatz making the backdoor the entrance & “The Ones That Stayed” produced by DJ Green Lantern shouts out the people who never switched up.

Rather than having Eto fully handle the production by himself like he did on RocAmeriKKKa II over 4 & a half years ago, RocAmeriKKKa III takes it back the essence of the original RocAmeriKKKa by enlisting other producers to handle the musical soundscapes for a vast majority of it setting the bar of their chemistry as high as they’ve set it for their own solo careers presently when you think of them individually leveling up their craft since turning heads in the late 2010s. Be sure to catch them live at The Paramount in Los Angeles on July 18 for an exciting night for RocAmeriKKKa fans.

Score: 4/5

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Flee Lord – “Raised in the Sand” review

Queens, New York emcee Flee Lord is back with his 18th EP. Coming up in 2017 as protege of the late Prodigy, he has since become known for building up a massive discography for himself in the last 5 years. This includes the Loyalty or Death: Lord Talk trilogy produced by GodBlessBeatz, the Loyalty or Trust duology produced by 38 Spesh, the DJ Shay-produced Lucky 13 the Buckwild-produced Hand Me My Flowers, the Pete Rock-produced The People’s Champ & the Havoc-produced In the Name of Prodigy, the DJ Muggs-produced RAMM£LLZ££, the Roc Marciano produced Delgado. Last time I covered him was his 4th proper full-length album Ladies & Gentlemen which was followed by 2 more LPs 2-3 Zone & Full Court Press, but Raised in the Sand peaked my interest even more.

The title track starts off with a hypnotic boom bap instrumental talking about drawing a clear vision in the booth with his pen whereas “Hate When You Rich” produced by Harry Fraud works in a drearier loop with kicks & snares addressing those who envy his bread stacking up. “Snakes in Disguise” is an organ/boom bap crossover that DJ Green Lantern cooked up calling out those in the streets who’re literally snakes in disguise prior to “Pay the Price” swaps the organs out with a piano explaining that it takes to business with him.

V Don gives “Where’s the Love?” a soulful vibe telling y’all to get yours, lay low & stay out the way leading into “Ice Water 2” featuring Roc Marciano serving as a drumless sequel to “Ice Water” by Raekwon featuring Cappadonna & Ghostface Killah laced with the help of Mephux. Lord Mobb Music in-house producer Ghost Dave jumps behind the boards for the rap rock flavored “Lord’s Work” featuring Mummz & Trizz getting on their street shit just before “Brother 4 Life” soulfully talks about loyalty over Pounds440 sampling soul music.

“Skipping Out the Bank” featuring Pounds440 himself starts the final moments of Raised in the Sand by jumping on top of horns together literally skipping out the bank in the midst of everyone in their lives who’re jealous of them stressing out even further due to the fact & “Get Yours” ends the EP telling the homie to pass him a drink & given that he doesn’t do it very often, he’s in the mood to celebrate right now keeping the beat exuberant yet dusty at the exact same time.

Flee’s last couple albums were good, but I haven’t found myself enjoying a project from him this much since Delgado. Needless to say, what we have in front of us is the best EP that the guy has put out in 3 years. The production is a cut above 2-3 Zone & Full Court Press, I like that the amount of guests are toned down in comparison & Flee Lord himself tells everyone what it was like for him being Raised in the Sand.

Score: 4.5/5

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Flee Lord – “Ladies & Gentlemen” review

This is the 4th proper full-length album from Queens emcee Flee Lord. Coming up in 2017 as protege of the late Prodigy, he has since become known for building up a massive discography for himself in the last 5 years. This includes the Loyalty or Death: Lord Talk trilogy produced by GodBlessBeatz, the Loyalty or Trust duology produced by 38 Spesh, the DJ Shay-produced Lucky 13 the Buckwild-produced Hand Me My Flowers, the Pete Rock-produced The People’s Champ & the Havoc-produced In the Name of Prodigy, the DJ Muggs-produced RAMM£LLZ££ & the Roc Marciano produced Delgado. He just linked back up with Mephux over the spring for the 3rd & final installment of the Pray for the Evil trilogy, but is returning 5 months later with Ladies & Gentlemen.

“We Was Gettin’ It Off” opens up the album with a string-laced boom bap instrumental from GhostDave spitting some battle bars whereas “Da Warm Up” takes a jazzier route thanks to Futurewave encouraging to throw some shells if you’re real with the steel. Rome Streetz & T.F tag along for “Outta Bounds” with a fresh ass Tiona Deniece hook as well getting in their hustler bags on top of some keys & dusty drums prior to the cinematic “Ride Away” bringing you the hardcore.

Continuing from there with “Step Brothas”, we have O.T. the Real coming into the picture for a weepy boom bap ballad detailing the crime life just before “Recipes” with Vic Spencer returns to jazz rap territory explaining that the recipe to lose is being too high & fly. The soul sample throughout 3 Queens” by Che Noir, Dazy Lyn & 7xvethegenius is a nice touch as the 3 display their skills leading into Flee returning on the piano/boom bap infused Fake Thugs” with Bangdana Red talking about how crazy shit is.

“Pardon Me” brings back the jazz courtesy of Harry Fraud to speak from the heart while “Broken Hearted” with Trizz weaves a vocal loop into the mix as the pair admit they’re more mad about their bros & a bitch. “Mission Complete” despite its 53 second brevity finds Flee on top of an orchestral beat from Che Noir talking about going down in history while the song “Everything” with G4 Jag jumps on top of a tense instrumental talking about coming from nothing to having it all. The penultimate track “Last of the Real” has a more dejecting tone sonically declaring himself as such & “On to the Next” is a guitar-woven closer talking about those who hate seeing him win.

As classic some of Flee’s extensive EP work has been, I’ve felt that an full-length effort with more than 10 tracks & over a half hour in length has been a little overdue & the last time I think we really got anything in that form was No More Humble Fashion a couple Black Fridays back. Needless to say: It’s a solid follow-up to Pray for the Evil 3. He sounds fully focused, the production cast all stick to their own stylistic strengths & most of the features come correct as well. If this is the last thing we’re getting from him this year, then here’s to 2023!

Score: 3.5/5

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T.F. – “Blame Kansas” review

T.F. is a 36 year old MC from Los Angeles, California who I first heard after he was featured on “Tookie Knows, Pt. II” off ScHoolboy Q’s magnum opus Blank Face LP. He then dropped his debut EP No Hooks only 7 months later, which was followed up by his full-length debut ErThangSkanless & then a 2nd EP called OktoberFest. Then after appearing on Flee Lord’s 8th EP Hand Me My Flowers produced entirely by Buckwild & put out 2 more EPs on his own, T.F. eventually signed to Lord Mobb Music & dropped his sophomore effort Skanless Summer last spring. But now after releasing Big Moon a few months back, T.F. is back in effect for his 3rd album produced by Mephux & Roc Marciano.

The title track sets off the album with a pillowy boom bap cut talking about violence coming from everyday arguments whereas “Olathe” with Conway the Machine & Roc Marciano finds the trio on top of a narcocorrido sample getting in their mafioso bag. BVNGS tags along for “Death Wish” to talk about needing to be killed if you ain’t loyal to the game on top of a despondent beat just before “Crash Bandicoot” goes into a jazzier direction saying he’s been focused lately as well as doing it for the dead ones.

After the “Intermission” interlude, we have Crimeapple coming into the picture for “Friend of God” working in a Spanish vocal loop spitting that g shit leading into the Lil Bunko-assisted “Cuban Links” taking a more climatic route as far as Marci’s production goes saying you gotta talk to God instead of them. The song “Betty Crocker” of courses gets back on the drug dealer tip over an eerie sample while the penultimate track “Long Way Home” with Zoo jumps into drumless territory talking about the rate they’re going. “Fuck the Rest” with Flee Lord then ends the album with an orchestral loop talking not fucking with anyone but his homies.

If you’ve enjoyed T.F.’s features in the past & are looking to get into his solo work, then Blame Kansas would be a great introduction in my personal opinion. There are a couple of lackluster features, but a good majority do a good job at breaking up any monotony & the dude himself sounds hungrier than ever. On top of that, both Mephux & Roc absolutely SCHOOL it behind the boards.

Score: 4/5

Shady Ray – “Blood Work” review

This is the sophomore album from Inglewood emcee Shady Ray, who’s been around for a little over a decade with a handful of mixtapes under his belt including The Sinister & 1 Man Gang. But now that he signed to Lord Mobb Music a little bit after dropping his full-length debut Blood Pool, Ray celebrated Christmas Eve by having Sushi Punk produce Blood Work from front to back.

After the titular intro, the first song “Dark Path” starts off the whole EP by enlisting Jameel Na’im X for a drumless look at them fighting demons whereas “Fine China” has a more alluring sound to it saying he doesn’t make threats. “Appetite” goes back into drumless territory spitting some vicious battle raps leading into the calming “Medicated” talking about being blessed to be where is now.

Meanwhile on “Water on the Spoon”, we have Ray & Aaqil Ali coming together on top of a soul/horn sample to spit that heroin shit leading into Bale as well as T.F. & Young Act tagging along for “Where We At” to call out those who act like they came from the slums over yet another melodic vocal loop.

The song “Cannes” with BVNGS, Eto, Gifted Gab & Phonk P finds the quintet on top of some guitar licks going at those who have beef with them while the penultimate track “Act n’ Shady” with Flee Lord & Young Act weaves in some dreary pianos telling punks to leave all 3 of them alone. “Soul Food” finishes it all off by getting inspirational lyrically with these heavy horns backing him.

In the end, I think this is the crown jewel of Ray’s discography so far & have a feeling this is only the beginning. Lyrically, I feel like listeners will get a good idea as to who he is personality-wise & Sushi Punk comes correct behind the boards as well.

Score: 3.5/5

Phonk P – “Off-White Underbelly” review

Phonk P is a 32 year old MC from Compton, California who came to my attention in the spring of 2019 after dropping the collab EP Up’s & Down’s with his mentor Flee Lord, who would sign P to Lord Mobb Music following the release of his Local Astronauts-produced EP Bitters. However for his official debut under the ever-growing New York based indie imprint, godBLESSbeatz is being brought in to his sophomore EP in it’s entirety which caught my attention given the fact that the Loyalty or Death: Lord Talk trilogy was a lot of people’s introduction to Flee with myself being included.

After the titular intro, the first song “Murder Medley” opens the EP with Fred Blaze & Hyde Park tagging along on top of some melancholic piano chords thirsting for blood whereas “Hiatus” takes a smokier route putting a pause on the haters out there. Compton Menace comes into the picture for the horn/trap infused “Ghetto Byrds” talking about family over everything leading into the hypnotic “Resin” encouraging to keep your enemies closer. The dusty penultimate track “Bity of Industry” finds Hyde returning to proclaim that they’ll bust on anyone who disses them & “Lately” ends it off on a jazzy yet introspective note.

From the get-go, I had a feeling that Off-White Underbelly was gonna be P’s best work thus far & I stood corrected at the end of the day. I feel like he kinda overdid it on the features a tad bit, but there’s no denying that this is the best he’s ever sounded lyrically & godBLESSbeatz’ production on here compared to his previous efforts is just on a different dimension.

Score: 3.5/5

Flee Lord – “Delgado” review

Flee Lord is a 38 year old MC from Queensbridge, New York who came up in 2017 as protege of the late Prodigy. He has since become known for building up a massive discography for himself with projects like the Loyalty or Death: Lord Talk trilogy produced by GodBlessBeatz, the Loyalty & Trust duology produced by 38 Spesh, the DJ Shay-produced Lucky 13, the Buckwild-produced Hand Me My Flowers, the Pete Rock-produced The People’s Champ & the Havoc-produced In the Name of Prodigy. But after dropping the the DJ Muggs-produced RAMM£LLZ££ back in March, the Lord is now enlisting Roc Marciano to produce his 16th EP.

The titular intro is a sumptuous piano ballad to say he’s important to the slums whereas “Slow Down” aggressively compares his verses to the feds pulling up on the strip. “Shouts Out to the Mobb” goes into jazzier territory showing love to his protégés, but then “Medusa” brings in some guitars for him & Conway the Machine to spit that gun talk.

“This is What Ya Want?” has a bit of a more orchestral feel reminding everyone his raps are reality, but then switches up into a classy vocal sample to get on his luxurious trap shit. Ransom tags along for “Breath of Air” to give them that back against the wall music just before Stove God Cook$ comes in for the grungy “Trim the Fat” talking about money, power & respect.

Meanwhile with “Skipping Town”, we have Flee jumping on top of some lavish keyboard embellishments trying to start a hood war leading into him & Marci detailing going from walking to driving sports cars on the unsettling “Breeze in a Porsche”. The penultimate track “1st Kill” has a more sadder tone instrumentally spitting that pure dope & the titular closer reads off as a cool 1-minute freestyle with some piano melodies accompanying it.

I wouldn’t be mad if you preferred Delgado over RAMM£LLZ££ because it’s undeniable that Flee Lord has been putting out some of his best work in the last couple years. Lyrically, he’s one of the illest out of New York right now & Roc Marciano’s production I feel like doesn’t get appreciated as much as his lyricism does.

Score: 4.5/5

Flee Lord – “RAMM£LLZ££” review

This is the 15th EP from Queensbridge emcee Flee Lord. Blowing up in 2017 off his debut EP Loyalty or Death: Lord Talk & it’s 2018 sequel, the Prodigy protege continued to grow from there by dropping subsequent projects like Gets Greater Later & Loyalty & Trust. But after dropping every month last year (the most notable ones being Hand Me My Flowers as well as The People’s Champ & In the Name of Prodigy), Flee is teaming up with DJ Muggs to drop RAMM£LLZ££.

The titular intro is a cool little skit that I had expected going in, but then the first song “Eating Never Stressing” talks about how your life will be great if you work as hard as him over a bare organ loop. The next track “SA Mobbin’” talks about holding his block down over a doleful piano instrumental while the song “Driver’s Seat” pays tribute to Capone-N-N.O.R.E. over a misty boom bap beat.

The track “Wallabies & Gucci Loafers” with Ghostface Kilah & Roc Marciano finds the trio on their fly shit over a soul-tinged instrumental while the song “Mansions in the Ghetto” with Crimeapple sees the 2 talking about giving back to their people over some guitar-picking & horns. The track “45 in My Pocket” talks about how going back to the hood is stressful for him over a rich boom bap instrumental while the song “Daleon & Delgado” with TF finds the duo talking about shooting rounds at the sky over a beat kin to Daringer.

“The Equation” talks about hoping people follow his path when he’s gone over a deranged instrumental & while the penultimate track “Queens Get the $$$” with Meyhem Lauren sees the 2 talking about all being psychos over a boom bap beat with some rapid piano-playing throughout. The titular outro talks about going from having bad to making good paper over a sample of “I’m Alive” by Johnny Thunder.

Even though 2020 was the Year of the Lord, it’s starting to look like 2021 will be the Year of Muggs because this is a damn near perfect EP. Death & the Magician is still my Album of the Year as of me writing this review, but RAMM£LLZ££ is just as enjoyable because both parties manage to bring their A-game on here lyrically & sonically.

Score: 4.5/5

Flee Lord – “In the Name of Prodigy” review

Flee Lord is a 37 year old emcee from Queens, New York who came up under the wing of the late Prodigy of Mobb Deep. However in 2020 alone, he would reveal himself as one of the most consistent dudes in the underground by dropping a new project every month for the whole year. And to finish it off, Flee is enlisting Havoc to produce his 14th EP.

After the intro, the first song “Torch Carriers” with Ransom finds the 2 talking about keeping this grimy East Coast shit alive over an organ-inflicted boom bap instrumental whereas the next track “Infamous Bop” with Big Twins sees the 2 talking about being the hottest in the hood over an uncanny beat. The song “Major Distribution” with Busta Rhymes finds the 2 talking about moving coke over an instrumental with an alluring vocal sample while the track “All for the GOAT” with Conway the Machine sees the 2 shit-talking over some glorious horns.

The song “1 A.M. Music” perfectly lives up to it’s title as Flee talks about what goes down after hours over a dismal beat while the track “Wu-Lords” with Raekwon finds the 2 on the gangsta tip over an instrumental. The song “Raise the Bar” with Santana Fox sees the 2 talking about how they changed the standards over some plinky keys while the penultimate track “Mac in the Engine” with Billy V & Eto finds the trio talking about being bosses over a solemn beat. The EP ends with “Bound to Take Losses”, where Havoc himself joins Flee Lord to talk about life being a gamble over a pessimistic beat.

This has unquestionably been Flee’s most prolific year yet & what a way for him to cap it all off. I could’ve done without a couple of the features, but everyone else kills it on the mid & Havoc’s production is still top-notch almost 26 years later. Curious to hear where he & DJ Muggs take it on Rammellzee in 2021.

Score: 4/5

Flee Lord – “Loyalty & Trust 2” review

This is the 11th EP from Queensbridge emcee Flee Lord. Coming up as a protege of the late Prodigy, he eventually became a force to be reckoned with in the underground. But 2020 has proven to be Flee’s most prolific year yet, dropping a new project every month since February. And to make up for not dropping in January, he’s reuniting with 38 Spesh for a sequel to Loyalty & Trust before dropping Pray for the Evil 2 next week.

The EP kicks off with “5 on Us”, where Flee talks about doing it for his kids over a boom bap beat with menacing piano loop. The next song “Lords & Gods” with the late Fred the Godson sees the 2 talking about building an empire over an eerie instrumental while the track “2 Pics on My Gram” talks about how he isn’t gonna be missing anymore over a beat with some kids singing in the background. The song “Aunty” talks about cooking coke over an instrumental that sounds like something RZA would’ve made in the late-90’s while the track “Weird Time” talks about how “cats kill mice, but the dog kill cat” over a boom bap beat with an nice orchestral sample.

The song “Still Trapped” talks about how he thought he wanted out of the dope game over a bleak instrumental while the track “Motivate tha Real” is a touching dedication to Fred the Godson. The penultimate track with Che Noir is a fantastically cold-blooded sequel to “Both Views” off the original Loyalty & Death whereas the titular outro that finishes the EP off talks about how fucking with him will get your melon banged over a sorrowful boom bap beat.

Flee Lord has yet again come through with another stellar project. He continues to reveal himself as one of the most ferocious lyricists out of New York today with each passing month & 38 Spesh’s production on here compliment his gritty bars just as much as it did on the predecessor.

Score: 4/5