MURS – “Love & Rockets 3.16: The Emancipation” review

MURS is a 47 year old MC & singer/songwriter from Los Angeles, California notable for being a former member of the alternative hip hop outfit the Living Legends. He also has a dozen solo LPs under his belt excluding the 6 he has with 9th Wonder of The Soul Council, with my favorites being his Definitive Jux Records debut …The End of the Beginning & the Strange Music-backed A Strange Journey into the Unimaginable fully produced by MIKE SUMMERS a.k.a. 7. Now signed to Mello Music Group, the west coast veteran’s closing the book on his solo career with a trilogy chapter of the Love & Rockets series.

“Silverlake Rec League” begins the end by talking about friends, gym life, struggles & triumphs over an experimental trap instrumental whereas “Enjoy” fully displays the endearment he has towards his wife. “Chopper (ThisIsNotAnAntiPoliceSongThisIsAnAntiPoliceHelicopterSong)” featuring Reverie finds the 2 taking shots at the LAPD for fucking up their party while “This Ain’t That” thunderously talks about being despised forever selling his soul.

Moving on from there, “F.A.M.I.L.Y. (Forever Always Motherfucker I Love You)” works in a flute-tinged boom bap instrumental finding community within his fanbase leading into “Flowers 4 will.i.am” showing his appreciation towards the Black Eyed Peas frontman. “Ga$ Prices” talks about the cost of refilling gas in your car being higher than WWE Hall of Famer Snoop Dogg just before “Beauty in the Streets” jazzily takes us through the belly of the beast.

“OCH” starts the final leg of Love & Rockets 3.16: The Emancipation by responding to those saying freedom ain’t free while “Lightsabers & Black Forces” featuring Chace Infinite shows their appreciation for the Star Wars franchise owned by The Walt Disney Company subsidiary Lucasfilm. The closer “Stylus Groove” caps everything off with a drumless beat looking back at these past 3+ decades.

Reflecting on a storied career marked by honesty as well as humor & razor-sharp lyricism, Love & Rockets 3.16: The Emancipation finds MURS in peak form spitting with the urgency of an artist laying his legacy in stone. Celebrating a legacy built on raw truth & relentless passion, the west coast veteran crafts a worthy sendoff to the illustrious mark he’s left on the music industry filled with introspection & storytelling.

Score: 4/5

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Oddisee – “En Route” review

This is the 7th EP from Washington D.C. emcee/producer Oddisee. Getting introduced to him through his incredible 7th album & Mello Music Group debut The Good Fight a decade ago weeks before my high school graduation, I also happen to enjoy his work with Diamond District, the Odd Seasons mixtape series, his 4th EP Alwasta & The Good Fight’s successor The Iceberg. I happened to cover & Yet Still exactly a year ago feeling like it was a solid jazz rap EP, staying En Route for a follow-up.

“Tomorrow Can’t Be Borrowed” delivers streams of consciousness over some jazzy piano chords disputing the “borrowed time” notion whereas “A Rare Thing” works in a horn-tinged boom bap instrumental talking about it being uncommon to know love & couldn’t help but make me think of the increased hate speech on Twitter in the past few years. “Small Talk” heads for a funkier approach putting everyone’s better days of their career’s in the rear view mirror & “Natural Selection” ends by doing his thing with no one to save him.

Marking his return to Mello Music Group after putting out a couple projects independently, Oddisee’s follow-up to & Yet Still exactly 365 days later elevates it’s above the predecessor making music for whatever journey we as humans are heading in our lives today. His jazzy production compliments the reflection of physical, emotional & spiritual movements we may have all tying into each other conceptually for a soulful snapshot of motion & meaning.

Score: 4/5

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Paradime – “L” review

This is the 2nd EP from Detroit emcee, producer, DJ & hype man Paradime. Discovered by WWE Hall of Famer Kid Rock in 1996 signing to Bobby’s very own Top Dog Records, he eventually made his full-length debut few years later with Paragraphs & the sophomore effort Vices in the fall of 2001 would go on to become his most celebrated body of work yet. Following 11 Steps Down & Spill at Will however, Dime returned by signing to Mello Music Group for his acclaimed 5th album Period. & is back again a year & a half later on L.

After the intro, the first song “Come Back” produced by Middle Finger Music in-house producer Blizzard jumps over this boom bap instrumental returning after he keeps leaving whereas “Whadda Life” soulfully looks back on the 5 decades of life he’s experienced. “So Long” chops up a soul sample thanks to Alpha Howse signee Astray paining him he never got to say goodbye to those who can’t be with us today while “The Sound of Music” enlists Cadillac Dale on the mic with him & Charlie Beans behind the boards to show y’all where the truth lives. “Old” ruggedly claps back at him being too old for this rap shit & “Deja Vu” has a reoccurring dream dabbling with trap.

Celebrating his 50th birthday back in November, the Detroit veteran comes off the most mature LP of his discography introducing himself as part of the Mello Music Group roster continuing to give us the grown man lyricism that was so prominent throughout Period. & getting even more personal than he did over a year ago already, except this time he reflects on his life experiences in the past 5 decades & further succeeding in his comeback mission as amongst the most underrated in the Motor City hip hop scene.

Score: 4/5

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Brother Ali – “Satisfied Soul” review

Here we have the 9th studio LP from Minneapolis, Minnesota activist & battle emcee Brother Ali. Exploding within the underground off his 2003 sophomore effort Shadows in the Sun & of course his 2007 follow-up The Undisputed Truth, he would continue this string of acclaimed releases with Us as well as the Jake One-produced Mourning in America & Dreaming in Color and All the Beauty in This Whole Life. Can’t forget to mention Ali’s debut EP Champion, his debut mixtape Left in the Deck or the Evidence-produced Secrets & Escapes either. His 4th EP Brother Minutester marked his departure from Rhymesayers Entertainment after nearly 2 decades, reuniting with Ant on Mello Music Group for Satisfied Soul almost a year after Love & Service.

The title track is a rap rock intro showing confidence of himself being the only one who can injure himself whereas “Deep Cuts” hooks up some pianos to talk about it always being love from his end calling God the eternal & everlasting. “Higher Learning at the Skyway” brings the guitars back in the equation wanting to make sure one’s speaking the lexicon just before the gospel-influenced “Drum” talks about gathering around the instrumental like a campfire.

Meanwhile on “The Counts”, we have Ant keeping it a little funky so Ali can address those who stay ready to count him out whenever they get the chance to do so leading into “Cast Aside” talking about being unable to describe having too much to say. “Ocean of Rage” kinda has a jazzy boom bap vibe letting y’all know to catch him by the moonlight letting the cool breeze through, but then “Under the Stars” explains you can’t do what you want when nobody wants you.

“Personal” goes for a more stripped back approach trying not to take shit personally & letting you be the first to know if he ever changes while “2 Dudes” brings the pianos back in the fold getting distracted by the city lights in an effort to navigate correctly. “Better But Us” soulfully talks about things improving other than a relationship where he & his partner fight & fuss while “Name of the One” talks about praise getting raised in the rays of the sun.

As for “Immortalized”, the pianos seep in once more calling himself an authorized street preacher while “Head Heart Hands” talks about getting all 3 of those parts of him right. The summery “Mysterious Things” sounds observes the enigma of human beings while the song “Handwriting” talks about seeing his impossible dreams become reality. “Sing Myself Whole” ends Ali’s debut with MMG showing his singing chops feeling all alone.

If the Rhymesayers mainstay’s gonna make himself at home with Mello Music Group going forward, then what a way to make his debut on the label. Ant’s production feels like a sonic mosaic of dusty drums, warm vinyl crackle & ghostly rhythms that feel like they’ve been pulled from the deep pockets of America’s forgotten record shops to make room for Brother Ali’s thought provoking, spiritual lyrics full of jagged self-reflection & unflinching critique rooted in hope & defiance.

Score: 4.5/5

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Crimeapple – “This, Is Not That” review

New Jersey lyricist Crimeapple enlisting Apollo Brown to produce 15th full-length album. Becoming a fan of his in the fall of 2017 with his 4th EP Sweet Dreamsalong with the Big Ghost Ltd. produced full-length debut Aguardiente that following spring, his profile in the underground grew exponentially from there. Discography standouts include the DJ Skizz-produced Wet Dirt, the DJ Muggs-produced Medallo, Cartagena, Breakfast in Hradec & Sin Cortar. El León produced by Preservation from the beginning of this year became the most I’ve enjoyed Crime’s music in a while & the official Aguardiente sequel Bazuko was a tad bit better, which raised the stakes for the Mello Music Group-backed This, Is Not That.

After the titular intro, the first song “Mercy” is this rap rock opener telling everyone who wants to take a portion to take precaution & to press your luck since you wanna press buttons whereas “Superstitious” takes the boom bap route instrumentally talking his passport lookin’ like a part of a prison gang. “Wonderful Feelin’” featuring Willie the Kid works in some strings detailing the mafioso life while “Know No Better” soulfully talks about a select few needing to stay inside.

“The Problem” goes for a drumless yet crooning vibe to the beat enjoying the fruits of his labor when he started & being in the tropics these days just before “Pitiful” ominously talks from a distressing place for roughly 3 minutes. “Almanacs” featuring Sonnyjim brings the pair together over pianos with some kicks & snares addressing those who need more than help, but then “Coke with Ice” strips the drums & keeps the keys in tact to talk about the way it be crackin’.

To begin the final leg, “My Own Good” has this atmospheric boom bap approach admitting that he still rides through his old hood time to time when he really shouldn’t be while the drumless “Favoritism” talks about being around the world & not seeing any other fix like his babies. “Mis Amigos” nears the conclusion of the LP clarifying that he’s the biggest in the county & “New Dreams” ends it with a guitar comparing it to the blind leading the blind.

This, Is Not That marks the rebirth of smoke-stained bars with Crimeapple playing both poet & philosopher by flipping bilingual manteca rhymes with a chef’s precision as well as stirring up the street grime & serving it with a side of sharp wit to remind the audience that there’s still beauty to be found in the decay over Apollo Brown’s dusty yet soulful sound built as if it’s ancient architecture.

Score: 4.5/5

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Marv Won – “I’m Fine, Thanks for Asking.” review

Detroit emcee/producer Marv Won returning for his 5th full-length solo LP albeit the first after signing to Mello Music Group. Coming up as a part of the world famous Fat Killahz, he has gone on to become well respected in the battle circuit & has released his last 4 albums alongside a few EPs. It’s been over 2 years since we last heard from Marv on his 3rd EP Hagler & he’s looking to respond to everyone asking about his well-being by simply saying I’m Fine, Thanks for Asking.

The title track is a self-produced boom bap opener expressing that his feeling aren’t allowed when they surely are & that they really be expecting him to save their asses whereas “Measuring Stick” by the Twin Towers featuring eLZhi brings the 3 Motor City titans coming together for a gritty, bass-laden anthem that reverberates with the city’s hard-knock life. “Roc Nation Brunch” featuring Freeway blends epic orchestration & Joe Louis drums that hit like Tommy Hearns to deliver a tableau of Black excellence while “Purple” talks about a woman being destroyed by a kind of love.

“It’s Ok” goes for a smoother approach instrumentally providing comfort food for those simply trying to get through today while “Higher” brings this ghostly vocal sample flip into the fold so Marv can reasonably talk about becoming a better person. “Say My Name” featuring Monica Blaire soulfully encourages to acknowledge them by saying their names out loud so they know who they fuckin’ with, but then “Nosy” featuring Rapper Big Pooh returns to the boom bap explaining why they couldn’t sell dope.

Quelle Chris does the hook on the penultimate track “Good Thangs” crafting an auditory experience that feels like a voyage from the depths of darkness to the first light of dawn by orchestrates a narrative of resilience, guiding listeners through a transformation from enduring life’s hardships to savoring its most luminous moments & subtly reminds us of the virtue of humility, cautioning against the pitfalls of greed & encouraging us to keep our heads held high in adversity prior to “Grand Piano” ending the LP by stripping the drums to celebrate.

For his MMG debut, one of the Motor City’s most prolific battle MCs takes us on a soul-baring endeavor that weaves tales of struggle & triumph inspired by his storied life in his hometown. He brings a lyrical ferocity to his unapologetically raw & heartfelt rhymes by showcasing a seamless fusion of his word play & production with storytelling transcending mere verses that paint vivid portraits of life in the D. In a masterful blend of production & rap, this album is pure Detroit in it’s soul & sound reverberating with the city’s hard-knock life.

Score: 4.5/5

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Paradime – “period.” review

Paradime is a 48 year old MC, producer, DJ & hype man from Detroit, Michigan who was discovered by WWE Hall of Famer Kid Rock in 1996 signing to Bobby’s very own Top Dog Records. He eventually made his full-length debut few years later with Paragraphs, but the sophomore effort Vices in the fall of 2001 would go on to become his most celebrated body of work yet. Following 11 Steps Down & Spill at Will however, Dime would mainly take a step back from music & is returning after 16 years by signing to Mello Music Group for his 5th album.

After the “Porch” intro, the title track sets the tone of what’s to come with a piano-heavy instrumental from Pig Pen & DJ Los on the wheels of steel flexing his penmanship whereas the self-produced “It’s Ok” works in a gospel-flip talking about how he used to hit a 5th a day praying for the IRS to go away. “Same Planet” ruggedly discusses being on the same plane as these other cats with the help of Middle Finger Music in-house producer Peace of Mind just before “Annie” is a cloudy boom bap tribute to his daughter laced by Chanes.

“This High” featuring A-Minus works in some lavish keys, kicks & snares courtesy of Apollo Browncalling out those who didn’t think they could take it as high as they could leading into “Heart on Tape” blends some acoustics & hi-hats coming from a more emotional place with his delivery. “Diahubeetus” is a woodwind-trap hybrid produced by Charlie Beans taking about diabetes with a speedy flow of course, but then “Wolf of Greys” featuring Marv Won & Ty Farris finds the trio over a soul sample getting on their hardcore shit.

Meanwhile, “September 22nd” tackles the significance of this day to him on top of a dreamy trap instrumental while “Resurrection of Lemmy” returns to the boom bap thanks to Middle Finger co-founder Foul Mouth being able to see through all the cap that comes towards his way while “Could Be” is a groovy rap rock jam with Marv Won behind the boards reflecting on when he used to tell them he knew life would be this good & that he feels like he truthfully didn’t in the grand scheme of things.

“Folded Hands” hooks up these pianos, keys & snares talking about having questions that need to be answered up until “The Trap” interlude brings back the hi-hats to switch up his flow a bit. “Rock a Bye” featuring Guilty Simpson dives back into boom bap turf getting on murk mode while “Dumb” comes through with a club banger produced by Eminem’s current hype man mR. pOrTeR from prior D12 fame. The penultimate track “Phlegm” featuring production & verse from Copywrite hooks up a sample with kicks & snares continuing to bring it hardcore, but “Make My Way” is a heartfelt closer about having to do exactly that.

After setting his solo career aside to treat music strictly as a profession previously having no plans to ever rap again, what mattered more was cultivating a strong family & a thriving DJ, production & songwriting career. However, he’s back after 16 years like he never left with a lot to say. The production balances some old sounds with some new in a healthy dosage & Dime’s just rapping like getting sucker-punched in the nose by a fist.

Score: 4.5/5

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Planet Asia – “Sardines” review

This is the 24th full-length album from Fresno veteran Planet Asia. Emerging as 1/2 of the duo Cali Agents, he would also go on to have a very successful solo career & has made a lengthy yet consistent discography for himself. This includes The Grand Opening, The Medicine, the DJ Muggs-produced Pain Language, Abrasions, the Apollo Brown-produced Anchovies backed by Mello Music Group, the 38 Spesh-produced Trust the Chain, the Evidence-produced Rule of 3rds & more recently the Snowgoons-produced U.Z.I. (Universal Zeitgeist Intelligence) only last fall. So when it was announced that Apollo Brown was returning so he & Planet Asia could drop a sequel to Anchovies, that was more enough to go into Sardines with high anticipation.

After the “Bird Food” intro, the first song “Get the Dough Off” really opens the album with a drumless beat likening himself to a product pusher whereas “Panama Sun” featuring Detroit battle rap veteran Marv Won finds both MCs joining forces over a more sample-based instrumental admitting that their grind is deep rooted to the point where they can’t turn away. “Stones” continues to strip the drums once more in favor of strings making it clear he’s still in office like Castro that is until “Fly Anomalies” shoots for a darker approach cautioning not to be confused by the monsters.

The General Monks link up on “Wizardry” jumping on top of a flute so that both members Planet Asia & TriState of the Durag Dynasty can compare themselves to wizards with both of their pens just before “Jungle Juice” brings back the soul dropping some late night rugged shit. “Wide Awake” cooks up a more smoother beat painting exotic portraits of the 3rd dimension leading into the organ-laced “Acid Rain” featuring Sick Jacken asking who else is bringing they type of pain that they do.

“Peas & Onions” weaves a bare sample into time fold reminding that it’s self explanatory & that we all know what does while “Broad Dayin’” talks about how the game is fake like these Hollywood bitches’ upper-lips ties into more heavy sampling within the production. “’88 S-Curl” featuring another Detroit vet Ty Farris brings back the drumless vibes displaying a back-&-forth chemistry with each other while “Bazookas” shoots for a creepier atmosphere boasting that he’s firing missiles in the studio. “Can You Believe It?” ends the album with some jazzy undertones pledging allegiance to his region of humble beginnings.

If Planet Asia & Apollo Brown were looking to do Sardines better than when they put out Anchovies together 6 years ago, they could very well have just done that here. Apollo expands on the drumless/chipmunk soul sounds of the predecessor with some jazzier undertones this time around & the lyricism from not just King Medallions but even the 4 features all go harder than galvanized steel.

Score: 4.5/5

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eLZhi – “Zhigeist” review

This is the 4th full-length album from Detroit veteran eLZhi. Rising to prominence as a member of Slum Village shortly after the departure of the late J Dilla about 2 decades ago, he eventually saw success of his own with his classic solo debut The Preface in the summer of ‘08 & was followed up 8 years later with Lead Poison. His last album 7 Times Down, 8 Times Up just celebrated it’s 1 year anniversary a few months back & that happens to be my 2nd favorite of his behind The Preface due to JR Swiftz’ stellar production as well as it’s resilience heavy concept. However, eLZhi is now enlisting Georgia Anne Muldrow behind the boards for Zhigeist.

After the “News from the Ship” intro, the first song “Amnesia” sets off the album with a peppy ballad advising not to forget that you’re loved whereas “Every Moment” goes into soulful territory talking about decorating every day in your own way. “King Shit (Say Word)” mixes some pianos & synthesizers to declare himself royalty leading into “Understanding”, which swaps out the synths for a funky bass-line talking about comprehending one another.

Meanwhile on “Already Gone”, we have eLZhi keeping the funk going describing himself as somewhat of a mystery just before “Strangeland” works in some keys & dusty drums to talk about being king. “Pros & Cons” comes through with a powerful dedication to all his peoples while the song “Nefertiti” goes into a more romantic direction & it’s just alright. But after the interlude, “Compassion” closes out the album fantastically by going back into a funkier route thanking listeners.

I’m always excited for new eLZhi given that he’s one of my top 5 emcees to ever come out of my hometown & he sure did deliver here. I find it intriguing the way Georgia blends elements of multiple genres in her production & together, they deliver a damn near perfect love letter to people of color.

Score: 4.5/5

Stalley – “Blacklight” review

Stalley is a 39 year old MC from Massillon, Ohio who came up in 2008 off his debut mixtape Goin’ Ape. This was followed up with MadStalley: The Autobiography & Lincoln Way Nights, which led Rick Ross signing him to Maybach Music Group. However, he would only put out 4 tapes & the full-length debut Ohio under Rozay’s wing before leaving in 2017. New Wave & Another Level both came out through Real Talk Entertainment which were kinda mediocre honestly, but the Nature Sounds-backed sophomore effort Reflection of Self: The Head Trip wound up being his best since Saving Yusuf. But now in light of his deal with Mello Music Group, it’s only right for Detroit’s very own Apollo Brown to produce Stalley’s 4th album from front to back.

After the “Hidden” intro, the title track is a rich opener about everything you’re hiding behind coming to light whereas “Love Me, Love Me Not” with Skyzoo joyously follows it up by calling out those who pray on their downfall. “No Monsters” works in some piano melodies to speak on those who don’t understand where the hunger comes from leading into the psychedelic boom bap banger “We Outside” encouraging to stay on your grind.

Meanwhile on “Humble Wins”, we have Stalley taking a more orchestral turn talking about catching the Ws in silence just before the synth-heavy “Breathe” finds him not letting the pressure fuck with his focus. “Lost Angels” almost has a bit of a gospel influence to it admitting a spiritual connection with the block, but then “Catch Up” incorporates some choir vocals getting on some grown man shit.

Joell Ortiz tags along for the whimsical “Bobby Bonilla” to chase that bag while “The Realest” declares himself as such over a jazz/trap fusion. “Broad Spectrum” has a more nocturnal sound to it talking about victories coming with a price-tag while the vulnerable “Stay Low” gets on some introspective life shit. The final song “What the Hook Gon’ Be?” brings in a woodwind & live drums talking about bringing pressure to the streets, but then “Omari’s Lament” ends the album with a spoken word piece.

Even though I enjoyed Stalley’s output back in the Maybach days, I think Blacklight has surpassed all of those projects in terms of quality. He’s always shown his potential as lyricist, but it all comes full circle here & Apollo Brown’s production is top notch as to be expected.

Score: 4.5/5