Roc Marciano – “The Coldest Profession” review

Long Island, New York emcee/producer Roc Marciano preluding his forthcoming 13th LP Criminal Jazz with a brand new EP. Beginning in the very late 90’s as a member of the Flipmode Squad, he then went solo in 2008 to drop classic albums that would pave the way for those like Griselda such as Marcberg & Reloaded. He would begin focusing on producing projects for other artists like Flee Lord & Bronze Nazareth following Mt. Marci & of course returning to enlist The Alchemist to produce The Elephant Man’s Bones & The Skeleton Key couple years apart from each other, both of which I gave perfect scores to. Once I heard one of my top 3 producers DJ Premier was fully producing The Coldest Profession, chances of it reaching the same caliber as those albums with Uncle Al were extremely high.

After the “Arrival” intro, the lead single “Armani Sections” was a fly boom bap opener staying freshly dressed whereas the final single “Prayer Hands” dustily talks about constantly being a thinkin’ man instead of wingin’ it. “Good to Go” gives off an eerier boom bap atmosphere lookin’ to leave people slumped over the steering wheel just before the funky “Glory Hole” talks about shooting holes in the wall with firearms.

The Coldest Profession’s final leg starts with “RocMarkable” hooking up another boom bap instrumental justifiably explaining that you can’t get the feeling of this music both these guys are making from any other narcotic in a ziplock that while “Travel Fox” talks about the numbers being unsolvable even if algebra was used to crack the code.

“Execution Style” finishes what could be a candidate for EP of the Year referencing the late アイアンマンヘビーメタル級王座, TNA World Tag Team Champion, WCW World Television Champion, 2-time WWE United States Champion, 7-time WCW World Tag Team Champion, 4-time WWE Intercontinental Champion & 2-time WWE Hall of Famer Scott Hall.

Mass Appeal Records has already made it known Nas’ upcoming 18th album will be fully produced by DJ Premier before 2025 is over & as a warm up, the latter & Roc Marciano join forces for an immaculately crafted EP combining the Gang Starr beatsmith’s signature sound with Marci’s endlessly smooth lyrics portraying himself as the illustrious pimp we’ve come to know him as.

Score: 5/5

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Knowledge the Pirate – “The Round Table” review

This is the 6th studio LP from New York emcee Knowledge the Pirate. Discovered by Will Smith’s former bodyguard Charlie Mack, he would sign to Interscope Records for a brief amount of time before leaving the game temporarily & re-emerging in the 2010s as a close Roc Marciano affiliate. His full-length debut Flintlock eventually saw the light of day in the summer of 2018, which was followed up with the sophomore effort Black Cesar as well as the debut EP Family Jewels & his 3rd album Hidden Treasures. My favorite in his discography would be the Big Ghost Ltd.-produced Wolves Don’t Eat With Shepherds & having Marci producing The Round Table raised the stacks exponentially coming off of 5lbs of Pressure.

“Eating Etiquette” was a great drumless single to start the rollout giving the ultimate fine dining experience whereas “Golden Rules” works in a boom bap instrumental with a prominent vocal sample talking about trying to keep his team together. “Takes a 10” has a significantly funkier vibe telling us what it was like for him in the grittiest parts of the City of Dreams leading into “The Outfit” stripping the drums again to talk about keeping the flame on the stove.

As for “Magic & Kareem”, we have Knowledge comparing him & Marc to Los Angeles Lakers icons Magic Johnson & Kareem Abdul-Jabbar respectively continuing the pitched sampling just before “Addicted to Danger” maintains a drumless flare altogether so he can talk about his devotion to peril. “Ride wit a P” slickly describes himself as a pimp stealing everyone’s girl in his car while the chipmunk soul infused “Food for Thought” talks about playing.

“Forks & Knives” hooks up a dope gospel flip making way for him & his crew sitting at The Round Table chopping up birds protecting & serving when it comes to the paper, but then the soulful “Gut Feeling” advises that you can’t love every bitch you fuck. “1 on Me” has this quirky synthesizer behind him taking over all the open spots on the block while “Young Thugs” cautions not to talk with your mouth full around him.

The song “Servitude” pushes towards the last several minutes of Knowledge’s best friend work on almost 3 years getting back on the chipmunk soul tip going federal with the love if it’s a crime hittin’ us with a significantly calmer flow & “Receipts” ends album with a crooning sample mixed with some strings talking about the fact that nobody wants smoke with him or the rest of the illustrious pimpire.

Many hardcore Roc Marciano fans, including myself have been waiting a very long time for this day to come and now that it’s finally here it’s very much safe to say The Round Table joins Wolves Don’t Eat with Shepherds as some of Knowledge the Pirate’s strongest material in addition to one of my LPs of the year. Marci’s production here is prominently drumless with the exception of boom bap & chipmunk soul being secondary influences outstandingly soundtracking Knowledge’s mafioso lyrics.

Score: 4.5/5

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Roc Marciano – “The Skeleton Key” review

This is the 12th full-length studio LP from Long Island emcee/producer Roc Marciano. Beginning in the very late 90’s as a member of the Flipmode Squad, he then went solo in 2008 to drop classic albums that would pave the way for those like Griselda such as Marcberg & Reloaded. He would begin focusing on producing projects for other artists like Flee Lord & Bronze Nazareth following Mt. Marci & of course returning to enlist The Alchemist to produce The Elephant Man’s Bones, which I gave a perfect score. He & Uncle Al are now presenting The Skeleton Key coming off a lesson in Marciology exactly 3 months since former AEW tbs Champion & the inaugural 新日本プロレス強い女子王座 Willow Nightingale’s reign as CMLL Mundial Femenil Campeon ended.

The opener “Mystery Gawd” takes us to the basement instrumentally showing these lil muhfuckas what grown men do comparing him & Alchemist to gatekeepers whereas “Street Magic” goes for a bit of jazz rap direction suggesting that y’all should check the score. “Chopstick” brings a more morbid atmosphere to the table rightfully talking about embodying hip hop culture referencing the inaugural IWGPヘビー級王座, former 12-time WWE world champion, WWE tag team champion, 2-time WWE Hall of Famer & Real American Beer founder Hulk Hogan while “Knock It Off” wants to know why some of these cats be looking devilish yet angelic.

“Acid” hooks up these prominent piano chords flexing that they still drawing him even though he’s sketchy warning the pipsqueaks that shit really ain’t sweet leading into the soulful “Rauf” talking about running up a tab to receive himself a decent vehicle. “Chateau Josué” goes completely drumless to discuss doing it his way & that his hoe has no say whatsoever, but then “Skirt Streak” keeps the drums out of the equation once more advising how dirty the game is.

The track “Cryotherapy” hooks up this psychedelic beat feeling like he’s running out of hands to count & refusing to give handouts while the closer “Make Sure” symphonically talks about how he should be doing his own thing. The first of 2 bonus tracks “Hard Drugz” brings the soul samples back boasting that squares don’t fit into his circle whatsoever & finally, the other “Bleu Mouson” rounds it all out with a mafioso flare showing off his genius & status as a boss in all regions.

Merging all of Roc Marciano & The Alchemist’s individual qualities together, The Skeleton Key offers hip hop a collection of tracks that blend innovation with authenticity & also highlights their shared philosophy of creating art that stands the test of time while cementing their legacy as leaders & trendsetters in the field of communication through music. It’s additionally a thank you to their fans above all else & came from a place of gratitude for their continued support further solidifying themselves as undisputed trailblazers & tastemakers.

Score: 5/5

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Roc Marciano – “Marciology” review

Long Island emcee/producer Roc Marciano has returned with his 11th full-length studio album. Starting out in the very late 90’s as a member of the Flipmode Squad, he then went solo in 2008 to drop classic albums that would pave the way for those like Griselda such as Marcberg & Reloaded. He would begin focusing on producing projects for other artists like Flee Lord & Bronze Nazareth following Mt. Marci but after enlisting The Alchemist to produce The Elephant Man’s Bones which I gave a perfect score, we’re being taught Marciology.

The self-produced title track is this ominous opener reminding that he done brought game to the rap game whereas “Goyard God” works in these luxurious piano chords thanks to Animoss so he can shit on everything. “Gold Crossbow” keeps the exuberant boom bap vibes going boasting he has more style in his small toe than your whole torso leading into “True Love” going into soulful turf for a dedication to all his ghetto homies.

“BeBe’s Kids” brings a groovier approach instrumentally talking about others not digging your style because shit’s foul while the crooning “Bad JuJu” featuring Larry June strips the drums courtesy of Uncle Al breaking down to the rich lifestyles that they both live. “Tapeworm” brings a symphonic vibe to the beat talking about being too high class to work with purse snatchers & he is if we’re being honest with ourselves here, but then “Killin’ Spree” featuring Crimeapple brings the 2 together over a rock sample painting images of the gangsta life.

Meanwhile on “Went Diamond”, we have Marci over more strings teaching those who don’t know by now that their worst enemies be their own pride & ego just before “Higher Self” featuring Flee Lord & T.F. yet again builds itself on operatic sampling talking about leaving bullets flying even through your grandma’s room referencing WWE Hall of Famer, former WWE United States Champion & WWE Intercontinental Champion Rick Rude. “LeFlair” ruggedly breaks down doing everything from scramblin’ to pimpin’ & panderin’ while “On the Run” featuring Jay Worthy having this infectious vocal flip talking about always being on the lamb.

“Larry Bird” featuring GREA8GAWD & Knowledge the Pirate draws near the end of our Marciology lesson with these jazzy woodwinds throughout referencing the titularly iconic Boston Celtics player of the same name that is until “Floxxx” concludes the album toning down the jazz influences talking about never losing his touch, which he hasn’t.

Marc always comes correct whenever he puts out new music and although Marciology isn’t flawless like The Elephant Man’s Bones was, anyone who’s familiar with his discography should know what they’re getting themselves into by now. The production is mostly drumless with additional undertones of boom bap & jazz rap very much like the predecessor charismatically spitting that illustrious pimpire shit.

Score: 4.5/5

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Jay Worthy – “Nothing Bigger Than the Picture” review

Jay Worthy is a 37 year old MC born in Vancouver, British Columbia, Canada & raised in Compton, California who caught my attention in 2017 after The Alchemist produced his debut EP Fantasy Island from top to bottom. He would go onto drop 5 more EPs & just put out a fantastic collab album with Larry June over a year ago called 2 P’z in a Pod even though initial plans of putting it out through Griselda Records fell through for whatever reason. But Jay’s looking to come off the Harry Fraud-produced You Take the Credit, We’ll Take the Check & the DJ Muggs-produced sophomore effort What They Hittin’ 4 by enlisting Long Island veteran Roc Marciano behind the boards throughout the duration of his 3rd mixtape.

After the intro, the first song “Underground Legends” featuring Bun B kicks things off rightfully declaring themselves as such with a drumless loop accompanying them in the background whereas the title track with A$ton Matthews calling this the shit you see only in gangsta movies with a slicker instrumental. “The Field” featuring Jay 305 brings in the drums & a Middle Eastern sample as they both pray for those still in the trenches until “The Plug” featuring Ab-Soul jumps on top of some pianos & choir vocals talking about being resources for obtaining something valuable that would otherwise be difficult to obtain.

Marc joins Jay on the mic for “Wake Up” spitting that fly shit with a luxurious beat just before “My Own 2” featuring A$AP Ant & former 2x NBA All-Star Baron Davis has a soulful, jazzier flare to it as they bring to you a day in their lives. “How?” keeps the soul in tact addressing those who always want to know his background & how he reps the CPT even though he was born in Vancouver by telling them not to worry about it since it really doesn’t concern them whatsoever, but then “Players Only” has a triumphantly wavier feel to it talking about how life been different.

The song “Simple Man” featuring Kurupt make it clear to understand that they only want the money with a glossy, drumless instrumental backing them while the penultimate track “The Huddle” featuring Baron Davis brings back the horns & soul sample so all the real ones can click up declaring trouble for all the fakes out there. “Fur Coat Talk” featuring Da$h on the other hand sends off the album on a jazzier note as they discuss minks if you couldn’t already tell by the title of the closer.

I’ve been hearing some people online still calling Jay a boring MC oddly enough considering that he’s been at his best for the past year after putting out 2 P’z in a Pod with Larry alongside his previous couple solo albums & Nothing Bigger Than the Program continues that trajectory if you ask me. Sure one can complain about the amount of features & their performances kinda being 50/50, but the bars from Jay himself continue to elevate solidly over Marci’s signature production style.

Score: 3.5/5

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Roc Marciano – “The Elephant Man’s Bones” review

This is the 10th full-length album from Long Island emcee/producer Roc Marciano. Starting out in the very late 90’s as a member of the Flipmode Squad, he then went solo in 2008 to drop classic albums that would pave the way for those like Griselda such as Marcberg & Reloaded. However after focusing on producing projects for other artists like Flee Lord & Bronze Nazareth following Mt. Marci a couple years ago, Marci’s enlisting The Alchemist to produce The Elephant Man’s Bones.

“Rubber Band Grip” is a spaciously suspenseful opener talking about having the pump on him whereas the Action Bronson-assisted “Daddy Kane” works in synths to deliver bars like ”I been gettin’ off that soft white long before shorties was rockin’ Off-White. Water color ice, I call it Walter White” or “Know the in and outs, they want dinner? We get ’em In-N-Out”. The lead single “Deja Vu” takes a more drumless route with it’s bare piano instrumental confessing he had a breakthrough, but then “Quantum Leap” has some jazzy undertones to it talking about how your favorite rapper send him fan mail & your album ain’t worth 12 pennies to him.

Meanwhile on the title track, we have Marci brings back the luxurious keyboards providing food for the spirit just before “Bubble Bath” has a more glistening yet dusty quality to it talking about being rich for real. “Liquid Coke” shoots for a more symphonic aesthetic saying that’s exactly what he’ll leave when he slits ya throat leading into Boldy James tagging along for “Trillion Cut” getting in their hustle bag on top of a flute & some pianos. Stand-out bars being “Me & G on Stockwell, filthy as Rockwell. Turn an eye on high fresh out a dry spell” & ”My pops had tracks in his arms from heroin, this is rap meets Gil Scott-Heron”.

“The Horns of Abraxas” however has these chilling organ harmonies throughout talking about the road to success being Hell sandwiched in the middle of a great spoken word intro/outro from the O.G. himself Ice-T while “JJ Flash” returns to soulful territory spitting that kingpin shit. “Zig Zag Zig” is dramatic boom bap ballad about his life being a fantasy & you getting no pussy while “Stigmata” takes it back to the soul samples as Marci gives free game referencing WWE Hall of Famer & former WWE tag team champion Ivan Putski. Favorite bar is definitely “Like 2 teens playin’ Call of Duty, but all of these is real toolies”.

Following that, the sinister” Zip Guns” with Knowledge the Pirate intimidatingly paints some vivid gangsta rap imagery while the song “Think Big” has a more summery vibe to it talking about taking destiny in his own hands. The penultimate track “Macaroni” returns to a synth-based sound encouraging his competition to hang up the mic & get a job finding them odder than disgraced former IWGPジュニアヘビー級王座, 2-time WWE world champion, 4-time WWE Intercontinental Champion, 5-time WWE United States Champion, 7-time WWE tag team champion & 3-time WCW World Television Champion Chris Benoit while “Momma Love” sends it off with fireworks as Marci hops on top of a on operatic loop putting it all on Ma Dukes.

From the moment I first heard “Flash Gordon” alongside “Pistolier” & “Paradise Pimps” during my sophomore year of high school a decade ago, I’ve been screaming for Marci & Uncle Al to do an album together. Now that it’s here, it’s the masterpiece that I could’ve ever dreamed from them. There is not a single moment from the beginning of The Elephant Man’s Bones to the end that I genuinely dislike from the smooth & witty gangsta rap lyricism from the New York veteran to the perfectly crafted production pulling from drumless, boom bap & jazz rap.

Score: 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

Bronze Nazareth – “Ekphrasis” review

This is the 4th full-length album from Grand Rapids emcee/producer Bronze Nazareth. Coming up as a member of the group Wisemen alongside his late brother Kevlaar 7 & eventually the Wu-Tang Clan’s in-house production team the Wu-Elements, he would also go on to build a solo career for himself beginning with The Great Migration in ‘06 & then School for the Blindman only 5 years later. But after returning from a decade-long hiatus at the end of January by enlisting The 4 Owls’ very own Leaf Dog to produce Bundle Raps from front to back, Bronze is already kicking off the 4th quarter of 2021 by dropping a follow-up produced entirely by New York titan Roc Marciano.

After the “Proem” intro, the first song “Crazy Horse” starts the album off with a little bit of a jazzy quality to it speaking of something in his spirit burning whereas “The Precipice” takes a grimier route saying you can bet them on the cliff. Skyzoo tags along with Brizz Rawsteen & Termanology on the synth-laced “Brass Jehova” to get on their battle shit but after the “Refocus” skit, the vocal sample that “Survivor’s Vow” is entrancing as fuck saying he has to live it up.

After the “Kevlaar” interlude, Fashawn comes into the picture for the bluesy “Fanta 6” to impressively spit back & forth with Bronze while the track “Kettle Black” with Lord Jessiah brings in a violin addressing elevation. The penultimate song “Papayas ’21” with Roc Marciano & Killah Priest finds the trio on some dusty hardcore shit & just before the “Epilogue” outro, I think “Nosebleeds” with Boldy James serves as the true closer opening up about growing up in Detroit with it’s folksy sample.

As much as I fucked with Bundle Raps, I think it’s safe to say that Ekphrasis is just a tad bit better. Marci’s sample-based production is ever so pleasing to the ear & lyrically, this could very well be the best that Bronze has ever sounded.

Score: 4/5

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

Roc Marciano – “Mt. Marci” review

Roc Marciano is a 42 year old MC/producer from Long Island, New York who started out in the very late 90’s as a member of the Flipmode Squad. He then went solo in 2008 & has dropped 8 albums since, with the latest being Marcielago last December. Almost a year later, Marci is following it up by dropping his 9th full-length album.

After the “Allegories” intro, the first song “Downtown 81” talks about breaking bread at the penthouse over a savory Jake 1 instrumental while the track “COVID Cough” with ScHoolboy Q sees the 2 getting murderous over a perilous beat. The song “Wheat 40s” talks about not playing the hero role over some strings while the track “Spirit Cookin’” with Action Bronson finds the 2 on their mobster shit over a piano & a woodwind boasting their girls get busy like UFC Women’s Strawweight Chamlion Zhang Weili.

The song “Pimps Don’t Wear Rabbits” talks about those hating need to quit over a grimy beat while the track “Butterfly Effect” talks about trusting the process over a jazzy instrumental. “The Eye of the Whorus” with Stove God Cook$ sees the 2 talking about being paid to gloat referencing WWE Hall of Famer & 4-time WWE tag team champion Chief Jay Strongbow over a funky beat while the song “Steel Vagina” talks about this woman betraying him over a bare piano instrumental.

The track “Broadway Killa” with Kool Keith finds the 2 talking about being cold blooded over an instrumental with some frightening synths while the song “Baby Powder” is well played 2-parter as Marci talks about hustling drugs over an peaceful instrumental from Chuck Strangers, but then transitions into some triumphant horns. The track “Trench Coat Wars” talks about smoking weed in a g-wagon over an eerie instrumental while the song “Wicked Days” talks about how no angel can stop the bullets over a murky beat & the Trent Truce feature is wack as fuck.

The track “Garbage Pal Kids” talks about how this chick’s gonna run if he calls her over a guitar while the song “Crocket N Tubbs” talks about how real bad boys move in silence over an alluring beat. The album ends with the title track, where Marci spits about writing it in coke oil over some keys & a high-pitched vocal sample.

It’s no secret that Roc Marciano has paved the way for cats like Griselda throughout the previous decade & this is a great way for him to kick off his 2020s output. His gritty lyricism never fails to amuse me this deep into his career & the production is on point as always too.

Score: 4/5