Lil Bushwick – Self-Titled review

Lil Bushwick is a 29 year old rapper from Houston, Texas notable for being the son of the late Bushwick Bill of the seminal horrorcore group the Geto Boys. Interestingly, Sid Wilson from one of the greatest nu metal bands of all-time Slipknot recently signed the artist formerly known as Yung Knxw to his Soulspazm Records imprint Vomit Face Records founded with J57 earlier this month & has decided to produce Lil Bushwick’s full-length debut studio album to appropriately celebrate Halloween being on a Friday.

After the “Fell on a Weekend” skit & the “Apple Tree” skit back-to-back, “Born to Die” open a with a rap rock intro produced by Sid Wilson talking about reaping what he’s sowed whereas “Pussy Ass N***a” works in some guitars to shit all over those exact type of people. After the “Moments” skit, “Prepare” talks about knowing his life’s goal from when he was a kid while “Got 2 Go Thru” admits to the feeling of love flowing over some pianos.

“Money N Da Foes” after the “Geto Boy 4 Life” skit asks if the cost if your soul is worth the game & gold while “Still Have Faith” talks about going through Hell & back. “We Gone” featuring Sid Wilson finds the 2 talking about having every floor on lock & after the “Better Version” skit, “Take It Back” featuring Bushwick Bill sends off the album with a father-son collab that feels like a bittersweet passing of the torch moment.

The eponymous debut of Lil Bushwick honors the spirit of a hip hop pioneer while forging a bold, new path forward, an emotional and daring journey through grief, heritage & growth. Blending Houston’s hip-hop roots with experimentally hardcore production & narrations from Yung Knxw’s father, he’s pushing the envelope musically & tries new sounds he would’ve never thought he’d be rapping over although there are too many skits.

Score: 4/5

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The High & Mighty – “Sound of Market” review

The High & Mighty is a duo from Philadelphia, Pennsylvania consisting of emcee Mr. Eon & deejay/producer DJ Mighty Mi. Signing to Rawkus Records, the Eastern Conference Records founders’ 1999 debut Home Field Advantage would become an underground classic & notably had an Eminem verse on it right when he started to become an international superstar. The Highlite Zone & The 12th Man were also well received when they came out during the first half of the 2000s, reuniting after 2 decades for their 4th album & signing a new distribution deal with Soulspazm Records in the process.

“2 Man Crew” was a gritty choice of an intro mixing hardcore hip hop & turntablism ripping it up as if the world renowned never took 20 years off whereas “Zounds” talks about his mental being unable to be fucked with as long as they’re back. “Pinky Tuskadero” featuring Kool Keith soulfully sends a message to the people all over the world just before “6ers & Squires” featuring Skillz aggressively talks about how they can’t be stopped.

Breeze Brewin’ teams with The High & Mighty on “Super Sound” heads for a boom bap direction so both parties can paint lyrical visuals together leading into “The Rose Bowl” featuring Your Old Droog hopping over a soul sample from The Alchemist talking about being pimps on a hoe stroll decked in polo. “Dubbs Up” featuring King T works in some g-funk undertones showing a boastful side to them while “Prism” featuring Large Professor & Tash cultivates from the rooftops over a cavernous boom bap beat.

After the “Mighty’s Big 5 (Live from the Palestra)” turntablism interlude, the Smut Peddlers reunite on a piano-driven instrumental during “Most In Outs” talking about never being cancelled while “I. Goldberg” featuring MC Serch & Sadat X continues to bring it hardcore over more boom bap production. “Funk ‘O’ Mart” featuring Chubb Rock dedicates itself to a record shop where DJ Tat Money once worked while “Spaceport” featuring Chill Rob G & Copywrite suggests to hide your kids when they ride the rhythm.

“Highest Degree” featuring O.C. kicks off Sound of Market’s final moments referencing former NWA World Tag Team Champions, 2-time IWGPタッグ王座, the inaugural 2-time TNA World Tag Team Champions, WWE Hall of Famers & former 18-time WWE tag team champions The Dudley Boyz while “2 High Whiteys” caps off the comeback with a blues flip heavily revolving around a line in “Acknowledge” by Masta Ace stemming from a misunderstanding that Eon & Mighty Mi had dissed Ace at one of their shows a quarter of a century ago when that wasn’t even the case.

Discovering these guys after hearing the Eminem verse on their debut as a kid, it’s so awesome to see The High & Mighty joining the likes of LL Cool J or MC Lyte to name a couple releasing some of the best music in their whole careers in the mid 2020s adds to their longevities & the Eastern Conference fans can rejoice. DJ Mighty Mi’s boom bap production still sounds great today as does Mr. Eon’s passionate hardcore performances & the guests range from O.G.s to newer underground artists.

Score: 4.5/5

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Crimeapple – “Rose Gold” review

This is the 17th studio LP from New Jersey lyricist Crimeapple. Becoming a fan of his in the fall of 2017 with his 4th EP Sweet Dreams along 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, the Preservation-produced El León, the official Aguardiente sequel Bazuko & the Mello Music Group-backed This, Is Not That produced by Apollo Brown. The latter 3 have all become the most I’ve enjoyed Crime’s music in a while to the point where I didn’t expect any different out of Rose Gold.

“Taste Like Butter” samples “O-o-h Child” by The Stairsteps suggesting you take a look at how he went from being broke & down to an icon within the modern underground hip hop scene whereas “Oro Rosa” strips the drums to talk about spoiling himself rotting after giving it everything when he had nothing left. “Paradigms” hooks a boom bap instrumental with some horns coming at the throats of these lame & strange muhfuckas leading into “Discounts” finding him living his best life.

Estee Nack & Eto both team up with Crime on “World Famous” bringing the trio together so they can talk about being well known all across the globe prior to the lead single “‘97 Tape Master” likening themselves to ghetto celebrities. “Easy Enough” flexes that he’s the embodiment of the term MC regardless of his eventual demise settling in on him just before the dusty “Congratulations” talks about taking his foot off the gas to take advantage.

“Paulie” begins the final leg of Rose Gold gives a middle finger to being competitive & becoming more confident in peddling death itself while “Pastor’s Whip” shows a religious side to himself & the gospel sample really couldn’t have fit the overall aesthetic any better. “Trifecta” hops over these stellar pianos to call out the individuals in his life who’re envious of his success while “Crystal City” ends with prominent synthesizers feeling like his bus riding days were yesterday.

Wet Dirt was the very 1st time that I’ve ever reviewed Crime & in light of Breakfast in Hradec celebrating it’s 3-year anniversary next month, Skizz taps back in with the east coast underground vet at this point completing a timeless trilogy by embarking on a journey built on sound matched with storytelling & consistency that those who’ve been following from the start will find themselves enjoying as much as both predecessors.

Score: 4.5/5

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Doodlebug & 80 Empire – “A Galactic Love Supreme” review

Doodlebug is a 58 year old MC from Philadelphia, Pennsylvania notable for being 1/3 of the Digable Planets. Following their disbandment, he would branch out in favor of a solo career beginning with his 2011 debut Futuristic Sci-Fi as well as The Expendables & more recently The Calidelphian roughly a decade after Futuristic Sci-Fi dropped. West coast duo 80 Empire are officially joining him for a new collaborative LP & have signed a deal with Fat Beats Records to help put it out into the universe.

After the “Galactic Intro”, the first song “Outtaspace Connection” is a funky romance tune throwing it back to Zapp during the hook talking about the laws of attraction whereas “Breathe” slickly talks about his passion for drums coming from his uncle having a drum set at his grandmother’s house growing up. “Mother Earth is Dying” jazzily discusses our planet slowly deteriorating leading into “Spread Love (Communicate)” talks about positivity & communication.

Shabazz Palaces joins Doodlebug for “Deliveries” letting it be known what they stay constantly running & getting paid off of these days while “Amore” soulfully gets back on the themes of romance. “Time Keeps Slipping” featuring Nejma Nefertiti finds the pair talking about life flying by the way does just before “Intergalactic Love Supreme” featuring YaH-Ra spaciously speaks on love once again.

“I Am” featuring Emma Lee M.C. & Skrewtape unites the trio they can demand that you obey the empire, but then “Nothing Lasts Forever” featuring Bone Crusher & KXNG CROOKED officially concludes A Galactic Love Supreme with all 3 of them cooking up what could possibly be my favorite collaboration reminding us all that there isn’t a single thing out there that’ll last until eternity.

Sir Analog & Duke of Digital both really nailed it helping Doodlebug make a provocative body of musical escapism with every song revealing itself to be a different painting making the canvas at its core hip hop although it’s meticulously textured with so many other influences from jazz to soul music. Reminiscent of a time when music’s sole obligation was to make you feel good & think critically, they portray a healthy marriage of analog & digital or nostalgia meeting contemporary.

Score: 3.5/5

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Fat Ray – “Food From the Gods” review

Detroit, Michigan veteran Fat Ray returning after 4 years for his 4th album. A member of the trio B.R. Gunna alongside Black Milk & Young RJ, he would eventually go solo in 2008 by dropping the criminally slept-on The Set Up, but it wouldn’t be until a full decade later when it was followed with both The Lunch Room mixtape & then his sophomore effort Perseus. Santa Barbera proved to be the strongest since his debut & he’s taking it back to where it all began on Food From the Gods.

After the “From the Gods” intro, the first song “Elderberry” starts with a trippy boom bap instrumental wanting to know how to sow & reap whereas “Talcum” psychedelically talks about having that powder. “Cane” featuring Guilty Simpson works in a guitar sample to warn that you’ll get popped for playin’ with them, but then “Just Say No” featuring Danny Brown fuses jazz rap & drumless together cautioning that this ain’t chess.

“Double It” continues the sampling boasting that he’s been doubling up while “Franky Lymon” featuring Bruiser Wolf atmospherically talks about who these hoes think they are. “El Hongo (The Mushroom)” explains that you either fight or fly heading for a rap rock vibe just before the orchestral “Stash” talks about cashing ruling. The final song “Gotta Know” ahead of the “Daily Bread” outro charismatically shows off his brilliance to finish his best album since his debut.

Over 15 years after Black Milk helped cook up Ray’s acclaimed debut, they get back together for a successor that show’s how much both of them have grown since then. Granted that Food From the Gods can be quirky sometimes, it’s mostly a grimey sonic ride through the streets of the Motor City with raw tales told through the lens of the ever so sharp & witty standout of the Bruiser Brigade crew.

Score: 4.5/5

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Craig G – “The World’s Cooked” review

Craig G is a 51 year old MC from Queens, New York who started out as a member of the Juice Crewcollective. His full-length debut The Kingpin produced by Marley Marl & the sophomore effort Now, That’s More Like It came out in the late 80s/early 90s through Atlantic Records & returned over a decade later with This is Now!!! like he never left. Marley Marl went on to produce Operation: Take Back Hip Hop, which resulted in Craig signing to Soulspazm Records for his last couple albums Ramblings of an Angry Old Man and I Rap & Go Home. 8 years later, he’s back for his 7th full-length LP.

After the “Few Words from tha Teacha” intro, the first song “The Okey Doke” fuses rap rock & boom bap telling everyone to hold themselves accountable for what they fell for whereas the sample-driven “Dumb Down” featuring B-Real talks about this era that we’re entering. “America’s Dumbest Criminals” vividly tells the story of a couple criminals who later got arrested the same night just before the chipmunk soul title track discusses the current state of the world.

“Fortitude” flips an organ representing hard work & after the Chuck D interlude, “Gossip Sites” disses everyone who posts online for attention. “Expand Ya Mind” featuring Chubb Rock sets out to exactly that over a boom bap instrumental while “Reconsidered” tells a sad tale for 3-minutes. “Smartest 1 in the Room” featuring Freeway takes us back in the basement tryna inspire & making the community legitimate while “Wise Words” ends by telling everyone to go for theirs.

Craig has always been a bit underappreciated when it comes to members of the Juice Crew & although I don’t think it’s one of the best albums that he’s ever done per se, I did enjoy the half hour listening experience. The production is prominently based around the traditional east coast boom bap sound & Craig observes the cons of our world today.

Score: 3.5/5

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Blu & Exile – “Love (the) Ominous World” review

One of the most well regarded Los Angeles, California hip hop duo Blu & Exile are back for the 4th album in their discography. Their 2007 full-length debut Below the Heavens: In Hell Happy with Your New Imaginary Friend is rightfully considered by many to be one of the best hip hop albums to come out within the past 15 years, receiving a nod on “Radio” off Vince Staples’ final Def Jam Recordings album Dark Times a few months ago. They went on to release a follow-up in 2011 with Give Me My Flowers While I Can Smell Them as well as the 2017 rarities compilation In the Beginning: Before the Heavens & the previous LP in the B&E canon Miles: From an Interlude Called Lifeserved as their last to be distributed by Fat Beats Records. 4 years later, Dirty Science Records is now joining forces with Soulspazm Records to help put out Love (the) Ominous World.

“Hello L.A.” perfectly begins sampling soul music talking about life in south central whereas “Undisputed” takes the boom bap route instrumentally going for a hardcore approach from a lyrical angle on top of it. “Smack” featuring Fashawn is this dusty jazz rap collab leaving muhfuckas on the curb mumbling their last words, but then “Homies” featuring Cashus King & Pistol McFly serves as a soulful dedication to their dogs & their squad.

Moving on from there with “Sugaz & Buttaz”, we have Blu & Exile joined by Rae Khalil for a summery ballad about missing the lovin’ from their respective partners in life just before “Gold” returns to the boom bap refusin’ to take a break since he got all his chains on looking to stay fly. “Chucks” featuring Kurupt & KXNG CROOKED ruggedly serves as an ode to their Converse Chuck Taylor All Star sneakers leading into “Suge” aggressively expressing his frustration with some of these dudes acting like bitches.

“Ominous World” featuring RBX finds them keeping it in the basement sonically taking us on a journey through the shadows of the trenches while the song “Precipitation” brings another soul flip to the table talking about rain being good for the health every now & then. The penultimate track “Valley of Kings” strips the drums completely talking about the possibility of having to do it all over again & lastly, Emanon joins Blu & Exile for “Love is Blu” to end the 4th classic B&E album talking about love being here over a jazzy boom bap beat.

Every single project these 2 have done with one another remains special in their own different ways & Love (the) Ominous World achieved this by brilliantly building on their soulful, reflective foundation with stunning musicality & sharp songwriting venturing into new territory while embracing & refining what made them special. It’s easily their most unique work to date since they took a different approach with the direction while still staying true to the culture their music has built with their fanbase.

Score: 4.5/5

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Talib Kweli – “The Confidence of Knowing” review

Talib Kweli is a 48 year old MC, songwriter, entrepreneur & activist from Brooklyn, New York notable for being 1/2 of the duos Black Star & Reflection Eternal with Yasiin Bey & Hi-Tek respectively. His solo debut Quality was released in the fall of 2002 to significant acclaim through Rawkus Records following Black Star’s eponymous debut & Reflection Eternal’s debut album Train of Thought, the sophomore effort The Beautiful Struggle received more moderate reception although songs like “Broken Glass” & “I Try” always stood out & Eardrum has to be my 2nd favorite album from Kweli’s behind the debut. Gutter Rainbows as well as Prisoner of Conscious & Gravitas were all received positively albeit not much as Quality & Eardrum, but Fuck the Money left the public divided & Indie 500 produced by The Soul Council was a considerable improvement as was Radio Silence. Last we heard Talib on his own excluding Gotham’s eponymous debut & of course Black Star & Liberation’s sophomore efforts no fear of time* & Liberation 2 was last Christmas when the Holy Daze EP which was ok, so I was intrigued in hearing that J. Rawls was fully producing Kweli’s 10th album.

“Breath, Eyes, Memory” is a laidback opener explaining the difference between European art & African art whereas the title track featuring Blu warmly talks about having to be brave enough to be yourself. “Native Sons” goes full-fledged boom bap paying homage to the Native Tongues collective just before the jazzy, drumless “We Outside” featuring TriState himself finds the 2 talking about never being divided.

As for “To the Ghetto”, we have Kweli over synths mixed with kicks & snares telling us he really doesn’t have any friends in this business only trusting a select few while “SWAT” by Coast Kweli gets on the hardcore tip letting y’all know who be up in the house tonight. “Turnstyle” featuring Buckshot & Skyzoo keeps things in the basement taking y’all back to ‘92, but then “Shalamar” featuring Ras Kass getting in a bag similar to the titular soul trio.

“Pay Homage” featuring IDK, Phil Da Agony & Planet Asia soulfully advises to respect the foundation while “Love for Life” draws from neo-soul discussing the magic in comforting one another. “Steve Austin” featuring Diani finds the father/daughter duo slickly boasting while “Sing into the Sky” featuring Niko Is returns to the boom bap doing simply that until they fall. “It’s Workin’” ends on a jazzy note talking about what you’re doing is working out.

All 3 of the duo albums that Kweli has been involved with in this current decade so far all been near-perfect in their own rights & I don’t think The Confidence of Knowing is a classic per se, but I do think it’s significantly better than the holiday EP we got from him almost 9 months ago. Even putting Talib’s social media behavior to the side, he’s still a remarkably talented lyricist & J. Rawls’ production bounces between boom bap & bare jazz loops fluidly.

Score: 4/5

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joMi – “S.U.M. (Someone Understand Me) 1” review

Oakland, California emcee joMi returning a year & a half after Too Close so he can release his 3rd full-length studio LP. Introducing himself in the underground off his 2018 debut Samo followed by the 2022 sophomore effort Media Noche, he actually came onto my radar around the time Too Close dropped since he signed to Soulspazm Records around that same time & finding out 80 Empire fully producing S.U.M. (Someone Understand Me) 1 had me more intrigued since I’ve been following some of the artists they’ve worked with for quite some time.

The title track sets a somber tone to get us started equating alcoholism with the devil whereas “Run” featuring Demrick depicts the desperate urge to escape reality over a cloudy boom bap instrumental. “Mirror 2 Times” works in a guitar solo he can reflect on the painful process of self-confrontation prior to “j.o.M.i (journey of My imagination)” telling everyone the meaning of his stage name bringing an atmospheric flare to the table.

“We Didn’t Notice TBH” goes full-blown trap to talk about feeling good leading into “Down If U Are” featuring G. Cardona & Ginger Nkosi highlighting the critical moment of self-questioning during joMi’s descent into drug experimentation. “Holy Water” hooks up acoustics & claps talking about alcohol being heaven sent, but then “Chico” featuring Baby Gas returns to the boom bap reflecting on the long way they came.

Starting the final leg of the LP, the song “Bottles on the Top Shelf” goes for a nocturnal trap vibe saying that the liquor & shrooms on the top shelf since they pair well while “144K” featuring Dizzy Wright brings a chilled out approach to the table asking if you want this drank & weed. The penultimate track “No Mind” featuring ¡MAYDAY! keeps it trap advising to ignore them & finally, “Used to Love” ends the album calling out a poison disguised as a remedy.

Other than that, S.U.M. (Someone Understand Me) 1happens to be a powerful concept album that explores joMi’s own battles with alcoholism & addiction. He takes listeners on an emotional journey through the highs & lows of substance abuse, delving deeper into darkness offering a raw & immersive look into the emotional turmoil of addiction with better picked guests & improved production.

Score: 4/5

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Dillon – “What We Have Done” review

Atlanta, Georgia based emcee, producer & engineer Dillon is back with his 7th full-length album. Coming up under the original moniker Intellekt, he would properly introduce himself in ‘07 with his debut mixtape Uncut & enlist Paten Locke for the debut Studies in Hunger a couple years later. Dillon would go on to follow this up with a sophomore effort Food Chain alongside On Their Way & The Tails of Lobsterdamus respectively. Coming off the J57-produced ‘83 Kids & unearthing some Uncut Gems with Diamond D of D.I.T.C. behind the boards, Batsauce is now returning to show What We Have Done.

After the titular intro, the first song “Mind Made” is an 100 second boom bap opener telling people to get off the internet whereas “Quiet as a Library” works in some vibraphones along with kicks & snares to talk about crews rolling up sleeves if a false move is made. “Eddie Farah” jazzily discusses having to find a way to bring the bag in prior to “Make History” grandly talking about continuing to do exactly that nearly 2 decades in the game.

“Cannonball” featuring Grand Puba brings the pair together for a fun ballad that the party people can get themselves loose with just before “Banana Peels” ruggedly declares that any problem with him is a vendetta of it’s own. “Accolades” featuring Jay Myztroh & Reef the Lost Cauze soulfully talks about making sacrifices to have Heaven now, but then “Wakin’ Up Hungry” featuring Headkrack ends the first half on some rugged hardcore shit.

To start the other leg, “Goin’ Viral” dreamily talks about coming from an era where the internet was all dial-up while “Ready on the Left” featuring Kool Keith sees the 2 over boom bap production boasting their wordplay. After the titular interlude, the trippy “Watercolors” featuring Quelle Chris shows y’all what both of their minds be sounding like while “Speak Easy” strips the drums to promise he’ll keep doing this until he can’t no more.

“Isiah Thomas” tells the story of Dillon meeting the titular Detroit Pistons player known during the Bad Boys era which I find really cool as someone from Detroit himself while “Rock Bottom” psychedelically talks about those wanting to watch him to slip up & fall. “Yoga Flame” concludes the LP groovily explaining that he was looking for a sign as opposed to seeking for love.

Over 6 years since Batsauce produced On Their Way, its successor What We Have Done lives up to the standards set by both ’83 Kids & Uncut Gems. In contrast to the latter serving as a willingness to run around the world together, they return for an open invitation to experience the trials & tribulations alongside the small wins & the big losses of being aging independent artists in an increasingly cut-throat world for music makers.

Score: 4/5

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