Cappadonna is a 53 year old MC from New York City notable for being a member of the almighty Wu-Tang Clan since the mid/late 90s. His verse on “Winter Warz” is still regarded by many to this day to be one of the greatest verses in hip hop history & as much as I love his criminally underrated solo debut The Pillage, I’m pretty sure it’s safe to say with all respect that his solo discography since has been nothing short of inconsistent ranging to be mediocre at best & complete trash at worst. But when it was announced that underground veteran Stu Bangas was going behind the boards for Cappa’s 15th album right here, my expectations for it were very high considering that Stu has been on a ROLL for the past few years now producing projects for the likes of Ill Bill & Recognize Ali only to name a couple.
After the intro, the first song “Bring It Out” sets it all off with some braggadocio on top of some suspenseful boom bap production whereas “Get Lost” takes a more solemn route talking about how the Wu’s the hardest team. After the “Discovery” interlude, Celph Titled tags along for the horn-laced “Toss the Blick” to get on their hardcore shit just before “How We Rolling” dives into more playful turf talking about a fun night out.
Meanwhile on “Continuous Threat”, we have Planet Asia accompanying Cappa over a keyboard-driven boom bap instrumental spitting some lethal battle raps leading into Sick Jacken coming into the picture for the dusty “Everything is Measured” talking about how fly both of them are. The track “No Fake Dreads” following the “Redemption” interlude works in some more horns to get that bread & prior to the outro, the final song “Tryna Survive” with Ill Bill ends the album on an uncanny note talking about life in the projects.
All 3 of the singles that Cappa has dropped throughout the summer had me anticipating 3rd Chamber Grail Bars to be amongst his best solo albums yet & not only did it achieve that status, but it’s also my favorite project to come out of the Wu-Tang Clan anthology this year. Stu Bangas’ production is a breath of fresh air compared to most of Cappa’s output post-The Pillage & lyrically, he reminds everyone exactly who the fuck he is.
Sheep Stu is a East Coast duo consisting of New York emcee Dres & Boston producer Stu Bangas. Both of whom have cemented themselves as legends in the game in their own rights, but have never worked with each other prior. However considering how incredibly consistent Stu has always been (especially in recent years) & as a fan of A Wolf in Sheep’s Clothing, I was very much looking forward to this debut EP of theirs.
“Simple is an uncanny opener to the EP with Dres coming out to say he ain’t like these other motherfuckers whereas “Hate” fuses boom bap & rock together talking about what doesn’t help the hood rise. The title trackadvises everyone that nothing in the world will ever hit like the same thing over a trunk-knocking instrumental while the penultimate song “Killin’ It (For a Lil Bit)” returns to dustier territory with Dres talking about being a class act. A.G. then comes into the picture for the grimy closer “Walk About It”, where he & Sheep Stu describe the way they lay motherfuckers down.
Now if you ask me, this is the best that Dres has sounded in a long ass time & I really hope we get more stuff from them down the road. The passion is clearly there in his voice, he never lost a step lyrically & Stu gives him the best batch of beats that he’s received in a while.
This is a brand new collaborative album between Chicago emcees A.M. Early Morning & Novatore. Both of whom have been turning heads in the underground for a couple years now, but didn’t actually connect with each other until “Looking Back” off the latter’s Embrace the Darkness II: Explorers of Experience produced by C-Lance last spring. However, the pair are now coming together to take the world through the Kingdom of Criminality & are bringing Stu Bangas on board to produce the whole thing.
The titular intro sets the album off by grimly talking about turning crews into fairy dust whereas “Sons of Satan” mixes a guitar in with some dusty drums proclaiming themselves as hellspawn. Spit Gemz tags along for the piano/boom bap laced title track welcoming you to the titular world just before the raw “Jumanji” talks about getting into any obstacle. Lord Goat & Recognize Ali come into the picture for “Circle of Goats” to spit some deadly battle raps leading into “Left in Ruins” by detailing how the crime life will follow you & the beat on here has an alien-esque feel to it. “Cannibal Feast” weaves in a piano & guitar to provide the theme for cannibals while the orchestral “Pissy Stairwells” finds the 2 trading rhymes back & forth excellently with one another. The penultimate track “Another Dimension” with Chino XL heinously talking about being beyond sick & “Underestimated” with Apathy ends the album on rock-tinged note calling out those who doubted them.
Given that both of these guys just came through with some of the highest points of their careers last year, I was pumped going into this & it certainly lived up to my expectations. A.M. Early Morning & Novatore both bring the best out of each other with unique chemistry while Stu Bangas still maintains to be a monster behind the boards.
This is the full-length solo debut from Boston producer Stu Bangas. For the last 15 years, the dude has become a household name in the underground realm by giving beats to an ever-growing list of veterans ranging from members of the Army of the Pharaohs collective to the late Sean Price. But since 2019, he’s been steadily grinding his ass off producing projects for the likes of Ill Bill & Recognize Ali. He just dropped the conceptual Empires with Cypress Hill percussionist Eric Bobo back on 4/20 & is now branching out on his own once more in the form of Deathwish.
After the titular intro, the first song “So What You Wanna Do?” by the Heavy Metal Kings is a dramatic boom bap opener thirsting for blood whereas “Candy From a Baby” by Vangarde takes a happier note looking back when Mr. Lif’s mom gave him his 1st boombox. “Levitate” by Apathy lividly talks about defending the throne & after the titular interlude, “Skull Fucker” by Starvin’ B weaves in some grim pianos telling listeners to be glad he ain’t tapping their chins.
Meanwhile on “Come Correct”, we have Tha Connection forlornly spitting that dope slanger shit just before “Dead Body” by Lord Goat & Recognize Ali wickedly quenches for blood. “Brotherhood” is a serious Watson & Holmes reunion talking about getting right, but then “Same Spot” by Juga-Naut weaves in some keys speaking on not really advancing when you know the path.
The track “Outta My Way” by Snak the Ripper & Young Sin finds the 2 aggressively advising their opposition to walk away before it’s too late & before the titular outro, the final song “Fill the Cemetery” by Celph Titled & G-Mo Skee rounds out the album with endless wig-flipping punch you in the face bars & an apprehensive instrumental.
As much as I liked Beats & Blood, I’d have to say that he really stepped it up on Deathwish. His production is top notch as it usually is, but the list of MCs that he brings along for the ride is much more consistent in terms of their performances.
This is a brand new collab album between Eric Bobo & Stu Bangas. The latter is one of the underground’s most in-demand producers hauling from Boston, Massachusetts & the other notably being the percussionist for South Gate titans Cypress Hill. Despite being on different coasts, both parties developed a close friendship off similar interests & are joining forces for 4/20 to drop Empires.
The title track by Vangarde is a baneful opener about painting pictures with Mr. Lif’s mind, but then the next song “Chemtrails” by RJ Payne, Vinnie Paz & Xzibit wastes no time jumping on that boom bap as the trio start shit-talking. “Get With This One” incorporates some percussion & a Godzilla-like horn section as B-Real & Pharoahe Monch get together for a homage to the classic Black Sheep joint “The Choice is Yours”, but then “Total Kaos” by Psycho Les is a spooky recap of 2020.
The song “Move Weight” by Khujo, Lonnie Lyle & The Wordsmith is a downcast look into being street-smart while “Red Dot” incorporates some chilly keyboards as Rob Markman details how every rhyme he writes is 25 to life. The song “No Survivors” by Nowaah the Flood and Watson & Holmes is a cold-blooded depiction of the streets, but then “Pass the Fire” by Demrick is a classy weed-smoking anthem. Meanwhile on “Call It Like I See It, we have Reverie hopping on a weary albeit funky instrumental to insult her competition & then we have Lord Goat teaming up with Krazy Race for the horrorcore-themed “Dark Mind”.
The song “City of Angels” by Blu & Rakaa is g-funk homage to their hometown of LA, but then “Another One for the Books” by Apathy & Celph Titled is a disgusting look (in a good way) at the things they’ve done. The penultimate track “Street Smarts” by Ill Bill & O.C. is one of the most lethal cuts on the album as they talk about “hittin’ ’em at point blank range”, but then “The Reset” by Sick Jacken & Huero Diablo is a feel-good tune about living their lives to the fullest.
I know this album has been in the works for the past couple of years now, but man is the end result a wild ride. The list of guest MCs that got to hop on board is damn near-stellar & it’s really cool to hear both of Eric & Stu’s signature sounds mesh in with each other seamlessly.
Vangarde is a newly formed MC/producer duo from Boston, Massachusetts consisting of veterans Mr. Lif & Stu Bangas. They first united at the beginning of the year after appearing on Stu’s latest EP Beats & Blood but fast forward 10 months later, they’re coming together for an official full-length debut.
After the “Global Shift” intro, the first song “Shelter in Place” enlists the help of Blacastan to discuss wanting America to do better over a noisy boom bap beat whereas the next track “Basquiat” boasts his lyricism over a dreary instrumental. The song “8:46” with Reef the Lost Cauze, Blueprint, MURS & Puma Ptah serves as a response to George Floyd’s murder over a funky boom bap beat & after the “Old World Brokeness” interlude, the track “Wave the Flag” talks about COVID-19 over an ominous instrumental.
The song “Sonar” finds The Perceptionists reuniting to get on the woke tip over a diabolical beat & after the “New World Adjustments” interlude, the track “Now’s Only Now” talks about not losing hope for the future over a monstrous boom bap beat with some keys & strings. “The New Normal” pays tribute to Gang Starr over a charismatic instrumental & then the closer “No Hitter” talks about being meant to rebel over a quasi-jazzy beat.
Stu Bangas has been having a Hell of a 2020 musically & Vangarde’s eponymous debut is no exception whatsoever. He continues to remind listeners of his place as one of the greatest producers that the underground has to offer & his sound meshes with Mr. Lif’s ever-thought provoking lyricism very well. Would love to see these 2 veterans work more with one another in the future.
Lord Goat is 46 year old MC most known for being a member of the seminal New York underground quartet Non Phixion. His 2004 solo debut The Art of Dying is a certified underground classic & it wouldn’t be until 9 years later when it was followed up with Electric Lucifer. He just dropped Coffin Syrup back in March & now 7 months later, here we are with a brand new EP produced entirely by Stu Bangas.
The opener “Red Asphalt” talks about murder over an icy instrumental whereas the next song “Infernal Majesty” with Vinnie Paz sees the 2 talking about being top notch spitters over an unsettling boom bap beat. The track “Devious” talks about how psycho he is over an ominous instrumental while the song “Mystics in Bali” with Ill Bill finds the 2 talking about Satanic antics over a grimy beat.
The track “AGC” with NEMS sees the 2 bragging & talking their shit over a demented instrumental while the song “Live from Mexico” with Blizz, Ill Bill & Spit Gemz finds the 4 talking about mobbing on dudes over an frightening beat. “The Neighborhood” with Apathy sees the 2 talking about what it was like growing up in their hometown over an hair-raising instrumental while the penultimate track “John Stamos” talks about engaging in criminal activity over a spooky beat. The EP finishes with “Glasses Onion”, where Lord Goat & Recognize Ali talk about carving up their competition over a heinous instrumental.
I think Final Expenses is the best thing that Lord Goat has put out ever since he returned to the rap game & I’ll even say it’s right behind The Art of Dying for his magnum opus. He sounds as relentless as ever on the mic & Stu Bangas does a great job at providing a great musical backdrop for him as well.
Watson & Holmes are an East Coast hip hop duo consisting of Stu Bangas on production & Blacastan on the mic. They made their debut together in 2014 with a fantastic self-titled album, which was followed up with The Uncanny Adventures of Watson & Holmes in 2017. been another 3 years, the duo are reuniting for their 3rd full-length album.
After “After Intro”, we get into the first song “Bull’s Eye”. Where Blacastan talks about how skilled he is about over an eerie instrumental. The track “Crumpets” is a continuation of where “Bull’s Eye” left off despite only being a minute & a half then the song “Don’t Judge Me” with SmooVth sees the 2 talking about growing up in the 90’s over a boom bap beat with a cumbersome guitar in the background.
The track “Sincere” lyrically is probably the most introspective cut on the entire album & the beat is pretty calming too whereas the song “Crawl Space” with Goretex sees the 2 getting murderous & the instrumental fits the vibe like a glove. The track “Behold” talks about his longevity over a suspenseful beat while the song “23 x 1” talks about how sharp his lyricism is over a daunting instrumental.
The track “Bookies” with Nowaah the Flood has a mobster feel to it down to the Italian-flavored beat while the song “Styles” talks about how original Blacastan is over a cutthroat instrumental. The track “Hair Pins” finds the duo linking back up with SmooVth to go at their competition over a buzzing instrumental with 80’s-like synths & then before the outro, the final song “Grand Imperial” with Marvalyss is just a decent riot starter.
If you wanna get into Watson & Holmes, I’d recommend their first 2 albums. However, what they do on this new one is still dope. The chemistry between Blacastan & Stu Bangas is still there without a bit of doubt but the features are hit or miss & it’s too short, only running at 27 minutes.
Stu Bangas is a producer from Boston, Massachusetts who’s been making a name for himself in the underground for decades now from his collaborative work from Philly beat-maker Vanderslice to producing projects for Esoteric & Ill Bill. However to kick off 2020, he’s surprising fans with his 2nd EP.
It all starts with “Open the Lane”, where Detroit’s very own Ty Farris comes through with some vicious battle bars over a dystopian beat. The next song “The Healing Remedy” by Vic Spencer talks about being someone you should idolize over a mellow beat while the track “Inherit the Earth” by Mr. Lif & Nowaah the Flood sees the 2 getting conscious over a suspenseful boom bap beat.
The song “Keeping Time” by Juga-Naut touches down on doing just that over a euphoric instrumental while the track “Gideon” is a vicious Watson & Holmes reunion backed with a suiting Recognize Ali verse. The song “Sound the Horns” by Verbal Kent talks about beefing over a boom bap beat with some perfectly incorporated trumpets while the penultimate track “Prayers Up” by PhybaOptikz speaks about his family over a futuristic-sounding beat. The EP then finishes off with the titular song, where Celph Titled gets murderous over an apocalyptic beat.
To kick off a new decade, it’s pretty solid. A few of the performances could’ve been better to me personally, but Stu‘s production is absolutely great. If you wanna see a beat-making veteran ringing in the new year on a high note, then give this a listen.