Yelawolf is a 42 year old rapper, singer, songwriter, fashion designer & entrepreneur from Gadsden, Alabama who came up as a contestant on The Road to Stardom in 2005. His debut album Creekwater that same year, but didn’t catch the mainstream’s attention until New Year’s Day 2010 off the strength of his 4th mixtape Trunk Muzik. This caught the attention of Detroit icon Eminem, who signed Catfish Billy to his Interscope Records imprint Shady Records the following year. Yelawolf went on to release 4 albums under his contract with Slim, leaving in Spring 2019 to focus on continuing to build his own label Slumerican Records. He’s gone rogue since dropping a different project every week throughout last April, but is re-emerging with his 8th full-length album produced entirely by Shooter Jennings.
The title track is a hard rock flavored opener talking about being battle ready whereas “Hole in My Head” goes into more acoustic territory touching down on alcoholism. “Rock & Roll Baby” has a bit of a [Lynyrd Skynyrd] influence to it telling the story of a woman who’ll be heart broke by the sunlight, but then “Make Me a Believer” pulls from [Ric Ocasek] talking about self worth. Meanwhile on “Shoestring”, we have Yelawolf returning into acoustic turf detailing the tale of him barely missing bus call just before “Radio” talks about how pretty this chick used to be before she did coke & the riff has this rebellious feeling to it.
“Jump Out the Window” goes into a more cheerful direction encouraging the listener that everything’s possible, but then the song “Catch You on the Other Side” reveals itself to be a piano ballad pondering where he went wrong. The penultimate track “Fucked Up Day” has crescendoing instrumental talking about a shitty day in the neighborhood & “Moonshiner’s Run” ends the album with an ass-kicking dedication to all the moonshine makers out there.
A lot of genre-crossovers can fall flat on their faces like Rebirth & Supermarket, but I’m actually surprised at how much I liked a good portion of Sometimes Y. I really admire how Yelawolf managed to stick to a southern rock style without trying too hard to appeal to a radio market that doesn’t exist & there really couldn’t have been a better producer choice than Shooter Jennings because he really homes in on that sound pretty well.
This is the 7th full-length outing from Alabama rapper, singer, songwriter, fashion designer & entrepreneur Yelawolf. Originally getting his name out there 16 years ago by appearing on The Road to Stardom along with the mediocre debut album Creekwater, it wasn’t until the 2010s where Catfish Billy got his big break by dropping his 4th mixtape Trunk Muzik & later going on to sign a 4-album deal with the Eminem-owned Interscope Records imprint Shady Records. Once his contract was fulfilled, Yelawolf has since been focusing more on his own label Slumerican Records & celebrated his newfound independence by dropping his last album Ghetto Cowboy in late 2019. But the dude has been on a roll as far as 2021 goes by putting out a collab album with Caskey in February & a total of 3 EPs throughout this past month (one of them being a collaborative effort with RiFF RAFF) leading up to Mud Mouth.
The opener “Light as a Feather” has these unexpected cricket noises as Yelawolf talks about feeling better than ever before incorporating an organ & bass guitar to declare himself a bad motherfucker on the next song “Oh No”. “Bounce” is an in-your-face club banger that I don’t mind up until the millennial whoops that pop up during the hook, but then we get a vivid depiction of him selling drugs behind a gas station on the rap rock flavored-“Conoco”.
The track “Dope” melodically brags over an icy piano instrumental the Shawty Fatt tribute “Rocks at Your Window” is an inferior version of “Ride or Die” off Trial by Fire. Catfish Billy later picks things back up by delivering motivation on the acoustic-backed “Hillbilly Einstein” before enlisting Waylon & Willie for the electro-trap banger “Money” to declare that they don’t give a fuck about wealth.
After the “Losers Win Again” interlude, Yelawolf gets back on the country tip for the summery “Dog House” while he goes on about returning from the road on the stripped-back “Homeward Bound”.The song “Aquanet” is an odd tribute to the hair spray of the same name despite the luxurious instrumental & for the last taste of hip hop on the album, we go back into a more rap rock direction for the braggadocious “Hot”. As for the closer, the title track is a blues-sounding cut about being a product of the south.
Mile 0 is my favorite project that Yelawolf has dropped throughout the month, but this main course is pretty enjoyable. Other than a few lulls throughout the 1 hour run, it’s a solid return to the country/rock influences that began on Love Story & what other producer could’ve honed in on that sound than Jim Jonsin?
Yelawolf is a 41 year old rapper, singer, songwriter, fashion designer & entrepreneur from Gassen, Alabama coming up on the scene as a contender on The Road to Stardom in 2005. His debut album Creekwater that same year, but didn’t catch the mainstream’s attention until New Year’s Day 2010 off the strength of his 4th mixtape Trunk Muzik. This caught the attention of Detroit icon Eminem, who signed Catfish Billy to his Interscope Records imprint Shady Records the following year. Yelawolf went on to release 4 albums under his contract with Slim, leaving in Spring 2019 to focus on continuing to build his own label Slumerican Records. Dude’s been staying busy all month by dropping a project damn near each week & to come fresh off his latest EP Slumafia produced entirely by DJ Paul, we’re being treated to another EP produced entirely by DJ Muggs of Cypress Hill fame.
“W.T.F. (What the Fuck?)” kicks the whole thing off by Yelawolf depicting his seriousness on top of an string-laced boom bap beat & the next song “Geeyat Damnit” recaptures that sound except with a piano being weaved in as he spits about how he’s “getting it”. B-Real hops aboard the cavernous, money-stacking anthem “Hand Over Fist” in a natural fashion before diving into the cinematic, rags-to-riches story “Harvest” featuring Struggle Jennings.
“The Catch” is a breezy, romantic boom bap track while Caskey of course joins Catfish Billy for the rich tribute to success that is “Matador”. The song “Flea Market” with Bub Styles is oxymoron giving that they’re rapping about keeping it g over a peaceful instrumental, but then longtime collaborator DJ Paul jumps on the mic accompanied by Del the Funky Homosapien of all people come together to talk about desired-reclusiveness for the spacey yet jazzy “Privacy”. As for the closer “Dust Broom”, I do appreciate it’s wretched tone despite Christian Rose & Sam Lee having the weakest features on the whole project.
Of all the projects Yelawolf has dropped in 2021 so far, I genuinely don’t know if anything can top Mile 0. Everything about it is a welcoming detour from what you’d expect from him in terms of his wise lyrics & the lo-fi sound DJ Muggs shoots for. Will I be proven wrong when Mud Mouth drops next Friday? Find out next time on Dragon Ball Z.
This is the 6th EP from Alabama rapper, singer, songwriter, fashion designer & entrepreneur Yelawolf. Coming up in 2005 off the mediocre debut album Creekwater, it wouldn’t be until 5 years later when Catfish Billy caught the mainstream’s attention off the strength of his 4th mixtape Trunk Muzik before signing to Shady Records in 2011. After dropping a total of 4 albums under the Eminem-owned Interscope Records imprint, he fulfilled his contract just a couple years ago to focus on Slumerican Records & dropped his 6th full-length effort Ghetto Cowboy a little over 8 months later. But to continue his streak of dropping a project every week for this entire month, Yelawolf is hooking back up with longtime collaborator DJ Paul for Slumafia.
“Trans Am” is a gritty opener as Catfish Billy spits about going from the gutter to being rich over some hi-hats & plinky keys, but then Paul jumps on the next cut “Tote the Bag” to charismatically boast on top of a shadowy instrumental. The track “Lucchese” is a devilishly-produced killer anthem that I would’ve enjoyed more without the Badd Wolf feature whereas “Still the Man” bigs himself up & the beat on here is probably the darkest on the entire EP.
Meanwhile, “Don’t Need a Cup” serves as a slowed-down ode to his Creekwater whiskey brand & even though I understand that the title track is meant to be a Slumerican/Three 6 crossover, the only features that captivated me were Gangsta Boo & the Seed of 6 because Big Henri’s verse was ok & BRAY’s was hands down the weakest. “Super Geek” is a bass-heavy crowd mover about only giving a fuck once in his life & “Head Banger” is an explosive closer that sounds like it could’ve been on Yelawolf Blacksheep. I mean PRETTY SHY’s verse at the start is uneventful, but Caskey kills his in the middle.
Of all of the projects Yelawolf has dropped in 2021, I’d have to say Slumafia is my favorite thus far. Paul’s signature sound is always great to hear & it definitely brings some of the best out of Catfish Billy, but my biggest problem that I had with TURQUOiSE TORNADO makes it’s way onto here: the features.
This is a brand new collaborative EP between Houston rapper RiFF RAFF along with Alabama rapper, singer, songwriter, fashion designer & entrepreneur Yelawolf. Both of whom came up in 2011, except one of them was a former reality star & the other being an Eminem protege. Even though Catfish Billy saw much success with Shady Records (most notably the albums Radioactive: Amazing & Mystifying Chemical Tricks as well as Love Story & Trial by Fire), it wasn’t until 2014 when JODY HiGHROLLER dropped his full-length debut NEON iCON under Mad Decent. Their paths first crossed last summer when Yelawolf was featured on RiFF RAFF’s previous album VåNiLLå GöRiLLå but they’re trying to take it to the next level by joining forces for TURQUOiSE TORNADO.
“MOSSY OAK” is an ass-kicking opener as both parties express their fondness for the outdoor lifestyle company of the same name & the DJ Paul instrumental is the epitome of evil. The next track “HUMAN LAMBORGHiNi” has a plinky trap instrumental with the duo comparing themselves to the titular luxury car, but the Danny Swift verse is wack & Peso Peso’s verse at the beginning of “MONCLER JACKET” is no better. Except on here, he joins RiFF RAFF & Yelawolf to talk about making $1M over some hi-hats & a slick bass-line.
The song “ALCOHOL & WEED” is of course a party anthem with a Struggle Jennings verse that makes up for the features we heard on the last 2 cuts & an atmospheric trap instrumental whereas the title track taps in Paul Wall to freestyle about materialism with a somewhat quirky beat. The penultimate track is a mediocre 4th installment to “TiP TOE WiNG iN MY JAWWDiNZ” with an awkward 80’s synth-wave instrumental but then the EP finishes off strong with “MiLLiON DOLLAR MULLET”, which contains some of the flashiest lyricism on the entire thing & the Ronny J production is so gargantuan.
Even though I like TURQUOiSE TORNADO more than I did Yelawolf Blacksheep, it isn’t by a whole lot. I think Yelawolf has a much better chemistry with RiFF RAFF than he did with Caskey, but they kinda overdid it on the features & they can be hit or miss.
This is the brand new collaborative album from Alabama rapper, singer/songwriter, producer, fashion designer & entrepreneur Yelawolf as well as Floridian rapper Caskey. The pair have done songs together in the past such as “No Such Thing as Free” off of Trunk Muzik III & “Remember” off of Black Sheep 4 but to kick off their 2021, the duo are coming out of the woodwork with Yelawolf Blacksheep.
The album kicks off with “Just the Intro”, where Yelawolf & Caskey are going back & forth with one another for 4 minute straight over a victorious beat. The next song “Daytona” talks about how you can’t slow them down over a dim trap instrumental whereas the track “Been a Problem” talks about their stronghold on the rap game over some heavy bass & rattling hi-hats. The song “Billy & the Purple Datson” talks about doing what they have to in order to make that money over an unhinged beat while the track “Turn Up in Tijuana” talks about partying over a generic trap instrumental.
The song “Cookies” with Cub da Cookup Boss finds the trio talking about ride or die bitches over a sorrowful beat & then there’s the mediocre remix to “McQueen Fiend” off of Caskey’s previous album I Changed. The song “Open” talks about still being “open” after pulling out over a Three 6 Mafia-type beat while the track “C’est La Vie” talks about naysayers over a harp-tinged instrumental. The penultimate track “Tat Shop” talks about getting skulls inked on them for the haters over a trap beat with a cool flute incorporation & the fallen homies, but then the closer “$1M Deal” talks about being free from Shady Records & Cash Money Records respectively over a misty instrumental.
Coming away from this album, my feelings on it are mixed. I think the production plays well to both rappers’ respective sounds, but the chemistry is kinda odd considering that Yelawolf is outrapping Caskey on just about every joint.
Yelawolf is a 39 year old rapper, singer & producer from Gadsden, Alabama who first came onto the scene in 2005 with an honestly mediocre debut album Creekwater. He eventually broke out onto the mainstream in 2010 with his Trunk Muzik mixtape & eventually signed to Shady Records/Interscope Records & releasing his sophomore album Radioactive: Amazing & Mystifying Chemical Tricks the following year. A focused grouped, yet still fun major label debut. He then returned in 2015 with Love Story, where he started to incorporate country & rock music into his style. But when his childhood friend Shawty Fatt passed away at the tail-end of 2016, it caused him to disappear from the scene for a while. The man fortunately returned with Trial by Fire, a self-produced & refined sequel to Love Story. Yelawolf just fulfilled his contract with Shady/Interscope this past March with Trunk Muzik III & a little over 7 months later, we’re now getting his 6th full-length album.
After the “Mama Wolf” intro, we go into the first song “Unnatural Born Killer”. Where Yela claims himself as just that over an abrasive instrumental. The track “Opie Taylor” finds Catfish Billy comparing himself to the famous Ron Howard character of the same name over a relaxing instrumental from DJ Klever while “Box Chevy VII” is another banging installment of Yelawolf’s titular song series.
The song “Here I Am” talks about whooping someones ass over a sweet guitar line while the track “Still Ridin’” talks about leaving Shady/Interscope over a funky bass-line & some keys. The song “Lightning” tells the story of Tommy over a horror-esque instrumental while the track “Renegades” is taken off of Yelawolf’s 2016 EP H.O.T.E.L. (House Of The Endless Life). The song “So Long” is a decent country rap anthem about relationship issues while the track “You & Me” is a cool follow-up.
After the DJ Paul skit, he actually gets with Yelawolf on “Country Rich” to talk about being a rich hip hop artist from the south over an acoustic guitar. The penultimate track “Keep on Rollin’” with Big Henry & Cub da CookUpBoss is an average sequel to the song they did on Trunk Muzik III. The album then finishes off with the titular song, where Yelawolf declares himself as such over a druggy beat.
For this being his first release off Shady/Interscope, I enjoy this. It’s like a mixture between the Trunk Muzik era as well as the Love Story & Trial by Fire eras. If this is the road he wants to keep traveling down in the future, then I’m all for it.
Yelawolf is a 39 year old rapper, singer & producer from Gadsden, Alabama who first came onto the scene in 2005 with a mediocre debut album Creekwater. It wasn’t until the kickstart of 2010 with the release of his breakout tape Trunk Muzik that he would gain attention, eventually signing to Shady Records/Interscope Records & releasing his sophomore album Radioactive: Amazing & Mystifying Chemical Tricks the following year. A focused grouped, yet still fun major label debut. He then returned in 2015 with Love Story, where he started to incorporate country & rock music into his style. But when his childhood friend Shawty Fatt passed away at the tail-end of 2016, it caused him to disappear from the scene for a while. He fortunately returned with his previous album Trial by Fire, which is pretty much a self-produced & refined sequel to Love Story. Now after dropping a total of 8 vicious freestyles, he’s returning with his 5th full-length album & his last with Shady/Interscope.
The intro kicks things off fantastically, as it pretty much serves as a sequel to Trunk Muzik‘s title track from Yelawolf’s angry bars down to WLPWR sampling the original “Trunk Muzik” song itself. The next track “Catfish Billy 2” of course is a gritty follow-up to the cut that introduced the world to Yelawolf’s alter ego to begin with & even though I appreciate the song “Rowdy” for being a description of coming from the gutter as well as an abrasive beat from DJ Paul (who also provides an adrenaline pumping hook), the Machine Gun Kelly verse is laughable. The track “Special Kind of Bad” is a violin & bass-heavy love ballad that’s goes over very well, but the next song “Like I Love You” is a cringey follow-up to it with a moody trap beat. The track “Drugs” is a look at addiction over a somber beat while the song “Trailer Park Hollywood” talks about looking country fresh & the beat is perfect for the whip.
The track “No Such Thing as Free” with Caskey & Doobie is a jab at people who talk crazy over an eerie beat while the song “We Slum” with Shawty Fatt & Big Henri is self-explanatory over a banger beat. The track “Box Chevy VI” with Rittz & DJ Paul is a tribute to old school Chevrolets over a vintage Paul instrumental while the song “All the Way Up” with MopTop & Cub da Cookup Boss is a look at their feelings on fame over some keyboards & skittering snares. The track “Over Again” is a somber breakup anthem with a cloudy beat while the song “Addiction” tells the depressing story about a friend of Yelawolf’s over a piano infused boom bap beat. The album then closes out with “Over Here”, where Yelawolf disses rappers who’re only out for the fame over a settle guitar & some thumping kick-drums.
With Yelawolf’s tenure at Shady Records being over, this is the best full-length album he’s released yet. The features are hit or miss, but it’s a great return to form of his earlier work from his deadly lyricism all the way down to the menacing production. Really looking forward to the future as he is now a fully independent artist.
Exactly 5 months after the release of his previous album Love Story back in 2015, Alabama rapper/singer & Eminem protégé Yelawolf did not hesitate to announce plans for this new album over here. He spent last year dropping 2 singles, a prelude EP & then he went on a headlining tour all to promote it. However, he ended up cancelling the last 6 dates of the tour & was admitted into a psychiatric ward by his manager Jeremy Jones after an onstage mental breakdown that was resulted by the death of his childhood friend Shawty Fatt. He then re-emerged a month later under his government name stating that he lost nearly every friend & everything he had, gave his Slumerican Records label to his mother & was now making a fresh start as a new member of the renown Oakland-based alternative hip hop collective Hieroglyphics rather than staying with Shady Records & Interscope. Despite this statement, it wouldn’t be until early June of this year when he officially made his comeback with a music video along with the confirmation that he was keeping the Yelawolf name & staying with Shady/Interscope. Fast forward almost 5 months later, he’s finally releasing & surprisingly self-producing it.
The album opens up with the title track, where he’s talking about the day he was born as well as warning the listener to watch out whenever you’re around him & being back in the saddle after his recent personal issues over a killer hard rock-esque guitar. The next song “Shadows” tells the listener of how he went from going from being a vulnerable kid to becoming a criminal & the instrumental is fittingly ominous as he’s passionately venting his story to the audience. The track “Get Mine” angrily raps about getting yours over a country rock instrumental & not only does the Kid Rock hook fit like a glove, but I can also appreciate the scratches from DJ Klever as it pays tribute to all the DJs out there. The song “Son of a Gun” reflects on how his career began over some chimes with a decent guitar & some awesomely militant drums. The track “Ride or Die” is a dedication to Shawty over some perfectly gloomy piano keys & then a spoken word interlude from Slumerican signee Struggle Jennings over a twangy guitar, we are then treated to the next track “Daylight”. Here, Yela raps about his alcoholism over a country guitar & the fact that he uses the same rhyme scheme for nearly the whole first verse just proves how lyrical Catfish Billy can be.
The song “Do for Love” talks about a dad who eventually decides to rob a store as well as a mother who strips & sells drugs over a dramatic instrumental. The track “Punk” spits about feelin’ at home over a fast-tempo rap rock instrumental & the Juicy J hook makes me a little disappointed that he doesn’t have a verse on here. The song “Row Your Boat” has a somber instrumental & I definitely appreciate Yelawolf getting conscious in his fully sung lyrics, but the hook is actually super corny to me. The track “True to Yourself” passionately talks about living for the moment pretty much over an Western sounding instrumental with some background choir vocals & horns. The song “Sabrina” is a heartfelt dedication to his daughter with the same name & while the instrumental is ok, you can truly hear the pain in Yela’s voice as he’s remembering her. Especially when he’s screaming at the end. The penultimate track “Violin” cleverly compares a soldier & the country he’s fighting for to a man with an unfaithful woman over an acoustic guitar with some beautiful string sections & background vocals. The album then closes out with “Keep Me Alive”, where he explains his come up about his over a twangy guitar & settle drums. Also, the Wyonna Judd hook is probably the best on the entire album.
And as a whole, I think it’s his best full-length album yet. The country & rock elements are being fused in a lot better, Yelawolf sounds his most focused, most inspired & he’s starting to rap a lot more than he did on the last album. I‘ve heard some people say that he’s full-blown corny, but I think this is a prime example of how much of a dedicated artist he is
Almost a year after the release of his major label debut Radioctive: Amazing & Mystifying Chemical Tricks, Alabama rapper & Shady Records signee Yelawolf is now releasing his 3rd EP & he has enlisted legendary blink-182 drummer Travis Barker to produce it in it’s entirety. The EP opens with “Push ‘Em”, where Catfish Billy is energetically rapping about getting crazy over some super fast drums to give you that feeling. The next track “6 Feet Underground” talks about brawling, but the instrumental has a weird reggae feeling to it that doesn’t match the gritty descriptions & the Tim Armstrong hook doesn’t add much to the equation other than the shouts. The song “Funky Shit” picks back up as Yelawolf’s rapid delivery is fantastic, but the electronic-tinged instrumental was just ok. The penultimate track “Whistle Dixie” has some crazy rhyme schemes over some drums that’re going off like machine guns & the whistling during the hook fits in perfectly as do the eerie bells. The closer “Director’s Cut (Michael Myers & Superman)” kinda reminds me of the song “Kim” by Yelawolf’s mentor Eminem, as it vividly describes Catfish Billy murdering his girlfriend & the man she’s cheating on him with over a haunting rap rock instrumental. However, it works very well. While that Slumdon Bridge EP that Yelawolf did with Ed Sheeran several months prior was just ok, this was much better. Primarily because I see an actual chemistry between Yelawolf’s rapping & Travis Barker’s production aside from a couple duds. Hopefully we’ll get a follow-up at some point in the future