Meek Mill drops a new project that is mainly a collection of freestyles over some current popular beats. As far as the rhymes, they pretty much all sound like throwaway rhymes. His flow is all over the place and he can’t seem to stick to the beat at all. The beats selected are pretty standard. He is rapping over a lot of the most popular beats out right now like “Wait 4 U” and “Super Gremlin.” This really isn’t one that most people will be playing back over and over again. This one really isn’t going to make a lot of noise out there at all.
Tory Lanez drops another turd of an album off for fans to suffer through. His lyrics sound like everything else out there today. The only positive I could offer is that his flow is pretty decent at times. You won’t be rewinding back many songs to catch what he said because he ain’t spitting bars like that too often. The production on here has more of an upbeat feeling as more songs are up tempo club style songs. The highlight of this project is probably “Albany Bahamas” which is one of those rare glimpses where Tory Lanez is actually giving us some decent bars. I might even give an honorable mention to the track “The Vent” which is pretty similar as far as the bars go. They are very reminiscent of what Drake does on his albums where he gives you those occasional songs that are just bars. These songs aside, you really aren’t going to find much quality on here. I’d download just those two tracks and keep it moving.
Megan Thee Stallion drops a new album that is basically an ode to her vagina. There really isn’t too much other substance matter on here. Sure, it’s a feel good album and might make you dance here and there. As far as technical bars go, Megan is okay but really isn’t doing a whole lot on the mic with this one. You’ll get a ton of whack features from terrible “rappers” such as Future, Pooh Shiesty, Key Glock, and more. A lot of the beats are very similar and make people want to dance I guess. You’re not really going to get a lot of diversity on this album. Hopefully this was just an album that was thrown out there quick to fulfill a contractual obligation because it sure sounds like it. Megan is definitely good for some shock value when it comes to singles, but when it comes time for the full album, it seems to fall short. If you are looking for a ratchet gynecological soundtrack, then this is your album.
Bizarre drops a new album that is probably better than he normally performs, but still not very good. The name of the album and the cover art are not really appropriate for today’s climate. Mass shootings are out of control in the United States and people are losing loved ones. This guy calls his album He Got A Gun and has a picture of himself putting a gun in his mouth as the cover. Read the room dogg, probably not a good idea. On the mic, Bizarre is all shock value. The bars aren’t really good. He just tries to say crazy stuff for the sake of saying crazy stuff. He actually got some pretty good features on here from the likes of Nems, Ty Farris, Guilty Simpson, Young Zee, and more. Ty Farris and Nems’ verses absolutely stands out as some of the better ones. “25” is probably the highlight of this album with great verses from Nems and Young Zee. The beat is pretty slamming as well. All in all, it’s more crap from Bizarre that is slightly better than usual.
Only 4 tracks. Mach Hommy. Incoherent rhymes yet again. Features from Your Old Droog and Tha God Fahim are dope. Beats are halfway decent. Not too bad in that category. Not a whole lot to go on. Prob skip over this one.
Earl Sweatshirt drops a new project that lacks a bit of direction. It just sounds lazy overall. The bars are not very good or focused. You listen to the tracks and think, “This doesn’t really go anywhere or have a purpose.” Earl has a good voice, but I don’t think he is utilizing his full potential. The beats on here are decent. They were probably good enough to turn this into a decent album, but you can’t rely on just 1 side of the coin to save an album. You have to have a total package. This one really didn’t go over to well in the end.
Defari hits us with another quick release. This one is called Hard 7 and accordingly only has 7 tracks. I definitely want to say that it might be completely on me, but I just didn’t “get” this one. This one went right past me without much of a reaction. I like Defari’s voice and his flow is decent, but the rhymes didn’t really touch me with this effort. Some of his hooks are really strange as well. They just seem forced on this one. Another quick note is his subject matter being very religious. There is nothing wrong with that at all. The one thing that could be pointed out is that this may not appeal to wider audiences because of that. The beats on here are pretty standard. There really wasn’t anything that stuck out to me or that I would have on repeat. This was definitely not one of Defari’s better releases.
Reef The Lost Cauze teams up with Caliph Now to release a strange new album. I love Reef but this one just wasn’t up my alley. There are a lot of really different samples used here and it just didn’t resonate with me. When you hear Tom Petty’s “It’s Good To Be King” on a record, you know you are in for something real different. On the mic, Reef is always able to spit dope and ferocious bars, but when the beats don’t quite hit right, it’s not really something that is going to be in regular rotation. Again, I love Reef and respect him, but this album just didn’t do it for me.
Max B drops off a pretty average album for himself. If you are looking for bars, this is not really the place to get that. It’s more of a vibe or a style than anything else. There are features from Raheem DeVaughn, French Montana, and Giggs. The beats on here are pretty average overall. There are some old school samples that are pretty decent, but there really isn’t much you are going to put on repeat here. I guess one would have to be in the mood to want to throw this on. I’m sure there are some people out there that would want to throw this one on, but it isn’t me.
Bizarre from D-12 drops a new album that is pretty bad overall. He was never really known for being lyrically good, just more of a gimmick. This new album is nothing more than that. His bars are pure shock value and not really much of a lyrical value at all. The best verse on here is a feature from Merkules on the track “Ugly” which Merkules bodies the track. Other than that, there really isn’t too much to expect on here lyrically. The beats are decent throughout the project. There really isn’t anything that will be considered classic, but there are some tracks that have some hard drums. All in all, this is most likely one that people will want to pass on.
Kidd Kidd drops a new project that he seems to have taken a step backwards on. His bars are pretty basic throughout. His flows are what we would expect at this point. His use of autotune can be very annoying at times. There really isn’t too much that we are hitting the rewind button on with this project. The beats are pretty basic as well. There is one track that stands out amongst the rest. “Stand Alone” has a really dope beat and Kidd Kidd does a pretty decent job on the mic. There are no features at all on here. It just doesn’t appear to be one of his better recordings. We’re always checking for Kidd Kidd. This one just didn’t do it.
Dru Down gives us another dose of his Living Legend series. This one isn’t too impressive overall. You’re not really getting anything special on the mic. His bars are pretty simplistic. He’s got a decent flow if nothing else, but you won’t be hitting the rewind button on this. You’ll get features from Krayzie Bone, Yukmouth, Keak Da Sneak, and more. The production is also very basic. It has a Bay Area slant to it, but it’s definitely below average work. This is not one that is going to get a lot of play. Hip hop fans will more than likely want to skip over this one.
French Montana comes back with the fifth chapter in the Coke Boys mixtape series. This one isn’t very good. There’s really not a lot that is salvageable from this one. French Montana is the type of artist that will make 100 songs and there might be 2 or 3 good ones in there. A lot of these songs on here sound the same. It gets real repetitive. The beats are decent, but when French tries to put whack lyrics or hooks over top of them, it often devalues them. He’s not really that good of a lyricist. He pretty much makes this newer style music to stay relevant. If there are highlights on here, it would be the songs where he flips older samples. On “Straight For The Bag,” he flips the Three 6 Mafia sample for “Who Run It.” On “Big Cap,” he flips Warren G’s “This DJ” and those songs sound pretty decent. Most likely because they sounded good the first time around. Most artists can’t go wrong when they remake an older song like that. This one is definitely an album I would probably pass on. You’re not missing much.
This new project is not really a rap album at all. I mean sure, AG spits some really good bars on here, but if you are looking for that classic boom bap DITC sound, this album is not for you. The production is really the part that brings these projects down. With the sleepy, dreamy type beats, it just brings things down a bit. AG is a dope lyricist and does his thing absolutely, but it doesn’t really help out the music side much. I would probably pass on this one.
Bizzy Bone drops a new album which is a little bit disappointing. With his last few solo albums, he hasn’t really given us something that will be classic or memorable. The one thing I do recognize is that he was attempting to get that classic, melodic, and harmonic Bone Thugs N Harmony sound back. He definitely tried to recapture some of that, but I think he fell short. His bars aren’t really anything rewind-worthy. There aren’t really any infectious hooks going on. The beats are pretty substandard across the board. He’s definitely a veteran and definitely worthy of respect, but with this particular project, he just didn’t really translate any kind of a worthy sound. Hoping that future projects will get better.
This one wasn’t as strong as a release for Kidd Kidd as I had hoped for. Kidd Kidd delivers song after song that is just littered with auto-tune in a last-ditch effort to stay relevant it almost sounds like. The closeness with his family, friends, and community is very dope and that comes across in many of his lyrics, but the complexity of his bars is pretty lacking. So he has got the authenticity, but he is lacking more of the talent side on this project. The beats are pretty standard on here as well. You’re not really going to get too much that is rewind-worthy there. This is the type of project you will probably only be listening to once and moving on. Better luck next time Kidd Kidd.
DITC member AG teams up with producer Ray West to give us a pretty subpar project. This one flops pretty hard. As far as the bars go, we got a lot of respect for AG, Party Arty, and other members of the legendary DITC. Party Arty probably stands out the most on this project lyrically with his hard bars. The biggest problem with this project is the production. The sleepy and often times dreamy beats are enough to put the listener to sleep. This is not really the project you want to throw on if you are trying to get hype. When you put great rappers over these beats, it definitely brings down the overall quality of the lyrics as well. This was just not a very calculated step. We hope to hear better stuff from AG to come.
Noreaga teams up with Justice League to give us an extremely quick EP. I love Nore but this one just didn’t cut it man. The one thing I can say positive about it is that Noreaga is very straightforward and speaks with conviction and purpose throughout this project. We definitely don’t get that fun-loving and zany Noreaga on here with his witty lines. The production on here is definitely slowed down and not hype like we would expect a Noreaga project to be. I almost hate to say it, but this project wasn’t necessary. I hope for some better quality from Noreaga in the future.
Fabolous took a step backwards with this release. He always has the rhymes, that is no question. It feels like throughout this one, he is dropping jewels here and there. It’s almost like he is giving some life lessons or preaching all throughout this record. The places where this project suffers are the production, the hooks, and song structure. The beats are pretty much the same as all the other trap garbage out there today. There was nothing new or interesting. Nothing that anyone can really bop to. Fabolous did this one before back in the early 2000s and seemed to sell out and this record seems like he is doing that again. He is trying to appeal to a younger audience by making their style of music. That trend is ending. The hooks sound like the same ol auto-tuned, whiny hooks that we always hear in every record out today. There is nothing really memorable that sticks out. Fab, you definitely didn’t do anyone any favors with this one. Let’s hope for more next time.
Off the top, I have to say that I have much respect and admiration for Big Shug. He totally represents the Gangstarr foundation and has been such an integral part of that whole movement. I respect him as a rapper and he is good at what he does. That being said, this album just didn’t do it for me. I think it started out strong with some great and tough rhymes from Shug. Beats like “EMF” with it’s hard boom bap drums and Snoop Dogg vocal samples shows why DJ Premier is the best person to produce for Big Shug. But as this album plays on, I think it gets weaker. I don’t really want to hear Big Shug sing. To me, it just doesn’t sound right. It’s not him at his best. And he does that way too much on the second half of this album. It really gets sleepy later on in the project and makes you want to turn it off. While there are a few songs that shine on here, overall, it was pretty lackluster. We’re hoping for a better project next time around.
Common drops off a new album and this one falls short a bit. There’s no question that Common has always been a dope MC. You can’t debate that fact. This new project sounds like he walked into a jazz lounge and just freestyled on the mic. While he is definitely able to put rhymes together well, it doesn’t sound like there was much preparation on this project. It all sounds really “off the top of the head.” The beats are very laid back and jazzy so listeners will miss those magical DJ Premier and No ID moments of the past. Common needs those kinds of tracks to show us why he is so great. He can definitely balance it out with through a few love tracks in there as well. This project simply didn’t deliver much on either side of the coin: both rhymes and beats. We are definitely hoping that Common will deliver more on his next go round.
Another quick and weird project from Earl Sweatshirt. His name and his voice are of course brilliant, but this one could have used a little more work. At times, it almost sounded like he was really spitting with his bars and his flow. I liked the track “Names Thebe.” His flow was really dope on there. That beat was pretty decent as well. This was probably the highlight of the 5-track project though. Overall, you get some weird bars and weird beats. I guess only the true fans are going to understand it. I didn’t hate this one though. He did better than his last project.
Max B is out of jail and back at this rap game with this new project. One thing that is definitely true about this project is that every song is exactly the same. Max has the same flow and same rhymes on every track. It gets monotonous to listen to sometimes. I think he is the type of artist that might be good for a feature or a hook just as Jim Jones used to recruit him frequently for songs. When it comes to a whole project, I don’t know if he quite has it in him to go the distance. This one got to be hard to listen to the further into I got. The best track is “Long Time” because it has a sped-up, soul sample like the Diplomats used to favor heavily. The beat is fire, but Max B has to do his whining over it. French Montana features on the track and sounds pretty decent. Overall, I’d probably skip over this project. Max must not have been fully rehabilitated while in the clink. Can he improve on future projects? I guess time will tell.
This is another project from Mach Hommy that wasn’t too good. It’s quick at only 7 tracks so that is some good news. His rhymes aren’t very strong, but his flow is okay on here. The features he has from Tha God Fahim and Your Old Droog far outshine his own rhymes so it was good to see some decent features on here. The beats this time around were pretty decent. At times, they were a bit slower, but all in all, not a bad job on the production side of things. True fans of his might be feeling this project, but definitely not us here. This is going to be a pass on this one.
This is basically not a rap album at all despite Tyler The Creator being a rapper. If we are breaking this down between beats and lyrics for a review, they really are two vastly different functions of this album. If you are a bar head and are looking for great lyrics, this is not the album for you at all. He barely even raps on here and when he does, it is more of a wishy-washy, dream-like thing that he is trying to do on this project. Not really worth the attention to even listen to the lyrics. The production side of this project is a lot better than the lyrical side. While I wouldn’t say it is perfect by far, it is interesting and you can tell there was a destination they were trying to reach with the music. It’s almost as if it was an experimental try and it actually worked. There were definitely more than a few moments that were at least sonically pleasing. All in all, I would probably recommend skipping over this one.