Juicy J is a 45 year old rapper & producer from Memphis, Tennessee most notable for being a founding member of the seminal Three 6 Mafia. He’s also had the most successful solo career out of everyone in the Mafia, releasing 4 full-lengths & a handful of mixtapes. But after being released from Taylor Gang Entertainment/Columbia Records & starting up his own E1 Music imprint Trippy Music earlier this year, Juicy is celebrating by dropping his 5th full-length album.
Things start off with “BEST GROUP”, where Juicy claims Three 6 as the greatest hip hop group of all-time over a sinister trap beat. The next song “GAH DAMN HIGH” with Wiz Khalifa is an off the wall weed-smoking anthem as one would expect while the track “SPEND IT” with Lil Baby & 2 Chainz finds the trio talking about their wealth over a piano inflicted-beat. The song “PO UP” with A$AP Rocky sees the 2 paying tribute to all the celebrities we’ve lost in recent years over a supernatural-sounding instrumental while the track “KILLA” with Conway the Machine finds the 2 talking about being posted with their gangs over a maniacal trap beat.
The song “THAT’S THE WAY IT GOES” talks about how hoes gon’ be hoes over an instrumental with some keyboards & rubbery bass while the track “SHOPPING SPREE” with Young Dolph sees the 2 getting materialistic over a tense beat. The song “1995” with Logic finds the 2 talking about whippin’ through their cities over an uptempo instrumental while the track “WHAT I NEED” is a well-transitioned 2 parter about getting high.
The song “SHAWTY BAD” reunites with Logic to get raunchy over a rambunctious instrumental while the track “LOAD IT UP” with NLE Choppa sees the 2 getting braggadocious over a suspenseful trap beat. The song “SHE GON’ POP IT” with Megan Thee Stallion finds the 2 coming together for a fun, atmospheric strip club banger while the track “MEMPHIS TO LA” with Jay Rock & Project Pat sees the 3 talking about having options over some snares & keys.
The song “DATZ WHAT IT IZ” talks about how he ain’t cool with fuck boys over a grim instrumental with some hi-hats firing off like gunshots towards the end while the penultimate track “IN A MIN” gets celebratory over an exuberant beat. The closer “I CAN’T STOP” then discusses how a big booty bitch makes him feel rich & the bass on here just hits so goddamn hard!
Overall, I thought The Hustle Continues was pretty solid. I think Juicy kinda overdid it on the features but at the same time, he shows listener that he still has it all these years later on the mic & on the boards.
Chavo is a 28 year old rapper from Atlanta, Georgia who came onto my radar after signing to Pi’erre Bourne’s very own Interscope Records imprint SossHouse Records. His 2018 debut mixtape Hood Luva was dope, but last year’s follow-up Mixed Emotions (produced entirely by Pi’erre) was even better in my eyes. But with the 1 year anniversary of that previous effort coming up next week, Chavo is reenlisting Pi’erre for his full-length debut.
The intro gets braggadocious over some synths & a flute whereas the next song “Boolie” gets on his gangsta shit over a rowdy beat. The track “X Bitch” talks about a previous girlfriend over a skeletal instrumental while the song “Deal Is” gets on the melodic, more romantic side of things over a spacious beat with some buzzing bass.
The track “I Hope You Remember” talks about continues the themes of love over a moody instrumental while the song “W.Y.F.W. (Who You Fucking With?)” ponders the question over a trap beat with some keyboards. The track “Cheap” gets on the shit-talking side of things over synth-heavy instrumental while the song “Had a Feeling” talks about never taking his kindness for weakness over a devilish instrumental.
The track “L.R. (Left Right) Wrist” talks about life as a pusher instrumental while the song “Countertops” talks about talks about erasing his competition over some synth-horns. The track “Michigan” talks about doubling up over an intoxicating instrumental while the penultimate song “Say So” continues to flex over a wavy beat. The album finishes off with “Free Max B”, which is a dope tribute to the Wave God himself backed by an impassioned instrumental.
Chavo’s World truly lives up to it’s name in my opinion not just because I think this is Chavo’s best work to date, but I can only see him getting bigger & evolving from hereon out. He delivers some of his of most captivating performances to date on a good portion of the album as Pi’erre’s production & sound are still one of a kind.
Twiztid is a hip hop duo from Detroit, Michigan consisting of Jamie Madrox & Monoxide, both of whom got their start alongside The R.O.C. as part of the trio House of Krazees throughout the early/mid 90’s. After their initial disbandment in 1997, the Insane Clown Posse almost immediately took Twiztid under their wings & signed them Psychopathic Records. But at the end of 2012, the demented duo decided to branch out on their own & started up their own record label Majik Ninja Entertainment just a couple years after. They’ve released a few outings on their own since, with the latest being Mad Season back in April of this year. However, Jamie & Monoxide have decided to go back-to-back & drop their 14th full-length album.
The album starts off with “Hallelujah”, where Twiztid talks about the game being fake over over bass-heavy trap beat. The next song “Blueprint” talks about going back to their old ways over an ominous instrumental while the track “We Just Wanna Be Heard” literally speaks for itself over an apocalyptic beat. The song “Get Through the Day” talks about wanting their pain to be taken away over an instrumental a flute in the background & a heavy guitar during the hook while the track “Come Alive” with Kid Bookie sees the 3 talking about living every day like they don’t see the sunlight over a trap beat with blobby bass.
The song “Clear” takes aim at those biting them over an instrumental with a pots & pans loop while the song “Hold Up” with Young Wicked finds the trio talking about pushing it ‘til the wheels fall off over a tropical trap beat. The song “Separate” talks about escapism over an instrumental that continues to build up while the track “Twinz” gets on their shit-talking tip over a boom bap beat with some chimes.
The song “Laughable” with Lex the Hex Master sees the 3 talking about how “one of us has to go & no it won’t be me” over an instrumental with some angelic background vocals while the penultimate track “Change Me” talks about striving to become the person you want to be over an acoustic instrumental. The closer “Never Be Nothing” talks about being misunderstood then over a trap beat with some somber piano chords.
Not only is this better than Mad Season, but I’ll also say that this is Twiztid’s best album post-Psychopathic. It all flows together so well as the lyrical subject matter has a touching, more serious tone to them & the production only enhances the emotion of each joint.
Elcamino is a 26 year old MC from Buffalo, New York who blew up in late 2017 when he dropped his self-titled EP with Griselda Records. This was followed up by his Walking on Water mixtape in the summer of 2018 along with dropped 2 studio albums & a few EPs last year. He just dropped an dope EP produced by 38 Spesh back in February called Martyr’s Prayer & now as we start the 4th quarter of the year, he & Spesh are back for another one.
The opener “Hammers on the Hip” talks about being strapped over a glistening instrumental whereas “The Avenue” horrendously sings about what it’s like on his block over a slow, dreary beat. The track “Hold U Up” continues to sing poorly (this time on some gang shit) over a gloomy instrumental while the song “Don’t Know” hops back on the rapping tip to boast over a slick beat.
The track “Hustle Like Me” talks about his grind over a woodwind-infused instrumental while the song “What I Be On” talks about being rich over a boom bap beat with some synth-horns. The penultimate track “Camino Season” talks about taking over the rap game over an instrumental with a funky bass-line & some synth-chords whereas the outro is a decent remix to “If You Want It” off the Trust Army’s sophomore album Army of Trust II.
I prefer Martyr’s Prayer of the 2, but this is still a solid effort nonetheless. 38 Spesh comes through with consistent production once again & Camino sounds like he took his time on it in contrast to a handful of his latest material.
This is the brand new EP from Charlotte’s very own DaBaby. Blowing up almost 2 years ago off his viral single “Suge”, the man would drop 2 average full-lengths to build off of it. Last we heard from him was this spring with his subpar 3rd album Blame It on Baby but in light of his brother Glenn committing suicide recently, DaBaby is back with My Brother’s Keeper (Long Live G).
The opener “Brother’s Keeper’s” is a touching tribute to Glenn with an acoustic trap beat whereas the next song “8 Figures” with Meek Mill finds the 2 talking about being in their feelings & carrying ungrateful people over a symphonic instrumental. The track “Shanyah” pays tribute to a person in his life with the same name over a funereal beat while the song “Gucci Peacoat” talks about his family over an instrumental kin to the opening cut.
The track “Handgun” with NoCap & Polo G sees the 3 talking about being strapped over a banger beat while the penultimate song “Bidness” with Toosii finds the 2 talking about mixing hoes with their business over a JetsonMade beat with some Roger Troutman-like vocal harmonizing. The EP finishes off with ”More Money More Problems”, which talks about the cons of being wealthy over some more acoustic-trap production.
Yeah, this is yet another mediocre project from DaBaby. The introspective lyrics are a nice change of pace of what he usually does on joints, but the production could’ve been a lot better in my personal opinion.
This is the 6th EP from Philly’s very own Meek Mill. Starting out as a battle rapper, he later became a protege of Rick Ross & signed to Maybach Music Group in the 2010s. We’ve all watched this man have a series of ups & downs throughout his career from his critically acclaimed Dreamchasers mixtapes to his beef with Drake. However a couple years ago, he was freed from prison after a corrupt judge sentenced him to 6 years in November of 2017 & made a triumphant return with his 4th album Championships. But with a new full-length in the works, Meek is preluding it by dropping a Quarantine Pack.
The opener “Middle of It” compares himself to Richard Porter over a trap beat with some heavy bass & a flute while the next song “Pain Away” with Lil Durk sees the 2 talking about money relieving them of their stresses over a slow instrumental from S1. The penultimate track “GTA” with 42 Dugg finds the 2 talking about how there’s certain things that don’t need to be said over a hyphy beat & then the closer “Think It’s a Game” talks about a homie who turned his back on him over a spacious instrumental.
Personally, this is a decent collection of songs & I’m curious to hear how all 4 of them play out in the context of Meek’s next album whenever he puts it out. I mean he definitely took is time with these joints & I appreciate that to the highest degree, but there’s not much else to it beyond that.
This is the full-length debut from Houston superstar Megan Thee Stallion. Rising to prominence last May with the release of her debut mixtape Fever, I myself was very impressed with how it displayed Megan’s knack for catchy songwriting, dirty south/Memphis inspired production & a unique personality. She just dropped an EP at the beginning of 2020 called SUGA but almost 9 months later, were finally being treated to Good News.
The album kicks off with “Shots Fired”, where Megan puts the final nail in the coffin in regards to Tory Lanez shooting her in the foot earlier this year over a Buddah Bless instrumental sampling “Who Shot Ya?” by Biggie. The next song “Circles” talks about her haters over a chipmunked-soul sample provided by Cool & Dre while the track “Cry Baby” with DaBaby sees the 2 getting on some Bonnie & Clyde shit over a spooky beat. The song “Do It on the Tip” with the City Girls finds the trio of course talking about sex over a knocking instrumental from Lil Ju while the track “Sugar Baby” talks about being just that over a Helluva beat clearly inspired by Mannie Fresh.
The song “Movie” with Lil Durk finds the 2 getting together for a strip club anthem backed by a nocturnal Tay Keith instrumental while the track “Freaky Girls” talks about being kinky over a glossy beat from juicy J. The song “Body” talks about being thick over some moaning & heavy bass and even though the track “What’s New?” talks about giving the middle finger to her haters, the instrumental on here might be my least favorite on the entire album.
The song “Work That” talks about riding it like a rodeo over a playful beat while the track “Intercourse” with Popcaan needs no further explanation over a moody DJ Mustard instrumental. The song “Go Crazy” with Big Sean & 2 Chainz sees the 3 talking about wilding out over a hyphy instrumental from J.R. Rotem of all people while the track “Don’t Rock Me to Sleep” talks about wanting her man to tell her what he really means over a funky ass beat.
The song “Outside” talks about she ain’t for the streets over an instrumental perfect to cruise down too while the next track with Beyoncé is a sequel to “Savage” that’s just as hard as the original. The penultimate song “Girls in the Hood” talks about being a hit girl over a Scott Storch instrumental sampling the Eazy-E classic “Boyz-N-the-Hood” & then the closer “Don’t Stop” with Young Thug finds the 2 getting braggadocious over an industrial beat.
I’ve been saying for quite a while now that Megan Thee Stallion is the illest female spitter in the mainstream right now (with Rapsody being the illest female spitter right now PERIOD) & if this album doesn’t further prove my point, I don’t know what will. On all fronts from the catchy songwriting to the versatile production, it’s pretty much her equivalent to So Much Fun.
Rasheed Chappell is a 44 year old MC from Passaic, New Jersey who’s been making music for a little over a decade now. He just dropped an EP produced by 38 Spesh this past spring called Ways & Means but to follow it up, Rasheed is enlisting Buckwild for his 3rd full-length album.
The opener “Tour Bus” with Che Noir & 38 Spesh finds the trio comparing Trust Gang to the Wu over a piano instrumental whereas the title track is essentially Shannell Griggs rapping from a penitentiary phone line. The song “Rock Bottom” with Ransom sees the 2 talking about the struggle over a melancholic instrumental while the track “Mass Media” takes a jab at news outlets over a boom bap beat with a sample kin to “#OkBye” off of KXNG CROOKED’s 2011 EP Million Dollar $tory.
The song “Crime & Punishment” talks about never letting down over a harp-inflicted instrumental while the track “Bredren” with Planet Asia sees the 2 flexing their prowesses over a soulful beat. The song “Dyckman” with The Musalini finds the 2 getting romantic over an instrumental with some beautiful vocal harmonies & after the “Post Game” skit, “The Blue Hood” tells the story of a corrupt cop over some demonic string sections. The penultimate track “C.E.O. Shug” talks about how “everybody can’t go” over a glistening beat & then closer “Black Owned” talks about doing it himself over a grim instrumental.
Personally, I think this is Rasheed’s finest body of work to date. The concepts that he brings to the table all come in together like an audio documentary series as Buckwild provides him with some suiting soundscapes.
This is the 12th full-length album from Atlanta veteran Jeezy. Dropping 2 mediocre albums at the beginning of the 2000s, it wouldn’t be until 2005 where he completely revolutionized trap by dropping Thug Motivation 101: Let’s Get It. Last we heard from Jeezy was a little over a year ago when he dropped his “retirement” album Thug Motivation 104: The Legend of the Snowman but after becoming the senior advisor for Def Jam Recordings’ chairman & given the times we’re currently in, we are being treated to a sequel to the 2008 classic The Recession.
Things kick off with “Oh Lord”, where Jeezy opens up on how nobody know his troubles but God over angelic instrumental. The next song “Here We Go” talks about keeping faith when times get hard over a gladiator-sounding beat from Don Cannon while the track “Modern Day” talks about how being black is a crime these days over an maniacal instrumental. The song “Back” with Yo Gotti sees the 2 talking about carrying their hoods over a vibrant beat while the track “Da Ghetto” with E-40 finds the 2 talking about getting their blessings in the streets over a hair-raising instrumental.
The song “Niggaz” talks about lame ass people over a wobbly beat from Charles Hamilton of all people while the track “Death of Me” talks about needing this woman over an easing instrumental. The song “Stimulus Check” gets on the woke side of things over a soulful boom bap beat while the track “My Reputation” with Lil Duval sees the 2 getting back on the romance tip over a Silkk the Shocker sample.
“The Glory” talks about g-stepping over a Marvin Gaye sample while the song “Live & Die” talks about life in Atlanta over a serene instrumental. The track “Praying Right” get spiritual over some keys & synths while the song “Therapy for My Soul” is a diss towards 50 Cent & Freddie Gibbs backed by a wavy J.U.S.T.I.C.E. League instrumental. The penultimate track “Almighty Black Dollar” with Rick Ross finds the 2 calling out big name designer brands over a horn-inflicted beat & then “The Kingdom” talks about giving them his heart over a fancy boom bap instrumental.
We all know everybody says they’re gonna retire, but I can’t even mad at this album because I think it’s Jeezy’s best album since Seen It All: The Autobiography. The production has stepped up tremendously in comparison to his last few studio efforts & his maturity really shines through.
This is the brand new mixtape from New York emcee Rome Streetz. Breaking out in 2016 with his debut mixtape I Been Thru Mad Shit. he would make his presence in the underground known with projects like Street Farmacy as well as the Noise Kandy trilogy & my personal favorite: Headcrack. He just dropped an EP earlier this year entitled The Residue & then the 4th installment of his Noise Kandy series back in June but to celebrate his 34th birthday, Rome has reunited with Farma Beats for a sequel to Street Farmacy.
The opener “Track Marks” talks about whipping up drugs over an unsettling instrumental whereas the next song “Lick da Toad” talks about being platinum plus over a tense beat. The track “Bucketz” with Daniel Son sees the 2 getting on some exploitation shit over some horns while the song “Mirrors & Smoke” talks about reaching the top over a jazzy beat.
The track “Laced” gets in his storytelling bag over a soulful instrumental while the song “Ghetto Star” declares himself as such over a dismal beat. The track “London Pound Cake” with Radamiz finds the 2 comparing their music to coke over some mischievous synths while the song “Ballad of the Lone Wolf” talks about looking for an outcome from different shit over an earnest beat.
The track “Sinsation” talks about the cash over an uptempo instrumental while the song “Eyes on Fire” with Ransom finds the 2 talking about watching those next to you over some vocal harmonies hanging in the background. The penultimate track “Lucky Stopped Dreaming” comes at his competition over a demented instrumental & then the album ends with “Word 2 Mommy”, where Rome talks about being out to get the world as it turns over a classy beat.
What a way for dude to round out the year. The chemistry between Rome Streetz & Farma Beats is just as dope as it was on Street Farmacy, especially since how much both of these guys have evolved throughout the years. Can’t wait to hear where Rome takes things in 2021.