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Saint Dog’s Posthumous 4th & Final Album “Funky Soul” Returns to His Roots (Album Review)

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This is the posthumous 4th & final solo LP from Chisholm, Minnesota emcee Saint Dog. Coming up as a member of the trio P.T.B. with D-Loc & Johnny Richter, all 3 of whom would later form the Kottonmouth Kings with Daddy X in 1996 & departed 3 years later. He nonetheless remained on Suburban Noize Records & made his solo debut with Ghetto Guide that celebrated it’s 20 year anniversary in February. This would be followed up with U.S.A. (Unconformable Social Amputees) & Bozo, the latter being in tandem with Force 5 Records. In commemoration of what would’ve been the O.G. King’s 49th birthday, the Funky Soul will always live on.

The title track featuring Chucky Chuck, The DRP & Obnoxious starts with all 4 of them dropping hardcore bars over a funky instrumental whereas “Ms. Demeanor” produced by Fiasco Andretti goes full-blown g-funk with Saint talking about a chick that he considers freak of the year. “Love Affair” works in an acoustic sound thanks to The DRP making it clear that there ain’t no kindness, but then we get treated to a remix of the highlight “1 More” off KMK’s 14th & to date final group album Kingdom Come.

“Rock & Roll Gangsta” resurrects some classics vibes altogether talking about being Heaven sent on a mission leading into “Trap Jaw” featuring Danny Diablo & Son of Saint brings the trio together over a psychedelic g-funk beat making fun of everyone wanting to rap. “Rydaz” gets the whole Force 5 roster together a rap rock label posse cut & after another Kingdom Comestandout “Loyalty is Royalty” making it’s way onto the track listing, the song “Backlash” by U.S.@. maintains a rap rock sound bringing ruckus & “I Know” ends with another stripped-back acoustic joint.

Capturing the essence of West Coast hip hop that shaped the genre with a blend of gritty g-funk, robust grooves & Saint Dog’s signature hypnotic flow, Funky Soul marks a return to his roots by evoking the spirit of his early days in Placentia, California as a Kottonmouth King in what would eventually become a posthumous musical sendoff that would make him proud knowing that his legacy will always live on. Many of both Subnoize & Force 5’s artists who appear on it were influenced by Saint Vicious & I thought that was a well displayed attribute worth mentioning.

Score: 8/10

Source: UndergroundHipHopBlog.com

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Kurious Blends Technical Wizardry & Personal Introspection Throughout Rhymesayers Debut “Majician.” (Album Review)

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Kurious is a 54 year old MC from the Upper Westside of Manhattan, New York who originally came up under the moniker Kurious Jorge. He later signed to Columbia Records over 3 decades ago for the underrated full-length debut studio album A Constipated Monkey after shortening the stage name, returning 15 years later for the independently released sophomore effort II followed by a couple EPs: Koncrete Jungle & Monkeyman. For his 3rd LP however, Kurious has interestingly signed a new deal with Rhymesayers Entertainment & the late icon underground MF DOOM overseeing its creation before his untimely passing.

“Unknown Species” starts with this playfully jazzy intro hitting y’all with that funky new shit whereas “Untainted” puts more emphasis on funk music instrumentally talking about how the streets be promoting as much as it’s riddled with crime. “‘Tis the Season” soulfully feels compelled to spit the smartest within reason leading into “Eye of Horus” conveying urgency by weaving a complex tapestry of history & insight the midst of ducking through & under each pocket in the beat.

As for “1984”, we have Kurious over a sample that throws it back to 4 decades prior getting his b-boy bag lyrically just before “Teach & Forgive” brings a dusty boom bap flare to the table talking about everyone bring sinners & referring to the Earth as primal. “Separation Anxiety”, happens to be this a personal bloodletting in the form of lyrical exercise over this raw synth-driven instrumental, but then “Cow’s Eye” hooks up some horns to talk about feeling emptiness in the heart & the stomach burning being part of the game.

“Bacalao Opera” hops over a vocal sample charging it to the fact of protecting one’s inner vision while “Majical Journey” brings the synths back talking about respecting time so that it eventually respects us. “Barry Gibb” keeps the keen ear for sampling on display treating his people as if they’re royalty & “Par for the Course” featuring Mr. Fantastik makes drum breaks from the early Reagan era sound totally revitalized keeping this this thing of theirs crackin’.

The penultimate song “Open” featuring Homeboy Sandman nears the end of Majician. with both MCs on top of this drumless beat wanting to know exactly what the motive is recalling an unpleasant or embarrassing experience in the past that others would rather forget right after the “Majic” interlude, the closer “Come Back” has this symphonic vibe that I enjoy throughout addressing those who want the payoff & never craving chaos.

A mesmerizing blend of technical wizardry & personal introspection, the radical amount of work Kurious put into his Rhymesayers debut cements his place as one of the premier MCs of his time in addition to substantiating the legacy he has long deserved & removing all ambiguity from the question of whether he can stand as one of the premier MCs of his time. Mono En Stereo’s production feels nostalgically reminiscent to DOOM’s material & Kurious himself steps up his lyrics compared to his previous EPs.

Score: 8/10

Source: UndergroundHipHopBlog.com

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”Stabbed & Shot 2” Displays the Growth in Both Benny the Butcher & 38 Spesh (Album Review)

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Here we have the 2nd collaborative LP between New York rappers Benny the Butcher & 38 Spesh. One comes straight outta Buffalo becoming 1/3 of the core Griselda Records trio & the other hails from Rochester. There was even a point in time where Benny was signed to TCF Music Group years before Griselda went on to take over the underground altogether & they’ve worked with each other numerous times over the course of their careers. 6 years later, they’re linking back up for a sequel to Stabbed & Shot.

After the “Still Better” intro, the first song “1st of April” produced by V Don starts with a dreary boom bap instrumental talking about being staples in their corners whereas “High Stakes” finds the 2 showing off their street ties maintaining a dark atmosphere to the beat. “Thruway Music 2” is a sequel to a highlight off the first Stabbed & Shot continuing where the predecessor left off prior to “Who Really the King?” talking about people acting like family when that isn’t an action word over strings, kicks & snares from Chup.

“Center Stage” heads for a soulful direction thanks to Harry Fraud reminding us that they actually be living that life just before the 2nd & final single “Brick Specials” comparing their lifestyles to that of a lit movie. The lead single “Jesus Arms” featuring Busta Rhymes was a step above the b-side from the Bink! beat to the mobster-themed lyrics, but then “Hometown Hero” talks about their statuses in Buffalo & Rochester respectively.

Dave East & Klass Murda join Benny & Spesh on “Bad Guy” pointing out the fact that some don’t show you love until you start catching Ws while “Money Counter” hooks up some sampling teaching us that jealous friends happen to be the most foolish in the circle. “Internal Affairs” featuring O.T. the Real brings the trio together over a raw Daringer instrumental bringing it hardcore while the STREETRUNNER-laced “Intent to Sell” gets back on the hustling tip.

The song “Coke Runs” featuring Ransom gets the encore of Stabbed & Shot 2 going by making it clear that you haven’t seen the impressive traits that they all share in the past while “Watchlist” gives off more of a jazzier vibe to the beat talking about making $100M requiring risk. The closer “Power” featuring Elcamino finishes the Stabbed & Shot sequel talking about power becoming the cause of separation in the room.

Much has changed in the interim in the past 6 years including the respective statures of Benny & Spesh as they have both grown, elevated & evolved. Stabbed & Shot 2 though has made it’s case in being the rare sequel that surpasses it’s predecessor with Benny returning to his roots by reconnecting with the TCF founder to go on another round of paper chasing shooting for a sound that can only come from experienced street hustlers.

Score: 9/10

Source: UndergroundHipHopBlog.com

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Mr. Cliffnote Teams with Architect Entertainment to Release His Best Album “Duly Noted” (Album Review)

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This is the full-length debut solo album from Detroit emcee Mr. Cliffnote. Starting in 2006 off his eponymous debut mixtape, he would form the duo Sidenotes with the homie B-Side a little bit after that & went on to drop the sophomore tape Path to Notification followed by the Note to Self EP a few years ago, the latter of which I reviewed positively. Ahead of Path to Notification 2 however, Cliff’s celebrating his born day by releasing Duly Noted through The Davis Way’s label Architect Entertainment.

“New Jax” produced by Foul Mouth starts with a soul sample & Cliff mapping out the heart of the city instead of tryna party with the now disgraced music mogul Puff Daddy a.k.a. P. Diddy or Diddy whereas “Built fa Dis” takes the boom rap route instrumentally thanks to Nick Speed welcoming y’all to his church & asking to sing him a hymn. “Gonzo Outside” works in more sampling talking about still collecting chickens when he’s dead & gone prior to the slow jam “What’s It Gonna Be?” discussing not hesitating to throw away the goldmine when it’s go time.

Meanwhile on “Win Man”, we have Cliff fusing elements of trap & soul together thanking the most high for collecting all the Ws in his career leading into “Dreamin’ Season” maintains the soulful chops & hi-hats to talk about now being time to put the effort in instead of daydreaming all day. “Would Not Pay” gives off a classy boom bap vibe telling the story of a woman who got him saying all types of shit he wouldn’t find himself saying, but then “We Don’t Know You” featuring Fat Ray & Stretch Money brings the trio together for a nearly 3-minute Detroit trap heater.

“Pose fa da Photo” jumps on top of this delicate sample pointing out that you can get popped in his neck of the woods hence why he always carries a .44 Magnum on him while “Fuck Shit” goes for a summery boom bap flare telling everyone coming at him as a result of Talib Kweli unnecessarily dissing him to get off his dick. “Strathmoor Kid” has my favorite Detroit trap beat on the LP courtesy of DJ Jewels cautioning not to trip when you pitchin’ & them fastballs hittin’ just before “Soul Proprietor” featuring Kuniva finds the pair giving y’all food for thought over a boom bap instrumental that Ilajide cooked up.

Pushing towards the final moments of Duly Noted, the song “Movin’ Up” returns to a Detroit trap sound flexing that they don’t make ‘em like him anymore even if Rich Starz’ auto-tuned hook does absolutely nothing for me with all respect & “Gold Chain” ends on the soulful boom bap note with the help of Sterling Totes telling everyone listening to do things for hip hop culture that others out here won’t even do for themselves.

Kweli going at Cliff was further confirmation of what I said in my Liberation 2 review about Talib & one of my top 10 producers Kanye West in the sense that both of them are established veterans with an insane amount of artistic talent who publicly make asses of themselves on the regular since the apple really doesn’t fall far from the tree in the grand scheme of things other than Kanye having a bigger platform than Kweli does. Duly Noted though has now become Cliff’s best work. The production that Foul Mouth, Nick Speed, DJ Jewels & Ilajide offer a unique mix of old & new sounds within the Detroit landscape & Cliff steps up his A-game lyrically.

Score: 8/10

Source: UndergroundHipHopBlog.com

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Maddog McGraw’s 2nd EP “Michigan & the Mecca” Prod. by Ras Beats Showcases the Different Sides of His Lyrical Abilities (EP Review)

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Lansing, Michigan emcee Maddog McGraw teaming up with Ras Beats for his 2nd EP. In the last 7 years, he’s gone from his debut EP Green Beret & both Grumpy Old Man mixtapes to the debut album Shit Talking 201 from the summer prior. His uncommon versatility whether it’s vivid storytelling, delivering sensual sexy grooves or rugged & raw bars give a well rounded spectrum of the art form and Michigan & the Mecca caught my attention with Jake Palumbo doing the engineering.

The title track starts with this boom bap instrumental with an organ-sample referring to himself as the underground greyhound whereas “Neanderthal” works in an atmospheric backdrop with kicks & snares dissing those who’re lyrically subpar. “Church” maintains a boom bap sound letting it be clear that this is the end of the search for those who’re looking for hip hop at its purest while “Disorderly Conduct” ruggedly talks about the lyrical aggression poetry packing punches.

“Magnificent Misfit” keeps it in the basement instrumentally serving Fatalities to new jacks on the mic like it’s Mortal Kombat & “Shit Talking 202” serves as a welcoming spiritual successor to his debut. “Right Here” dustily boasts that the neighbors give them studio applause once they’re done & “Rebel Yell” passionately talks about coming too far to fair at this point his career. “Black Man’s Blues” finishes the EP by showing a consciously introspective side to him.

Michigan & the Mecca showcases the different sides of Maddog McGraw’s lyrical ability as he takes you on a tour through Lansing showcasing his Southern roots, storytelling rhymes, clever wordplay & superior braggadocious rhyme schemes so Ras can bring his whole arsenal out by giving Maddog an array of chopped up synths, choirs, horn stabs, basslines, guitars & synths to express himself to.

Score: 8/10

Source: UndergroundHipHopBlog.com

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Tha God Fahim Fires Off His “Machine Gun Vocabulary” (Album Review)

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I’m pretty sure this is the 23rd full-length studio LP from Tha God Fahim. Starting as an affiliate of Griselda Records as well as being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. But dude has been on a CRAZY ass EP run in 2023 with the standouts being the  Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull & the Nicholas Craven-produced Dump Gawd: Shot Clock King 4, the Oh No-produced Berserko, Fahim’s last EP Dump Gawd: Rhyme Pays produced by Mike Shabb, Tha Supreme Hoarder of All Pristine Wealth & more recently Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul from a few weeks ago. Dump Goat II mixed 9 new songs with 10 previously released joints & some of the guests on Machine Gun Vocabulary produced by Cartune Beatz caught my attention.

The title track starts with a reversed sample mixed with kicks & snares so he can gut & filet all these MCs who wanna battle him whereas “Volatile Vernacular” featuring RJ Payne works in another boom bap instrumental talking about haters meeting all types of death. “Detonate” hooks up some ghostly sampling flexing that his name rings bells like Biggie kickin’ in the door until the piano-driven “Prolific Pen” featuring Cormega finds the 2 talking about their superiority in the long-awaited collab.

“Brilliance” grittily promises this as the start of something big & major leading into the hardcore “Audible Ammunition” featuring Skyzoo talking about nothing controlling them. “What You Wanna Say” featuring Lørd Skø jazzily finds the new poor Lørd Jeff Hardy & the Dump Gawd giving Stone Cold Stunners, but then ”Prove & Show” returns to the boom bap talking not slowing down because he has a family to feed. “Cleanse” nears the end of the album comparing himself to Errol Spence Jr. & “Damages” finishes up with 1 last dusty track maintaining a winning streak.

For this being the 3rd LP of Fahim’s to come out this year, I’d put Machine Gun Vocabulary above Dump Goat II & behind Supreme Dump Legend: Soul Cook Saga. Cartune Beatz’ boom bap production is incredibly consistent over the course of the 27 minute listening experience & even if it’s not a surprise that all the guests killed it with their contributions, the Dump God makes it all live up to the name comparing his lexicon to that of an SMG.

Score: 9/10

Source: UndergroundHipHopBlog.com

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Big Trip’s 4th EP “Honestly Filthy 2” Prod. by Jamil Honesty Further Strengthens Their Chemistry (EP Review)

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Detroit, Michigan emcee Big Trip reuniting with Jamil Honesty for his 4th EP. A member of The Umbrella collective, he introduced himself in 2021 off his first EP Bullet Tooth Tony followed by another one Crasseux & of course the full-length debut album Filth Be Thy Name. All of which showed the underground what Big Trip was capable of doing on his own, but Honestly Filthy would elevate him & the sequel here is shaping to maintain the classic caliber they reached over 4 months ago.

The piano-driven boom bap intro talking about everyone else being unable to come outside until they say so whereas “Wave Runners” featuring Jamil Honesty & Snotty finds the trio aggressively referring to themselves as trendsetters. “Kenny Lofton” takes the soulful boom bap route instrumentally to write pain with a golden glove prior to “Ice Wood” featuring Mvck Nyce paying homage to the late, great Blade Icewood.

“Clout Chasers” hops over a vocal sample observing a drought in real ones out here this day and age while “In the Filth We Trust” returns to the boom bap talking about getting it out the mud with no luck. “Gold Mouth” featuring Mickey Diamond maintains a dusty edge getting on their street shit together, but then the outro brings back the exact same beat as the intro so Trip can body it again talking about being destined to shine.

What made Honestly Filthy the best entry in Big Trip’s whole discography for me personally was the fact that it excellently refined everything that you’ve heard from him previously & the sequel takes that to a whole new level. His hardcore lyricism & Jamil Honesty’s boom bap production from the predecessor carry their way onto the follow-up, except their chemistry is being further strengthened.

Score: 9/10

Source: UndergroundHipHopBlog.com

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Joell Ortiz & The Heatmakerz Take Us to “W.A.R. (With All Respect)” [Album Review]

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Brooklyn, New York veteran Joell Ortiz is back for his 9th studio LP. Emerging after being featured in the Unsigned Hype column of the March 2004 issue of The Source Magazine, he went on to sign to Aftermath Entertainment for a brief period of time before leaving to drop his official debut The Brick: Bodega Chronicles under MNRK Music Group. I also can’t forget to mention when Slaughterhouse rose to prominence off their self-titled debut, which led Eminem signing the supergroup to Shady Records a decade ago already. But sadly, their major label debut welcome to: OUR HOUSE that came out the next summer would unfortunately end up being their last & everyone has been doing their own thing since. 3 years since Autograph however, The Heatmakerz are jumping behind the boards throughout the duration of W.A.R. (With All Respect).

“W.A.R. Welcome” featuring I Born starts with a bluesy boom bap instrumental allowing them to open up our minds taking us to war with all respect whereas “Mamma Loves Me” moves forward with a passionate tribute to his mother, who helped pushed him further in his music career. “Fortune 500” keeps it 100 by talking about having 100 less friends since more problems emerge the more money you make, but then “Reaper Man” strips the drums completely telling the grim reaper he’s taken enough.

The atmospherically spacious “So Lost” works in more kicks & snares talking about feeling lost sometimes as of late just before “W.A.R. (Worry, Anger, Resentment)” featuring Styles P peacefully gives thanks to God since every single one of us are in debt to Him. “Imagine That” featueing Ransom soulfully flashes back & fast-forwards into the present doing all they dreamed while “WAR” featuring M.O.P. returns to the boom bap warning that y’all don’t want beef with them.

“Please” brings the soul vibes back for a ballad dedicated to his best friend/1 true love & after the “My Childhood” skit, “All the Years” officially wraps up Yaowa’s first solo effort since H.A.R.D. or the Housing Authority Rap District no longer putting out anymore duo projects with 1 more drumless banger reminiscing over the loved ones who can’t be with him today.

I personally prefer the Signature remixes that L’Orange did for Autograph even though I appreciate the highlights off the original version. Nevertheless, W.A.R. (With All Respect) is easily my favorite of Joell’s since Monday & will arguably go down as one of the best albums that he’s ever made period. The Heatmakerz’ production sticks to their signature, soulful boom bap & drumless sound & Yaowa’s performances are better than the last couple H.A.R.D. efforts.

Score: 9/10

Source: UndergroundHipHopBlog.com

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King Kong Bundyy Tells “Tales from Castle” (EP Review)

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This is the 3rd EP from Spring Valley, New York emcee King Kong Bundyy. Originally starting off under the moniker G-Field, he would put out 2 mixtapes Street Credibility & Bail Money before Benny the Butcher signed him to his ever-growing indie label Black Soprano Family Records for his 2019 debut EP Living Life Bundyy. A follow-up EP The Lost Files happened to be unearthed by B$F last Black Friday & now that the 1-year anniversary of the predecessor coming next month, Bundyy’s returning a week after the 4th quarter of 2024 began so he can tell some Tales from Castle.

After the “Heavyweight” intro, the “Where Was You At?“ remix featuring Funch the Camden Kid truly starts the EP with both artists over a piano-trap beat talking about almost giving up wanting to know where the homies were at their lowest whereas “Do or Die” featuring SuperChilly takes a cloudier approach instrumentally asking nothing more than trust. “Gotta Get Mine” works in a soulful boom bap beat to put his life on the line taking risks while “Mozart’s Keys” grittily talks staying in the trap since it doesn’t get boring. “Kan’t Sleep” ends the Tales from Castle soulfully discussing being unable to sleep these days.

Living Life Bundyy & The Lost Files are both good places to start for any B$F fan who has yet to familiarize themselves with King Kong Bundyy, but I’d recommend Tales from Castle since you get a better idea as to who he is & where he comes from in to addition to him artistically himself to a new level. Even if both of the features are ok, the Spring Valley artist gives the listeners a glimpse of the personal experiences that’s he’s had on Castle Avenue with the production healthily balancing the boom bap & trap sounds.

Score: 7/10

Source: UndergroundHipHopBlog.com

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Pro Dillinger’s 7th Album “Dirtwave” Prod. by Futurewave Surpasses “Pray for My Prey” For Being His Best Material (Album Review)

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Haverstraw, New York emcee Pro Dillinger surprise-releasing his 7th studio LP. A member of the Umbrella collective as well as 1/2 of The Steiner Brothers, he has released a total of 5 mixtapes along with his last 5 albums & even 7 EPs. Favorites include the Finn-produced debut Pray for My Prey, the Machacha-produced Dirt Don’t Hurt, his 3rd EP MOSFoul, the Sting vs. Flair collab EP with Mickey Diamond & the Steiner Brothers’ eponymous debut. Dirty Work celebrated it’s 1-year anniversary earlier this summer & the dirtiest of the Umbrella brought Sean Kelly back to handle production for Reasonable Dirt much like Forever Foul, but is coming off the Don’t Feed the Animal EP by enlisting Futurewave for the highly anticipated Dirtwave.

“Still Here” is this soulful opener with Pro talking about everyone tryna rap out here actin’ weird in addition to there being a difference between men & mice whereas “Summer Smoke” takes the boom bap route instrumentally wantin’ it all & mobbin’ out. “Gun Play” maintains a dusty vibe altogether to talk about being strapped prior to “Magic” hopping over more perfectly crafted boom bap production flexing that he had to throw away his old bitch & not to fuck with him.

Daniel Son appears on “No Loyalty” to angrily call out everyone in the streets who’re disloyal just before “Target Him” featuring Blakkito spaciously makes it clear you ain’t dirt if you ain’t down with the gang. “Flower” gives off a magical boom bap edge showing his love for the Bonnie to his Clyde while “Back Home” by The Steiner Brothers talks about elevating over kicks, snares & a soul sample. “Say So” rightfully asserting Dirtwave’s masterpiece status & “Power Trippin’” ends it by discussing counting differently.

I’ve given Futurewave his props for being one of the greatest underground producers in recent memory plenty of times before & as I had expected, Dirtwave here has now surpassed Pray for My Prey in becoming my favorite body of work in Pro Dillinger’s discography. The production is as perfectly consistent as the previously mentioned debut if not taken to newer heights, I like that they’re only 3 guests & the Haverstraw lyricist himself goes harder than he did on his last 2 offerings.

Score: 9/10

Source: UndergroundHipHopBlog.com

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