The Madd Rapper "Tell Em Why You Madd" (1999)

First surfacing on Life After Death, Producer Deric Angelettie's agitated alter ego has appeared on a spread of Bad Boy records. The frustrated character, running his mouth, serves well to sprinkle comedy between the music. Having laid the groundwork for this debut, it could have been something special. Instead, skits and jokes land flat, unable to flesh out his personality to comedic effect. So to do the Madd Rappers' verses lack a spark to muster humor. Unless this persistently irked personality is your comedy gold, the joke will get beaten to death across its CD filling seventy minutes.

Its clearly ambitious, bringing a massive array of guests beyond his record label peers. Featured routinely come armed with slick mafioso adjacent lyrics, painting flamboyant lifestyle pictures with their lyricism. It sands in stark contrast to the central theme. Eminem however, meets him at his level, the unhinged Slim Shady persona has the two aligning their lyrics on self destructive energy. Given the date, this flow is a gem for fans, hearing Eminem evolving into his classic Marshal Mathers flow.

Fun fact, a young Kanye West produced that track! Its a rare highlight among an endless string of average bears. Its other merit belongs with 50 Cent on the criminally unabashed How To Rob. Fifty name drops a lot of big names years before his breakout. Other than that, its sadly a missed opportunity to do something unique. Poor execution on a wonderful idea. It seems the last of The Madd Rappers steam was spent on the first Big Boy hits compilation, where his player hating energy musters amusement between the East Coast's record labels greatest songs.

Rating: 4/10

Rakim "G.O.D.'s Network Reb7rth" (2024)

 

 From the silence, a certified legend returns. One half of Hip Hop's golden duo, Its Rakim's lyrical artistry and unchained cadence on the mic that help transition those iconic stiff 80s flows into the jazzy poetic rap of the 90s. Some claim no one has contributed more to raps evolution, a compelling argument. Thirty five years on from his creative peak, there should be no surprise that Reb7rth barely makes waves. A fond, welcome return but nothings on display that will change the game again.

These seven songs mostly serve as a stage to platform a collective of talent, including fresh voices and fellow legends like Kool G Rap and members of the Wu-Tang Clan. Rakim himself offers up decent verses early on, then pivots to handle chorus hooks for the rest of the record. The mood plays a celebration of talent, his presence seemingly encourages all twenty plus guests to dig deep for their sharpest rhymes.

Instrumental construction lacks surprise, rugged grooves continue an exploration of fundamentals built in the 90s as modern production aids its sturdy tone. The backings complexity keeps loops fresh and animated. Brilliant beats to house an arsenal of cunning rhymes but nothing exceptional to break your brain. These OGs are doing whats proven to high standards, giving us a dose of what we've adored for decades.

For a fan, this is a familiar pleasure. Reb7rth plays a classy execution of fundamentals that hold up well. I would have preferred to hear more of Rakim but with so many guests you get a steady flow of unwavering excellence. I also loved B.G's feature, he seemed immensely humbled to be on the project, giving up a fantastic set of bars. That's what this record is, a celebration of the art form brought about by a legend.

Rating: 7/10

Black Rob "Life Story" (2000)

 

Sad to say, but this debut has been a major disappointment. Bad Boy records seems to save its best for Puff 's records. I Love You Baby was a fantastic introduction, a tense, dramatic song, built up by mafioso string sections and Rob's gritty story telling. This song sharing also happened with Mase, here it features three years later!

Life Story has weak production. Sounding like left over cuts from prior records, similar Bad Boy tones emerge, subdued by there mediocrity. Soulful croons, trendy repetitive groove beats, mafioso theatrics and rubbing shoulders with R&B singers, it all feels a couple years behind the mark. With more care this might have gone somewhere.

Without lively backing from instrumentals, It becomes obvious Rob's aesthetic and temperament isn't all too exciting on its own. Gloomy moods are common and his story's often lean on the depressive side. Without that much needed musical relief from the brevity of expression, these songs frequently lull into a dull drone.

Thug Story is the one track of merit beside the aforementioned. Rapping over Slick Rick's classic Children's Story, the liveliness illuminates Rob and elevates his performance. His take on the original rhymes are decent, repurposing its tale for his own. These two tracks were all I found among this unfortunate misfire.

 

Rating: 3/10

Mase "Harlem World" (1997)

 

A long overdue followup on No Way Out, I've finally picked up Harlem World, Mase's solo debut. He'd made a soft impression, a voice fit for variety in the mix but unsurprisingly tame on his own. The casual carefree laid back spoken raps didn't amount to much across a lengthy CD filling record. Although it went multi platinum, its legacy feels like a byproduct of the era. Mase runs through the typical themes apprising his status, playing himself as a ladies man and taking shots at his haters.

His cadence is smooth, easy on the ears but rarely does his words muster up the energy to really grab your attention with standout rhymes. Harlem World mostly rolls by a pleasant ride on average beats spliced with goofy interludes. Stated as such in a lyric, the albums best tracks are simply recycled hits from the past decade. That and many of its instrumentals highlight this Bad Boy Records formula candidly.

With typical features from Puff, DMX, Jay-Z, The Lox and many more, the album gets by on a run of the mill routine. The later, however, elevates! 24 Hours To Live lays down a firm concept, asking a question and letting everyone run through their answers verse by verse. Its a great setup for visual raps that The LOX dominate! The following I Need To Be sinks to a low with very questionable topicality that seems to just slip under the radar of controversy when it comes up in Hip Hop music.

The closing Jealous Guy is an amusing piss take. A tongue in cheek jab at "the haters". These rappers drop some ruthless off key singing over top of the smooth R&B singers beneath. Fun once but an earache after the third spin. Overall, this album felt very average, with little memorable to take away. It feels like the hype and promise of the record label made this one a success. Not bad but firmly average at best.

Rating: 4/10

Nas "Magic 3" (2023)

 

This swift trilogy concludes on time to celebrate the rappers 50th birthday. A startling reminder that Nas is yet to show is age, vocally speaking. Perhaps we hear it lyrically, in shared wisdoms, aged cultural nods and reflections on his past. Magic 3 retreads familiar territory, affirming the fruits of this collaboration. Hit Boy's contribution seems to lean on vocal snippets. Clips and samples of classic soul singers brood, tilted and slowed for an aged, slightly low-fi aesthetic. The percussive grooves aren't as bombastic, giving its forty five minutes a mellow, low key presence... for the most part.

When Nas gets into a story, the chemistry shines. His best tracks, like Based On True Events, run focused and cohesive, much like some of his classics from the past, he has a timeless knack for keeping one engaged as he can keep the flow within the narrative for all a tracks verses. He pretty much handles the record alone. The one feature, Lil Wayne, comes with a sudden shift given his strained nasal tone. The rhyme scheme doesn't compliment the track, the verse sticks out like a sore thumb.

Overall, the conclusion arrives hastily on the heels of "franchise fatigue". This era has been stellar but the depth is overwhelming now. Considering the preferred structure of beat and rhymes remains unchallenged, one is left with a lack of distinction between projects. Whatever comes next for the rapper, I hope he challenges himself on both fronts to find new ground as this territory has been thoroughly explored.

Rating: 6/10

Nas "Magic 2" (2023)

 

I'll make a prediction, like King's Disease, Magic will become a trilogy too. The enthusiasm for this career rejuvenating partnership with producer Hit-Boy gets stated at intervals among these eleven songs. Like its predecessor, Magic runs lean at a thirty minute mark, breezing through cuts slicing 90s vibes with current styles in Hip Hop. A competent record, ticking all boxes of the duo's recent, remarkable, success.

Sticking in their lane ultimately leads to a lack of novelty for returning listeners. Topics circle a familiar stance affirmation, confirming this revival once again. Wedged between, a fair dose of nostalgic reflection on Hip Hop's greats from Rae & Ghost to Eric B & Rakim as well as referencing the rags to riches story frequently. After several spins one can't deny the lyrical ability on display but its mostly felt in Nas's flow. At times, his rhyme schemes feel built around puns and references over the narrative.

 The magic, pun intended, has somewhat dulled. Perhaps a case of listener fatigue, or artistically exhausting the source. No doubt the duo have more to offer but at this pace the chemistry has yet to evolve and despite its potency, I found the dose has become to large to leave one watering for more. Magic 3 will be a must listen but I'll expect simply more of the same. Fun for a while but the astonishment has faded.

Rating: 6/10

Nas "King's Disease III" (2022)

 

Finalizing a stellar trilogy, Nas falters not on delivering this inspired prominent stride for a third time running. King's Disease III suffers its own familiarity but wins one over with its articulate excellence. His timeless flow, lacking filler, spits commentary thoughts over past, present and future. Housed in consistent architecture, this third round of musing grabs and engages once again. Tales of the youth, lens through age and wisdom. Well wishes, ambitions of action to revive community values and an indulgent helping of nostalgic reflections on the culture that informed his artistry.

All topicality gets delivered through that tight unwavering lens, a razor sharp focus keeping lyrical narratives firmly on track. The main theme, a stance affirming legendary status, echos again as the King's Disease. Retreading these ideas on certain verses, the firmness of this flow glows brighter, its digestibility and ease to follow still a goldmine, despite circling this particular theme. I wonder could it go a forth round? Unlikely, other topics rise head above shoulders in their freshness.

Behind him, Hit-Boy returns to handle production, their relationship still apt. Resurrecting 90s vibes with modern production, a plethora of pitch shift soul singing snippets give the third chapter a warmer distinction. On a couple cuts, percussion is subdued, or dropped entirely. Nas' cadence serves as the rhythm. This chemistry comes ripe, picking plump verses for voice to resonate on its own pacing. Other tracks reminisce It Was Written, Nas' second album. Undoubtedly a bias for me to adore.

Beef echos I Gave You Power, a sublime track where young Nas inhabits a pistol behind street crime, rapping from the weapons perspective. Twenty Six years later, a complimenting instrumental tone helps center his rhymes from a view of beef itself played well. Thun delves into similar tones too, with its rainy, sinister string section. Michael & Quincy furthers this darkly avenue. The beat switch shifts gears, amounting a contrasting nostalgic reflection on the 80s duo's significant trajectory.

Blessed by distinctive songs to pluck as favorites, the whole album still fits the glove. Now a familiar project, its greatness becomes difficult to distinguish in its similarities. Time will two, the last to chapters still sound stunning. One point worthy of notation, this entire record has Nas go at it alone. No features or guests. Another signal of this remarkable level of greatness so deep into his career. Whats next I wonder? I do think a shake up in theme, approach and aesthetic is required. Although in a bold artistic stride, all good things come to an end. Best to get ahead of that reality while on top.

Rating: 8/10

Wu-Tang Clan "Iron Flag" (2001)

 

Picking up a fever, delving into the leaked Demo Tape & ODB's Return To The 36 Chambers, I thought id wrap up my cravings with Iron Flag. Released hot of the heels of The W, its commercial decline gave it a dire reputation at the time. Subsequently, I'd never given it a fair go and maybe I should of left it that way. The talent of these rappers is not in question, however the Wu mastermind RZA himself might be.

Iron Flag's instrumental tone is a frequent bore. The production of these beats hinge on short repetitive loops from front to back. With little in the way of variations and nothing to offer with song structures, the record is a grind. RZA turns to tighter constructs with clearer samples, often 70s Soul, crisp drums and synthetic instruments. Its a departure from the gritty, low fidelity musk that once defined them. Radioactive manages to capture that spirit but its a lone track among many.

A few others put their hands on beat creation but Mathematics and other guests simply fall inline with RZA's vision. Its one of hard hitting percussion with moody sampling housing brief, stabbing melodies on loop. With a tone that lacked any excitement, it was tough to get into the rhymes. Despite competent flows, the topicality felt like a group on auto pilot pumping out another record that lacked depth.

Rating: 4/10

Ol' Dirty Bastard "Return To The 36 Chambers: The Dirty Version" (1995)

 Hailed by some as a classic, Return To The 36 Chambers strikes me the unleashing of a wild talent Hip Hop didn't know how to handle. Ol' Dirty Bastard stood apart as the oddball within Wu-Tang Clan. His loose delivery, unhinged energy and bizarre spurts of unabashed singing was charming in bursts between his colleagues. That persona is explored at depth on his full length. With plenty of shock and awe, Ason's oddities strike with rigor new and old. Not only does he bite with lyrics, tangents and general strangeness become a frequent entertainment on this off-kilt ride of a record.

Kicking off with estranged hype trifling, the long winded intro is a snooze before his classic Shimmy Shimmy Ya kicks things into gear. From then a string of grizzly low-fi beats terrific rhymes get packaged into unconventional flows and faulted song structures. The track Baby C'mon has ODB's verse dissipate into a whirlpool of fading reverb, cutting the song short for a select cut of short beats to see the song out.

Loaded with all things odd and unusual, Ason shines on his own initially. As the record endures, weaker cuts get crowded in among features from his clan as the antics stretch thin. Everyone brings their a game, still young fresh and hungry but the flow falters. Goin' Down has a childish intro dedicated to strange noises we probably all made as kids. This and Drunk Game, a comical piss take of sensual Soul songs, arrive with weak cuts like Brooklyn Zoo II, a revision of songs from the record so far.

The faltering pace arrives on the heels of Proteck Ya Neck II, a big name to live up to. Eight Wu-Affiliates jump on the mic with ODB, dropping fiery verses that were doomed to live in the shadow of a classic. Fun but perhaps could of done without the reference. The record then ends with a studio recording Cuttin' Headz, one heard on the Wu-Tang Demo Tape. In the age of hour plus records filling CDs, curation seems a miss once again, something not considered at the time given the price of music.

There is undoubtedly a hint of classic in the mix. In my opinion, it arises from to two key aspects. Firstly, these are the dirtiest beats from RZA. If you were looking more of that Kung-Fu loaded low-fi, its here in abundance with a more bass oriented flavor. Second, the shock value ODB brings would of been wild and fresh at the time yet with age, immaturity and blemishes sound worn. That is nothing to take away from his persona, however I've grown a massive appreciation for his artistry with the Clan, having given this a proper go now. Much respect! Rest in peace Ol' Dirty!

Rating: 7/10

Wu-Tang Clan "Demo Tape" (1992)

  

Currently enjoying An American Saga, a dramatization of the Wu-Tang Clan origin story, I've found myself excited once again by the legacy of 36 Chambers, one of Hip Hop's greatest albums. Learning of their leaked demo tape a year prior, I had to hear it for myself. Initially shared with a record executive by the RZA, it eventually found its way through hands, then radio and onto the streets. The source and validity of whats available online is lacking information but it seems genuine. What about fidelity? Fortunately this cassette tape distorted relic is tolerable to get a grip on the music.

Sadly, no lost gem or previously unheard material makes itself known. It seems the best contributions from the then makeshift lineup made its way off to records later on. The rest is intriguing to say the least. In the context of 1992, A handful of RZA's beats stand miles apart with its gritty nature and of course the Kung Fu flick samples. So does his rhymes and that of his guests but mostly the RZA. Track five, It's All About Me, a keen example of how developed the free association rhyme style already was. His words undoubtedly stood apart from anything else on offer. This would mark the end of clean cut beats and open up a new avenue of lyrical possibilities too.

Performing on every track, his architecture for the group can't be understated. Even if you had knowledge of his roll, RZA reigns supreme. Ol' Dirty Bastard appears, yet to flesh out his odd ball personality. Raekwon, Inspectah Deck and Ghostface Killah feature too with the same verses we would hear further down the line. Interestingly, the classic 7Th Chamber demo doesn't feature, a killer track the show alludes to being on this leak. Well, dramas do take creative liberties on history after all!

Track four Problems also has a sample that would be utilized exquisitely on Fugee's The Score. I wonder If they heard this demo beforehand? Either way, this has been a curious listen. I've come away with more admiration for the RZA, hearing his ideas in action. Not everything here is special but the vision is 100%. These beats are so different and the energy he brings to the mic would change the game forever!

Rating: 7/10

Benny The Butcher "Pyrex Picasso" (2021)

 

As a new name on the rise, appearing alongside the likes of old greats like Snoop Dogg, Busta Rhymes & Jadakiss, Benny has made a remarkable impression on me. With a firm voice fit for classic story telling, both his style and beat production has a gushing nostalgia for the 90s and 00s era. Pyrex Picasso is concise seven track stint, nineteen minutes of straight class. The title track plays like a cut from 2001, dead serious pianos, a softly sorrow Spanish guitar lick and timely horns, vibes I'll always welcome more of. The following '73 gets dingy with ambiguous samples, gritty drums and low-fi strings. The RZA would be proud! Flood The Block has the Immortal Technique mark, not just instrumentally but how Benns flows with a through line and sharpness that feels like he doesn't have to bend his thoughts to a rhyme scheme.

I could rattle off on similarities to other artists. This really is a case of seeing shadows tho. Where Benny shines on his own is purely through the power of his rhymes and narratives he unfolds. I wouldn't say his style is original or ground breaking, but very well refined as every verse makes a catch, throwing its line and hook. The themes are atypical, street life, prison and drugs. The topics of hard life are aired and also his resolve to make it as a rapper. I imagine he won't appeal as much to the newer generation but this EP embodies the best of Hip Hop from decades gone by. An impressive introduction that will have me seeking out more from this talent!

Rating: 7/10

Nas "Magic" (2021)

 

Released Christmas Eve, seeing Magic in my inbox was quite the surprise. With King's Disease III now confirmed for 2022, I expected that this shorter album, clocking in just under 30 minutes across nine tracks, would be a collection of outtakes from his fruitful collaborations with Hit-Boy. But alas it is not so! If anything, Magic speaks volumes to the stride Nas is on as his lyrical content feels interchangeable with that of King Disease II. Thinking of these songs as sub-par in anyway is erroneous. It simply seems as if he is oozing with creativity right now and enjoying sharing it with us all. Unsurprisingly though, the tone of these songs are in the same lane. Nas is offering up his unique personal perspective within the Hip Hop scene and addressing his audience with wisdom and a little introspection in doses, much as he has been doing.

Wu Is For The Children is the one underwhelming cut. A reference to the Wu-Tang Clan setting high exceptions for a dreary percussion-less track. The following Wave Gods brings on DJ Premier to drop his iconic drum break style and scratches of classic Hip hop snippets whilst resurrecting Gang Starr themes. The opening Speechless kicks off with a remarkable verse, referencing fallen musical icons of the twenty seven club and the grittiness of his neighborhood. Its a wonderfully articulate flow that extends into Meet Joe Black as Nas touches on successes built, mistakes made and criticisms keeping him energized as he words it. Interestingly it ends with a snippet of individuals mocking his Hip Hop I Dead record statement from back in 2006. I didn't feel like his words provided much of an answer to that though.

Ugly is a wonderfully aesthetic track as its wobbling distorted sampling creates a foggy drone for Nas to paint a gloomy scene with his words in the opening verse. The following couple of tracks are much livelier in contrast and his rhymes are tight and slickly delivered as you could expect. All in all its a sweet selection of tracks to salivate on in anticipation of part three. Not much beyond that though. Hit-Boy's approach get one in the mood but I didn't feel like these beats were exceptional. There wasn't anything here that "leapt off the page". I'm satisfied, left with high hopes for KD3!

Rating: 7/10

AZ "Doe Or Die II" (2021)

Twenty six years later, New York rapper AZ releases a sequel to his Mafioso Rap gem Doe Or Die. In the world of Hip Hop there isn't a great track record for artists reviving classics further down the road. That's why I almost passed this one up but a quick check in had me impressed. Now approaching fifty, AZ's voice sounds barely aged, a little rough at the edges but his slick flow and youthful tone is well intact. Most surprising of all, hes got expression in abundance, riffing bars from start to end without an inch of nonsense to be found. This is quite the exception for an aging generation of rappers.

With his timeless flow intact, the tightly stacked rhymes flow again. Grooving off his effortless cadence the lyrics weave between wisdom and observation as AZ drops knowledge and intelligence into his tales. Reflecting on the angels and devils of lifestyle and environment, he paints a path out the dangers of street life with a keen maturity that oozes with confidence. The Mafioso flavor creeps in here and there with his poetic word choices painting lavish pictures however its often withdraws from the violence as his words wave weary warnings to the dangers of such lifestyles.

Its a total pleasure, AZ shines with every verse of this record. Its strangely his guests who spoil the flow. Variety is important and Lil Wayne brings an interesting approach for his feature but every other rapper here just doesn't fit with the vibe. They mostly work in the shadow of AZ, trying to deploy a similar style. English actor Idris Elba also lends his voice for the intro too, however it again doesn't feel like the right fit for an album opening monologue. I think I could of just listened to AZ from front to back. This leads me to another observation, the absence of Nas. With both being active its a shame they didn't hook up again. AZ was a special part of Illmatic, arguably the greatest Hip Hop record of the 90s. Who would of thought these two would still be on top their games all these years later? With them on such good form, hearing him here would of been sublime, I'm sure!

With such an abundance of great rhymes, sadly the beats that struggle a little here. Mostly they conjure moods adjacent to the 90s style. Sample oriented and using oldskool break loops they provide a firm footing but lack a cutting edge. Often toned down, they give space for AZ to occupy clearly, not being overly ambitious or overbearing. On one hand they've essentially crafted beats within the 90s time machine. On the other that doesn't give it much in the way of freshness but I've got to give props to the craft, of all the artists trying to relive that era, this probably came closest. The closing bonus song however throws most that out the window for a more modern sound with some Kanye inspired vocal inclusion with the hook.

 

 Doe Or Die II is an anomaly, a sequel mostly worthy of the name. It can't replace the original but it compliments it wonderfully. My only qualm is a sense of its impressive stature being more analytical than emotional? This is a common problem when observation intersects the nature of mood and inspiration. Is it me or the music? I feel like I could love this more and as I often say, into the collection it goes ready for shuffle to find me again later down the road. I'm sure then these songs will be more than a welcome surprise.

Rating: 8/10

Nas "King's Disease II" (2021)

 With less than a year elapsed, legendary New York rapper Nas returns with a second installment of King's Disease. These fifteen new tracks are clearly less married to the original theme, much to its merit. Initially I feared this might be left overs and b-sides from the original sessions but rejoice, this second chapter has a fine artist re-invigorated, finding stride and inspiration with whatever topics he approaches.

Reflecting on what didn't work with King's Disease, it becomes apparent that the production aids Nas greatly here. Too often do nineties rappers try to abridge current aesthetics with clunky beats, awkward hooks and impersonating flows. Still working with Hit-Boy on the beats, this time the relationship births a selection of instrumentals that could slide sweetly back into that glorious era, practically unchecked.

Its not a set path, tracks like 40 Side, EPMD 2 & YKTV throw a modern spice in the mix with aggressive trap percussion to break up the soulful 90s vibes. Sadly Eminem and other features on these cuts feel underwhelming in the shadow of the albums superior tracks. It lends Lauryn Hill a spotlight to shine again with an aged voice, rapping with a laser focused verse from one legend to another. A beautiful moment.

Lastly, there is Nas himself, sounding free, loose, in flow and speaking his mind with a candid honesty underwritten by good intentions and propelled by an unshakable talent. He brings the instrumentals to life with words and story's, turning the beats into songs that last. Coupling his verses with hooks and words between, the frameworks for themes are set wonderfully, leaving a lasting sense of wholeness.

There is much wisdom and warmth to be heard in his lyrics. Always gushing from that timeless flow and crafty wordings. On occasions his descriptive and associative raps conjure a little spirit from the Mafioso Rap era once again. These two notable aspects overlap heavily on the dynamite track Death Row East, an insightful song illuminating details around the East Coast West Coat beef. An era that ended so tragically.

This second chapter has offered up far more than a fresh crop of tracks to enjoy. Its lyrics impact and land with intent to carry. Much of this album feels classic, something to enjoy over and over for years to come. No record is perfect though, there are definitely favorites to pick over others. A little trim would have served it nicely but the majority has a wonderful artist finding their stride again as if it never went away.

Rating: 8/10

Nas "King's Disease" (2020)

After a disappointing Kanye West collaboration, Nasir, it is great to hear the king of poetry on the mic get back on form with a fully self realized album. Kings Disease has its concept and theme running from front to back, tying the woes of fame and success back into his current adventures and frame of mind with thoughtful maturity. Its a collection of reflections and life lessons, Nas brings his wisdom and knowledge to us through his lyrical prowess, just as hes always done.

Hip Hop however is a game of two halves and initially a source of excitement, the instrumental aesthetic gleam of its opening track dulls swiftly. Heavily Kanye inspired, a voice oriented production of soulful sample stitched together in peaked, distortion embracing styling dominates the opening tone. Initially grabbing, it becomes somewhat of a drone when the colour fades. Being the statement affirming track, it ends up becoming a fumbling start to the record.

Past this moment its sharp percussive beats and blue pianos paint most these songs with a jazzy, soulful uplift reminiscent of the 70s with a shade of street smarts. Its rooted though, no nostalgia trip, firm urban vibes perfect to resonate with the songs various themes. Although they don't deliver diversity instrumentally, the consistency its helped along by the short nature of these songs. They house his verses with purpose, never stretching the material, keeping it all concise.

This is helped along by a fair number of features, including The Firm, bringing Dr. Dre out of the shadows for a brief but underwhelming appearance. AZ returns on the track too, great to hear his Mafioso style is still potent. Without diving into the topicality with any specificity, its mostly mature, level headed thought around the struggles of black life in America in this day and age. Not straying into any contentious or polarizing avenues, Nas paints a path forward, an air of uplift about where things could go. Its a natural current of positive he emanates, or possibly that I perceive.

Nas is still on point, his knack for swift poetic flows interwoven with street talk is firm and proud but without surprises or aces up the sleeve it leaves one wishing for a little more. Kings Disease ticks all the boxes but after a few spins sits a strange place where the excitement has dulled. Perhaps this is one to come back to after some absence has brewed and see how it sounds once again.

Rating: 7/10

Joey Badass "The Light Pack" (2020)

Stagnation is the word that comes to mind enjoying this chilled jazzy trio of Hip Hop tracks flying the flag for the 90s sound. From B4.Da.$$ to All-American Bada$$, young Joey made quite the impression, solidifying him as one to keep an eye on. The Light Pack marks three short songs in three years, all of which could slip into his previous records. It was underwhelming on first impression, his opening verse affirming style and stature, taking shots at Mumble Rap and pronouncing his successes. It sounds tired to these ears, with his established flow unchanged.

The second track brings on Pusha T, who's style is still rather fresh and interesting to me, a reminder to check his work out further. Its a brief bit of spice over a moody, slightly gloomy beat. The final track Shine brings some uplift in tone but again I just don't find Joey's raps that exciting beyond their obvious competence. The concept of mind, body and soul this project is supposed to embody doesn't leap out at this listener. It's ultimately a small release that hasn't advanced any musical prospects for Joey and ended up feeling a little dull in the shadow of his albums.

Rating: 2/10

The Underachievers "After The Rain" (2018)

I was dead excited to see this in my inbox. Rap duo AK & Issa Gold are two bright sparks among a young generation of rappers. Their dark and esoteric Cellar Door - Terminus Ut Exordium was a distinct introduction to the duo however opening half of Evermore - The Art Of Duality has become a favorite a frequent back to. Its lyrics of overcoming struggle and rising up hit me hard. We get a little of that youthful wisdom on the opening Downpoor as the pair exchange themes of changing the world with positive metal attitudes in the face of a materialistic world that can consume a person.

After The Rain has been an enjoyable, reasonable listen where the instrumentals define most talking points. Lyrics circle the waters, recycling familiar topics with a lack of hard hitting lines as the vocals are mostly linear expressions with less wordplay than I would of liked. The production sounds expensive, a step up that might be sideways. It elevates their sound to a crisp, glossy tone that's a tad over polished, squeaky clean samples and drums come close to peaking in a vivid construct.

Its all mostly warm, bright and sunny sounds. A lot of colorful, jazzy and soulful instrumentation with a crisp punchy audacity. A plethora of guest singers gives many songs agreeable choruses with powerful, harmonious singing that steers in a pop appeal direction. Nightmares & Dreams, plus a couple others too, push it a little to far with the broad allure. When either of the two are not on the mic, it can be an unrecognizable sound with guests flexing their prowess with some beautiful singing.

Its a hard record to be dismissive of, The Underachievers pack a lot of powerful, potent empowering lyrics in the run time for a warm, uplifting listen. The instrumentals aim high, a very crisp production with some fantastic Jazz Hop beats. All the pieces are in place but something in the chemistry is just missing something. Perhaps it lacks some urgency or struggle about it. Everything is just to neat and nice, so its hard for any truly memorable songs to emerge. It lives in the shadow of their former works.

Favorite Tracks: Downpour, Let It Rain

Rating: 5/10

Logic "Young Sinatra: Undeniable" (2012)

With only a few Logic mixtapes left on the list, my attention is drawn to how his recurring stories of personal struggles, proving his craft and defying the odds have extend all the way back through his records to this moment here, six years back. With an attentive ear one may also notice his voice is a little lighter and more youthful, something I was anticipating. Articulating his battles and ambitions Logic sounds as sharp and natural as everything Ive heard before. At some point I am expecting a dip but this is not It, intact for a fair portion of the record it has to be my favorite thanks to its avenues into classic 90s Hip Hop and the tight rhymes.

To my ears the record has four phases. Its opening tracks set the stage of his situation, his mission to prove himself, the actualization of its reality. The beats are tight, modern for the time, throwing in some piano samples fit for the classic era, illuminating with classic Nas lyrics for the hooks. In its second phase we get a string of Hip Hop's best. Biggie's Kick In The Door, Dr.Dre & Snoop Dogg with Deep Cover and A Tribe Called Quest's Electric Relaxation. Logic goes ham over these beats, toying with his technicality, flexing cunning rhymes, locking you in with his narrative. Its killer how he picks up untouchable instrumentals and puts a memorable mark on them.

Tic Tac Toe marks the third phase, its sudden beat switch to a sleek and swish club track sees a dip in quality as his subject matter becomes diluted and the lyrical successions are led more by his thoughts and the point hes trying to make. Its a long record at eighty four minutes and after a flurry of mood shifting tracks we land on Aye Girl, its summery popping synths and jaunting beat dazzles, prepping us for the forth phase as Logic once again picks up some classic instrumental to show his prowess on with the best of his rhymes.

Milkbone's classic Keep It Real, that plays like an AZ cut, Jay-Z's Bring It On from his slick Mafioso Rap debut Reasonable Doubt. Maybe its my love of these classic beats blinding me but it seems to bring the best out of Logic. The record has a couple more bright songs in it before ending on a really warm and endearing note as his fans call in, leaving voice mail messages over an emotional beat. Its a great way to tie up an important record for the young artist. He accomplishes a lot of within this record, only curation could of made the experience any better.

Favorite Tracks: Dead Presidents III, No Biggie, Disgusting, Relaxation, Aye Girl, Young Sinatra III, All Sinatra Everything

Rating: 8/10

Notorious B.I.G "Born Again" (1999)

Released two years after his death, Born Again is the first truly posthumous album from the late rapper Notorious B.I.G, a record produced without his input. Its a trend set off by his west coast rival Tupac who was also assassinated in wake of the unfortunate 90s coast beef. The record came to be thanks to Puffy Daddy and his Bad Boy Records, who pulled together a collection of Biggies early demo tape raps and freestyles, pairing him up with other big names in the rap scene. Its also home to the classic self titled song, the first of his I heard, I still remember downloading it from Napster as a kid!

A whole host of names drop onto the record, bringing their A game with tight verses and paying their respects to the great resurrected rhymes of Biggie who has a lot of great material in the vaults. The production is of its time, tightly programmed beats that mostly have bold, punchy, upfront instruments with an occasional touch of aggression. Variety leaves some space for a couple of summery tracks and funky upbeat vibes too but its mostly playing into the street life vibes with an edge of Mafioso Rap, playing close to what can be heard from two years earlier.

The record doesn't try to be more than it is with any overbearing themes or concepts. Each song is its own bubble and on quite a few tracks you can hear some disconnect between the tone and delivery of Biggies rhymes and the backing music but even then it still sounds good. It was really enjoyable to hear more of the late and great rapper. His guest brought excitement too, Eminem turns up with a ghastly verse on the harsh Dead Wrong. Juvenile and B.G. of the Cash Money crew represent the south, Busta Rhymes, Craig Mack, Nas, Mobb Deep, Method Man of the Wu-Tang Clan and even Ice Cube and Snoop Dogg of the west coast join in paying tribute. Its a fitting farewell but far from a classic, just a solid collection of songs that any fan can pick some favorites from. The following Duets I have not heard anything good of though.

Favorite Tracks: Notorious B.I.G, Dead Wrong, Tonight, I Really Want To Show You

Rating: 6/10

PRhyme "PRhyme 2" (2018)

I always suspected there would be a sequel to PRhyme, a collaborative effort between DJ Premier and Royce Da 5"9. Casting my mind back, it was only a few months into this blog that I covered there first album together over four years ago! Time flies and the absence has yielded a follow up record twice the length yet lacking much to talk about. The original never made a big impact but showed promise however four years later I can barely remember a hook, beat or rhyme from it.

The same will be true of this record too, its unfortunately a tiresome record that starts of with a bang. Black History has a quirky instrumental, a cut without a kick or snare! Its like a clock ticking down with a string section dancing around it and then the song erupts into a bright uplifting gleam as the drums drop in. With that and the intro song the duo set a stage, stating their return and then Royce painting a picture of his birth and leading on to brief us on some Hip Hop history, giving shouts out to Guru of Gang Starr and some others too.

Following it up with a self affirming braggadocio track the album swiftly falls into a routine of reasonable beats and reasonable rhymes thats all so reasonable it forgets to be inspired or challenging. A string of obvious and atypical rhymes boasting status and lifestyle drown out spurts of impressive rhyming and topical substance. Its in there somewhere but on a lengthy album clocking in at over an hour the record tends to drone on. Hearing old rappers moan about modern trends and how it used to be done becomes tiring even if your a fan of that era. Its an all to common trend from the old heads it seems. Not a bad record, just something I couldn't really get into.

Favorite Track: Black History

Rating: 3/10