Serial Killers "This Thing Of Ours" (2026)

As far as classic rappers past their prime goes, This Thing Of Ours has been reasonably entertaining. Consisting of Cypress Hill's B-Real, MTV famed Xzibit and later entry to the Rap game Demrick. The LA based trio's third outing together catches a spark. Fine beat production provides classic vibes with a sharp snappy edge for the three to exchange verses. There is little lyrical revelation to astonish or challenge anyone seasoned to their tastes. X even revives some of his classic cadences and personal verbage with a wink and nod. Its endearing, fun, showing they can still spit their styles confidently. Levels puts in a cohesive effort to drive a lyrical theme but many of the songs here serve as simple platforms for lyrical braggadocio. Chuck D of Public Enemy gets featured a handful of times, sampling his timeless voice. As well as recycling LL Cool J's classic Mama Said Knock You Out. Other than that, its a group of seasoned heads putting together a fair set of tracks to entertain the old crowd. If you like the mid 90s to early 00s Rap sound, then you'll find a couple of tracks here.

 Rating: 5/10

The Firm "The Album" (1997)

 

Why did The Firm flop? Led by Dr. Dre's evolving production, this Rap super-group failed to garner merit from fans and critics alike. With three decades of distance amassed, not even nostalgia for classic 90s Hip Hop elevates its status, a mostly forgotten and overlook East-West collaboration with aims to end the rivalry.

Firmly rooted in concept and execution, The Album delves hard into Mafiaso Rap, a subgenre then in its prime. Chemistry between artists isn't its downfall. The concepts explored perhaps lack depth but my gut tells me they leaned to far into this Mafia lifestyle inspired motif. Its better tracks share something in common, a narrative. The best lyrical strides come through occasional story telling, leaving the bulk of the album recycling lifestyle braggadocio picture painting rhymes as its main thematic reflection.

The Album does give one a curious window into Dre's evolution. These beats pop off with snappy percussive drums, slick suggestive instruments, assembled tight and precise. For keen ears one can heard the aesthetic foundation for his classic 2001. Five Minutes To Flush slaps with a hard gated reverb bass kick. It recycles the synthetic vocal tricks heard on California Love. Firm Family share a spirit with Jay-Z and Memphis Bleek's Coming Of Age. I love hearing these links in Hip Hop records.

At the time, the star studded cast probably cast a big shadow of expectation. Revisiting this decades on with out any presumptions, a fair and competent record emerges. Armed with a diversity of beats for one to pick favorites, it ultimately lacks substance and depth in lyrics content, painting gangster portraits with predictable rhymes. As suggested earlier, it leans to hard on a single concept, lacking hooks and concepts to back it up. If you're not a fan of Mafiso Rap, this will be a tough sell.

Rating: 5/10

Clipse "Let God Sort Em Out" (2025)

 

I Initially passed on this one. Nominations for rap album of the year pulled me back in. Brothers Pusha T and Malice both share cold blooded tones, sturdy and steady, highly articulate lyricists, delivering calm and collected comprehensible raps. Their cool and casual flows breeze by with the serious undercurrent easily overlooked on first pass.

With more spins I got deeper into these tracks, their veterans status swiftly emerging. Expertly architectured verses stack up crafty rhymes. Between them, all manor of puns, cultural references, innuendo and double entendres snuck in between straightforward raps. Lines roll back to back, slick and swift, pushing a variety of narratives. A classy affair always steeped in the air of status affirmation.

Behind the word play run dynamic instrumentals, Not shy of downplaying percussion to a minimal form, obscured sampling constructs slick beats, birthing engrossing moods where the hooks often skirt conventional melody. Its not all spun to this degree but even its more traditional approaches seem to find a distinct manipulation. Let God Sort Em Out plays smooth with streaks of aggression in its lyrics reflected in the beats. Some degree of Mafioso with one touch mystic and another of wealth, class and extravagance. Only POV hits like an obvious banger, the rest play on subtleties.

In conclusion, I'm glad to have returned to this one. It deserved more attention. A slick run of feisty substance stuffed raps not aiming to shock or rock but play braggadocio on the merits of its own sleek articulations. Feature from Tyler and Kendrick are an obvious highlights among a star studded cast of guests from Nas to Neptunes and Stevie Wonder. Within its 13 tracks every hip hop head will find a few to tickle your niche. For me, that was Ace Trumpets and All Things Considered.

Rating: 7/10

2Pac "Me Against The World" (1995)

Some might praise this an instant classic. With an incarcerated 2Pac sailing to the top of the charts, increasing controversies in the public spotlight only fueled its stature. Time has served Me Against The World well. Thirty years on, it plays as a brilliantly articulated slice of life, a moment in time reflecting the duality of man. Caught between a thoughtful, poetic soft-side and hardened realities of a fraught world unfolding around him, our enigmatic artist walks a tightrope, delving into the details of these juxtaposed sides. Understanding the broader context around this record is practically futile given how well his timeless cadence effortlessly walks you through particulars.

 

Songs run as a play by play of dark events, exposing his character and passionate, empathic political views. Tracks individually cut direct into a concept, expressing inspired and coherent without a wasted breathe. Upbeat G-Funk oriented production echoing shades of 70s R&B and Soul music breathes life into the lean, attitude driven vibes. Joining the emerging crisp and clean production style of this era, Shock G and his crew leave loops and samples in the dust. Melodies and beats come tightly arranged through sequencers composing snappy percussion and memorable tunes to stick with you for a lifetime. One will find plenty of favorite cuts among its fifteen.

 

 The album flows superbly. Intro samples snippets of news reporters remarks to firmly establish the setting. If I Die 2Nite kicks off a string of bangers, leading up to the mellowed soulful classic, Dear Mama, a beautiful timeless love letter to his distanced mother. The next couple of songs lean on this smoother temperament, a calm spot before Old School perks the ears with its appraisal of 80s Hip Hop. It plays like a checklist of shout outs. For a young me, this was a treasure trove of names to explore.

Fuck The World and Death Around The Corner have a fearful 2Pac dialing up aggression, turning to a darker side, foreshadowing his paranoid temperament heard loud on the next records. His anger seems righteous but the cracks in his duality start to fray. These songs contrast the overall upbeat mood. The closing track Outlaw serves as an introduction to the Outlaws crew, a concept he would go on to grow. This direction plays a mild blemish on an otherwise superb record, never failing to woo.

What I've always adored about Tupac is his ability to illuminate the problems of crime, poverty and racism from a perspective often ignored. Retrospectively, Me Against The World is the boiling point before his embellishment of Thug Life loses its potency under the pressures of Death Row records. Given the drama and controversy around him at the time, the stakes are raised. He meets it with his words. Me Against The World is undoubtedly a classic, his most consistent and concise record. A must hear.

Rating: 10/10

Ice-T "O.G. Original Gangster" (1991)

 

Godfather of Gangster Rap and front man for the cop killing Body Count, Ice-T courts controversy with an unfiltered, unapologetic rawness. A subversive force of intellect, Ice masks deeper realities trough his gritty portrayal of street life in LA. Original Gangster affirms his authority on the matter whilst ringing off a long list of social portrayals and systemic grievances. Direct yet difficult, his lyricism runs crude and humorous, blurring lines between tongue in cheek and reality. At times he flows firm and plain yet in a moment can delve into wordplay. Wherever his cadence leads, Ice rarely deviates, sticking to his themes, which each track delivers with focused intent.

Clocking in at a lengthy seventy two minutes, the twenty four tracks chop by with snarky interludes between softened noisy Bomb Squad style sampling. It banging beats rock with late 80s drum loops, keeping energy high. Overall the aesthetic style sounds a year or two behind the cutting edge but its substance triumphs in the face of an ever changing scene. Midnight marks a shift in tone, sampling Led Zeppelin and Black Sabbath a dark, grizzly, eerie Rap horror show emerges. This lays foundations for Ice-T to show his metallic edge, as the record also houses a Body Count track to cross pollinate his audience, something completely unheard of for the time.

These tone shifts shake up the second half another, The Tower, reusing John Carpenter's Halloween theme to chilling, haunting effect. It does blemish the flow considering how tight these upgraded, authentic post-N.W.A gangster raps are. It's been decades since I last spun this classic. It holds up well. A powerful listen by a master rhymer who can hold your attention with his direct penmanship. Classic!

Rating: 8/10

Naughty By Nature "Naughty By Nature" (1991)

An understated classic from the other side of Hudson River, Naughty By Nature's sophomore effort stands the test of time. Uniting radio friendly Hip Hop of the era with Hardcore Rap. This trio's tuneful beats and energetic rhymes somehow grapple the gritty verbal craft and easy pop appeal in the same space. Kicking off with Yoke The Joker, we hear a ferocious Treach drop one of Rap's most legendary verses, rhyming practically every word in the dictionary beginning with s. The whole song is fierce display of talent, his words leap out at you through undying rhyme schemes.

 

In retrospect, he seems ahead of his time. Leaving the classic post N.W.A flow behind. One can anticipate rhymes arriving yet his vocabulary depth is loquacious, a fluent stream of surprises with words beyond casual tongue delighting on a frequent basis. Slick, swift deliveries and chopped cadences are thoroughly entertaining. Every tracks words house a few surprises up the sleeve, spit fit for purpose, wonderfully contrasting the often upbeat, poppy instrumentals with street rugged rhymes.

 Some instrumentals play strapped with typical sampling of the era, reveling in childhood influences of 70s R&B, Soul and Funk. The balance struck sets them apart, with hard hitting drum samples more akin to House music and tight, purpose built baselines. They aid its aesthetic personality along with simple Piano strikes, adding stiff flushes of color and melody to the mix. So to do soft organ or synths chime in on occasion. A Saxophone and Piano solo also liven this sense of elevated beats.

This tailored musicality bridges the cheery tones of OPP, Everyday All Day and Everything's Gonna Be Alight, with hard hitting bangers like Let The Ho's Go, Strike A Nerve and Guard Your Grill. Lyrically, its often gritty. The contrasts this breeds on its upbeat numbers plays a charm that's hard to forget. Naughty By Nature has got it all, endearing beats, enduring rhymes. When it comes to discussing Hip Hop classics this has to be in the conversation.

 

Rating: 9.5/10

Snoop Dogg "Missionary" (2024)

 

 

Thirty one years on from the iconic Doggystyle, a beloved West Coast duo return for an inspired set of songs reveling in the twilight years of their careers. I'd summarize Missionary as two veterans bringing the very best out of one another. Dr. Dre's production forges fine beats focused on aesthetic class. Lacking potent melodies, these tracks assemble gorgeous sounding instruments in rhythmic arrangements, striking with clarity to indulge on. Complex with subtle details and intricacies yet easily digested on the firm foundations of Hip Hop groove. Moods sway fun and plentiful, from bouncing LA vibes to introspective atmospheres, Dre covers a fair span of instruments to expand cultural horizons and keep this record flowing fresh.

Snoop has the unenviable position of spinning his tried and true rhyme themes over again. Despite an exhaustive output over the decades, he seems as vibrant as ever, giving every song a firm concept. With steady flow, his mannerisms entertain, refreshing yet familiar, finding a handful of cunning rhymes between his casual delivery. The burden is lightened with a guest on practically every track. Only on a couple of collaborations did I get a sense of elevation through presence. Last Dance with Tom Petty and Jelly Roll, Another Part Of Me with String, two fantastic songs bridging genres, complementing well for unique numbers to remember.

On first listen, the handful of classic Hip Hop interpolations and nostalgic call backs perked my ears. You could call it a false impression. These references swiftly faded behind the bright lights of all new this duo has to offer. Only Gangsta Pose had a whiff of Doggystyle chemistry. Listen carefully, its subdued baseline plays like a G-Funk throwback. I had initially expected the pair to do more of this. The past is the past, I'm thankful they didn't resurrect old ideals as clearly there was freshness here to explore.

Rating: 7/10

Kendrick Lamar "GNX" (2024)

Hot off the heels of a remarkable rap beef, Kendrick's momentum flattens out into a comfortable record. Feeling out fresher styles between classic tones, GNX coasts by lacking the conceptual heights of To Pimp A Butterfly or impactful attitude of DAMN. The past sets a high bar, presenting an unenviable challenge of surprising the audience. That freshness alluded to resides in Kendrick's embrace of a hard lipped persona. Spitting in deepened spoken tone, he lines up the meanest rhymes, aimed like a sniper. Threatening and self assured, Its not quite to my liking and slips away on tracks like Peekaboo where his "hey hey hey hey" hook falls flat as a pancake.

Despite this faltered direction, classic Kendrick crops up in the tracks between. Man At The Garden revels in a sombre slow paced atmosphere, writing up blessings through the lens of deserving. His emotional delivery and contrast with the instrumental illuminates a questioning turmoil within over his many accolades and achievements. Reincarnated casually drops in one of the slickest piano licks, conjuring vibes reminiscent of a handful of West Coast classics. Its another story telling, introspective track where Kendrick routinely shines. Reclaiming the title from Drake, Heart Part 6 mellows with reflective lyrics themed around the humility of his rise to fame.

I can tell that lyrically, a lot of events and dramas are addressed on his meaner tracks. I'm out of the loop and haven't dug into any analysis. I'm not sure that I care to either. On the surface, these slick gangster anthems like Squabble Up feel mild in contrast to the songs mentioned above. They require no knowledge, instead, Kendrick wraps you up in his meaningful thoughts and deep reflections, the side I have always been drawn too most. I'm grateful for that handful of tracks but they will likely be my only reason to return to GNX on occasion.

Rating: 7/10

Ice Cube "Man Down" (2024)

 

Some critics remark on aging rappers losing vitality and relevancy. I'm more open minded. With age comes maturity and the opportunity to grow. With many 90s icons now entering their fifties, Ice Cube, one of the most important and influential to do it, enters the club. His last outing, Everythang's Corrupt, had bite, a political venom and fiery anger that held well. I still venture back to a handful of those tracks alongside Cube's best songs. That moment has passed, his motivations to return seem routine.

 Despite bringing a studded cast of his 90s contemporaries, Man Down is a stinker. Beats sound tight yet frequently spin short loops that end up droning on. Upfront, Cube raps with his firm flow, fine tuned aggression and smooth, easy to follow, cadence. Its his lyrical content that falters, dropping auto pilot verses lacking creativity to impact. So many lines drop with predictable rhymes, lingering on them for four or more sentences. Many lines seem to fill space just to serve the rhyme. With next to no stories told, this approach is quite disappointing in the shadow of his greatness.

 Early on the moods emulate his classic Today Was A Good Day laid back G Funk vibes. Its a smooth and breezy ride, easy listening. Heading into the midsection, things pivot with 5150. The mood sours with its misogynist leaning rhymes. Then beats go harder, darker but miss the mark. After a few cuts, the variety flows, jumping between sounds emulating his styles but mostly suffer the fate of droning on.

Especially You perks the ears, an Electro-Funk throwback to early 80s Hip Hop. Cube goes for a flow fit of the era but the rhymes are just hollow. Later comes Scary Movie, trying to house a bunch of references to his cinematic career. It houses some of the worst lyrical flops. The album ends on a better note with the reasonable Ego Maniacs but cant save the project. Sadly, this record just lacked purpose.

Rating: 2/10

2Pac "R U Still Down? (Remember Me)" (1997)

 

Decades have passed since I last enjoyed one of 2Pac's many posthumous records. I barely remember this double album, loaded with a hundred minutes of the iconic rapper going at it alone. Released thirteen months past his death, it reeks of a rushed release. A lack of vision or focus swiftly becomes evident, Pac's raps arrive from different eras on top of demo level beats that loop at a bare minimum. Even basic techniques like dropping instruments in and out to add some variety seem missing.

Disc one houses more of his 95 era flows. Fresh outta jail on a mission to record as many raps before his impending demise, these lively verses recycle so many of the tempos, tropes and topics of his All Eyez On Me double album. More thuggish, less thoughtful, many of them recorded in one take, Pac's motto at the time. Among them, cuts like Open Fire and Nothing To Loose from my favorite era, Strictly, are a delight.

 Disc two, my favored, mostly houses outtakes from then to Me Against The World. The instrumentals seem like the demo's from that era too. Hearing his pitch shifted raps return makes it clear why those takes didn't make the original cut. Do For Love and Nothin But Love hit hard, as do some of his verses heard elsewhere among a weighty catalog of posthumous material. The original verses of Changes are here too.

Its hard to acknowledge this as much more than a collection of demos. Without Pac's creative input, it feels hands off, the producers aiming to preserve original vibes. R U Still Down does have an eerie foreshadowing of his tragic fate lingering within the lyrics, not unusual given that perspective lurched in his prior records. Besides familiar bars used elsewhere, a few novelties emerged. Beats similar to Snoop's Gzs & Hustlers and Black Moon's Buck Em Down. Given all were released in 93, I wonder if these were instrumentals Pac passed up. Credits suggest coincidence.

Rating: 6/10

Hank Trill "Propane Pays The Bills" (2022)

 

 

Parody album? Absolutely! Swaying with chilled southern charm, the soft yet tightly wound voice of mild mannered cartoon character Hank Hill gets bastardized into a reckless drug peddling propane pimp. Flipping this 90s uptight conservative dad into a modern Trap rapper slinging braggadocios rhymes is a barrel of laughs on first exposure. In my case, bringing me to tears. As you might expect, the joke does wear off with time but its particular novelty kept me hooked for longer than expected.

 

The concept of gangster Hank saves this record, otherwise its slowed southern beats and swaggered rhymes would go passed over as mediocre, atypical of the scene. His stature lands so many otherwise weak and obvious plays. Behind the voice, a great impressionist, possibly aided by AI, seems keen on quantity over quality. With another twenty one albums proceeding this, the buck stops here for me but thanks to Spotify's shuffle, a fair hand full of tracks off other records emerge just as amusing.

Its nice to document this for myself and fans of King Of The Hill, I will definitely tune in on occasion for a laugh. Boomhower's indecipherable features are a firm highlight, as is his Rap God cover available on YouTube. My takeaway, however, is a missed opportunity to really refine and laser focus this joke into something unshakable. Instead, its been swiftly played out with a slew of low effort raps. Oh man god damn!

Rating: 6/10

$uicideboy$ "New World Depression" (2024)

 

Slick Southern Rap duo $uicideboy$ return afresh. Having built a cult fan base from the ground up, New World Depression marks another benchmark, their highest billboard charting to date! Impressive, but not reflective of the albums substance. Spending weeks with these cuts, Ive felt the sparkle fade gradually. Now accustom with their dreary tuneful sing-raps, slanted Southern cadences and difficult topicality, their routine of snappy beats and weighty rhymes fizzles into just that, a routine.

The closing stretch catches my ear. Covering U.N.L.V's classic Drag Em N Tha River makes for a memorable shift in tone. Stabbing string jabs and a jarring piano riff mixes up the mood. Its proceeded by the records darkest and best track. Us Vs Them ushers in criminal melodies mustering a tone for stealthy mischief as the pair rap devious carefree threats. The Thin Grey Line indulges in a similar mysteria, the beat conjuring conspiratorial vibes for the duo to exchange their sharpest flows.

Mostly dabbling with moody, glum instrumentals, brief moments of insightful lyricism fall between the cracks of boisterous showboating wordplay. Relatable messaging of struggles and drug abuse dull as a result. Previously their words soared. Its either familiarity or the routine I alluded too but New World Depression simply entertains before fading from consciousness. Competent record, but lacking a fresh spark.

Rating: 6/10

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

City Morgue "My Bloody America" (2023)

 

Still one to check in with, City Morgue return recycling a familiar flavor of feisty aggression. Fusing Trap with Horrorcore and touches of Metal, the duo deploy harsh percussion aesthetics again. Rattling hi-hats and distorted base kicks thump no longer a novelty. Meeting spooky samples and lean distortion guitars, beat production paints ghoulish, nightmare scenarios for their unapologetic lyrics to reign a boisterous noise. Priding its content on death, hate, gunplay and machismo, a lack of depth is hardly a surprise. Most verses simply load in vile obscenities on aggravated flows spat hard.

Among its various leanings, a sense of something curious lingers but never arrives. Despite being a rather dull thirty minutes, the record has a certain foul charisma fit for horror but lacks substance. Its instrumentals fail to lean into its intriguing elements. Only Wicked elevated this unsettled energy to a catchy level. A banger among mediocrity. Its short looping melody illuminates when all instruments fire together. I still think this duo have something great to offer but currently I'm just not feeling it.

Rating: 4/10

Paris "Guerilla Funk" (1994)

 

Discovering the likes of Paris years back, left me wondering why this talented rappers career never took off. Guerilla Funk highlights what I didn't hear back then. The similarities to Rakim and Public Enemy where of the time, as is this records parallels to the currently emerging G-Funk sound. Gurerilla Funk can be distilled to aesthetic and musical blueprint of Doggystyle, paired with the lyrical aggression of Ice Cube. Bordering plagiarism, Paris picks up all defining characteristics of the style. Cadence and flow runs in step with topicality and phrases, emulating the sound so well it emphasis its tropes and cliches. He is clearly all to keen to step into others sound.

I don't take issue with that but it highlights an issue. Whenever Paris tries to step off this trendy sound's topics, his politically charged rhymes stand in disparity. In retrospection, I see how he didn't exactly define himself among the crowd first time of asking. Two records later, this dramatic shift in tone leaves his own expressions weak, without a definitive style to embrace. Almost every track and flow emulates others.

Critiques aside, Paris is a competent performer, a pleasure to listen too and a talent. Perhaps one lacking his own flavor. Despite its lack of originality, if your into this era the production team put together cuts to compete with the classics. Outta My Life catches an ear for its instrumental, akin to Life's A Bitch on Illmatic but given that dropped months earlier, can't help but feel its a lift. Anyways, point made, a good spin if your into 90s Hip Hop and the G-Funk sound Dr. Dre and Snoop pioneered.

Rating: 5/10

Gravediggaz "6 Feet Deep" (1994)

 

Unwittingly, I've uncovered Hip Hop's Horrorcore origins, a treasure trove of terror led by none other than RZA of the Wu-Tang Clan. United with The Undertaker, Grym Reaper, Gatekeeper and producer Prince Paul, this Rap quintet delve deep into life's dark sides. Graphic themes of death, suicide, murder, poverty and black suffering permeate. Both serious and comical, the latter gets punctuated by gruesome exacerbation of comic book horror tropes through verbal creativity. Its former sincerity makes use of thematic extremities to highlight the serious issues of street life.

I'd been aware of 6 Feet Deep's existence for decades. Despite an encouraging reputation, my playlist choices always gravitated to something else. Finally cracking the cookie, I'm overwhelmed by its fortunes. Slipping snugly into an early 90s Jazzy ruggedness, to many samples, flows and drum beats echo many favorite sounds, posing the tricky question of how it fits the tapestry. Warmer Southern tones turn up on Mommy What's A Gravedigga, 1-800 Suicide and Blood Brothers, the latter cruises on a chilling nightly tone with its shimmering pianos and danger lurking baseline.

Diary Of A Madman plays like a blueprint for what I know of Rap duo Jedi Mind Tricks, both beat and flows are uncanny. Many other songs conjure similar familiarity. A handful of verses spat akin to Ol' Dirty Bastard, and the occasional beat like Graveyard Chamber reek of Wu-Tang outtakes, perhaps leftovers from the era of RZA's Demo Tape. Recorded over the prior three years, overlaps with the nine are no surprise, yet Gravediggaz stand boldly apart with their own devilish identity.

The distinction is wild, leaning into theatrical cheesy horror tropes, grim lyrics get cut keenly into its topicality. A depth of cultural references finds its linage in the unsavory side of American cultural history. Experimenting with unhinged wordings and maniacal cadences on occasion, the music ebbs and flows between tongue in cheek humor and deadly frankness with more conventional cuts. Prince Paul's contributions certainly serve that convention, with RZA and other producers offering up the looser screws. All in all, 6 Feet Deep is an essential experience if a fan of Hip Hop's darker leanings.

Rating: 8/10

Snoop Dogg "Da Game Is To Be Sold, Not To Be Told" (1998)

 

In my youth, this one caught my attention with its overt, unabashed use of 90s Photoshop aesthetics. The then trendy Pen & Pixel Graphics covers are certainly eye catching. At the time, I cared little for the music but since learning of Master P and No Limit Record, my interest is renewed. Snoop was keen to exit Death Row Records, as many of its artists were. He found home and friendship down south, No Limit records taking him in with a warm embrace. The result? Essentially a creative low point for the legend as he is rotated into the album production line at the peak of cultural relevance before a sharp decline in the years to come. Despite going double platinum, this ain't one to be remembered but within a couple notes of interest make themselves known.

No surprises, features from the No Limit crew are in abundance churning out the raps. Produced by Beats by the Pound, the aesthetic, tone and No Limit cliches dominate the narrative. I'm fond of the occasional beat but for the most part, this is ruggedly rushed, now dated and simplistic music, lacking sparks beyond a routine music creation system. A couple tracks try to recreate classic G-Funk grooves. Gin And Juice II & Still A G Thing whimper from the shadows of game changing anthems yet do have a compelling knack to them, mostly driven by Snoop's persona.

 Snoop is a raw adaptation with this crew, his often near spoken word, snide flows and crude lyrics rarely bloom beyond shallow showboating. His identity as slick and cool as ever yet the gangster oriented stance affirming and general vulgarities become a tire quickly. The hooks and chorus are all too casual to get in deep across a massive twenty one songs on a typically bloated, 80 minute CD filling project, the No Limit way!

There is one blemished jewel to be found however. DP Gangster has Snoop and C-Murder resurrecting an N.W.A classic, reinterpretating the beats and flows of Gangster Gangster. Its essentially a cover, a re-imagination, something that seems to be a no-no in Hip Hop, yet I thought it was a delight. I'd love to hear more artists taking on old tracks, giving them a different spin! Anyways, I knew this was going to be disappointing but with curiosity leading the way, I had a bit of fun!

Rating: 4/10

Vince Staples "Ramona Park Broke My Heart" (2022)

 

With a talkative tone and casual cadence, Vince returns on this forth outing spinning his introspective thoughts on a breezy laid back vibe. To say business as usual would understate the emotional weight and expressions from this insightful artists. Again, stories and perspectives are told through the personas he inhabits. Lacking the spark a new dimension can bring, the familiarity of his attitude and lyrics lets one swiftly fall into the easy groove the record presents. Its a slow riding, G-Funk inspired chill out where 808s and percussive beats pop low key and the instrumentals croon gently on the subdued, sleepy leaning vibes that drift by with an eerie lack of tension.

I'm not sure if its in contrast to the gravity of topics discussed in his lyrics as there is a lot of pride and warmth expressed where Vince often uses his words to peers into social ills and societal issues. His words make this record feel more personal than the tales of prior projects. His cadence, which at its sturdiest still seems casual, can slip into a breathy effortless slew of words that almost seems intentionally lazy. The vibe is spot on however! These dreamy toned down beats play right into his hand.

The result is a soothing lofty warmth that drifts by yet any attention given to his words reveals a deeper meaning. I love how he can wrap the most potent words into simple lines and expressions to emphasis a narrative. Its almost in rebellion to overworked rhymes and clever wordplay. Vince uses just a drop of poetry and the apt moments so effortlessly. Seemingly much of it plays of as train of thought, ringing of the thoughts directly but a little study often reveals something a little deeper. I do think some of the Ramona Park Broke My Heart's depth does hinge on its authenticity. Are these more personal tales? Either way, its a very easy to enjoy record.

Rating: 7/10

Cypress Hill "Back In Black" (2022)

 

Has it really been four years since Elephants On Acid? Having been underwhelmed by Cypress Hill's long awaited return, I found myself rightly cautious about its follow up. Back In Black lacks the input of DJ Muggs and it hurts the group. With Black Milk handling the production, a rather subdued atmosphere arises from steady and cautious percussive arrangements. Its accompanied by darkly urban sampling that rarely leaps of the page, always residing with a soft temperament where the danger is far away. The lean baselines bring some redemption with classy aesthetics, its far from a saving grace. The drum grooves sound weak and thinned out lacking, urgency or a sense of imposition. I think subtlety and craft were the aim here yet its slow tempos and lack of bombast leave the general tone a dull and lackluster one. 

Sadly, both B-Real and Sen Dog seem to be on autopilot. All their verses flow with the same cautious pace. Its rock steady yet rigid. The immediacy and enthusiasm of words are lost in the monotony. Even the better word plays and rhyme schemes lull into this complacency. The records lyrical themes signify a return to roots. Gritty and mean, the pair delve back into gangster oriented tales of urban life in the city. Perspectives are offered, stories and braggadocio as to be expected. B-Real and Sen Dog also reflect on their roll in legalization and a change in cannabis cultures reception in the social fabric. These could be landmark chapters given Cypress Hill's history but this points too falls blunted like much of the record impact.

Every song has the same structure with instrumentals on loop, just going through the motions. Where are the hooks and choruses? Not even a break or beat switch. Sure, each song a hook line in its chorus but it all flows with the same cadence and the verses before it. No song has a memorable spice and a couple attempt to recycle their own or other classic hooks. Black In Back's merits are lonely, just the experience of its two voices to carry a bulk of mediocrity to its conclusion without being offensive, off color or cringey. I have no reasons to return to these songs again. Cypress have announced the next record will be their last and that it will be with DJ Muggs. I hope they find a way to go out with a bang cause this was a soft whimper.

Rating: 3/10

Vince Staples "Vince Staples" (2021)

 

What is the significance of a self title record? It tends to signal something of importance, often a debut naming or musical statement of intent. For Vince on his forth outing, its a reflection of self, affirming his artistic stride with a concise record. Its a lyrical ride reflecting his intellect, making mockery of braggadocio and show boating, while shining a light on the influences, pressures and hypocrisies of his upbringing and environment. Of course this is all wrapped up in controversy as he shifts the perspective from himself and packages the outlook in the crooked lines of ugly lines and verses. At twenty two minutes its another very concise album, same length as FM!. There is little room for anything that's not sharp and pointed. Its song titles often hint at an intersection between his characters and the reflection he shines on them.

These ten numbers run fast, no song surpassing the three minute mark. This flow gives power to its subdued instrumentals, led by sparse percussive beats. They rattle pacy, tight hi-hats and groove of the deep 808 kicks with sharp swift snare strikes between. Its all packaged with fast attack and minimal decay for quite the flat tonality, a bland aesthetic that masterfully resonates of its backing instruments and samples that bring in the flavor. It is as mentioned a subdued experience, a tricky chemistry to get right. Its cousin would be those classic G-Funk vibes yet a sleepy alternative, arriving with the bombast stripped out. The loops can linger on a couple of ambiguous elements, shy of potent melody and forging atmosphere through the obscurity of its dreamy arrangements. A lot of the record feels like a hazy memory, much to its charm.

Initially I found the record a little dull but that is the misleading nature of the beast. Its livelier beats get going from Taking Trips onwards, which would peak my attention. As Vince's lyrics set in, I found the keenest of his musings in the opening with some his critiques and perspectives coming back around again later on, always sharp though. On another level these songs play like flipped bangers with the essence of that ripped out. His steady and soft spoken word delivery a breeze to follow on these sleepy tracks. Giving attention to the craftiness of his lyrics, these lines could play like killer hooks yet its all played down into this style that suits him to well. Being a sucker for a little bombast and bravado its what this album does right that perhaps makes it a little harder to get stuck in my mind, however it does play like the kind of record to experience as one thing, because it lacks any weak points, a very clear vision well executed.

Rating: 7/10