Last week Queens rapper Meyhem Lauren and LA producer DJ Muggs announced their joint album Gems From The Equinox is set for release on October 27th via Soul Assassins Records with the first single/video "Street Religion" featuring Roc Marciano and today the duo release the second free instant grat track and video from the project called "Murder Rap." They also reveal the album will feature special guests Action Bronson, Sean Price, Roc Marciano, Conway, B-Real, Hologram, Mr. Mothufuckin' eXquire, and more. Check the visual for "Murder Rap" reminiscent of classic grainy hip-hop video's with both artists out pounding the pavement.
The third release from Hex One's official debut solo album "Words Worth a Thousand Pictures." Produced by Type Raw, Scratches by Loot Fattig, Directed by Chino Jones. The Song deals with all the ills that come with growing up in many low income neighborhoods in America. The influences these environments have on the youth and the exacerbation of these problems by the media and television.
The LS Camp is Emcee/Producer D*Rock aka "The Heatmizer",, Mike Malik and DJ Boomer. The trio have been holding it down for the Western Mass. hip hop movement for two decades performing along side hip hop legends such as Masta Ace, Sadat X, Keith Murray and The Jungle Brothers. This month they are preparing to release their brand new project, Back To The Basics (The Boom Bap) that puts clever wordplay, soul/jazz breaks and turntable mastery front and center. Take a peep at the video for the album's title track, which is a breakbeat feast as they kick lyrics to go over a fresh Nautilus loop.
Bones drops off "Nightmare Galore" featuring Eddy Baker, a potential cult classic that creaks and bangs just as expected. Bones is at a stage of his career, one in which is still young, that makes a curiosity out of watching his moves as an artist. The same goes for Eddy Baker, who is often grouped with Bones and others alike due to their past success and relatively similar styles. It is usually interesting to see what becomes of those who experience massive underground fandom with a profile aloof to the masses. "Nightmare Galore," shows no sign of the two slowing down. They both roll over the farting bass of the suiting beat. Eddy Baker sounds extremely comfortable, delivering a seriously impressive verse.
Hopefully a video is next to come, but stream below for now.
Since Khaalis has been away so long and also because he’s not caught in the mainstream spotlight, his background needs some revisiting. This artist’s journey began during the golden era. As the younger brother of Masta Ace Incorporated producer Lord Digga, Khaalis would learn from and contribute to his elder sibling’s work. In addition to befriending Masta Ace, he also met the other Juice Crew artists being in such close proximity to him. Khaalis’s own debut LP, My Soul To Keep, arrived in 2009, but he is perhaps most well known for his extensive mixtape discography. In 2008 alone, he released twelve of them, one in each month of the year.
In Lazarus, Khaalis of course stands out for his outstanding wordplay and messages but so does the rock and gospel-tinged production with samples of “Frere Jacques,” Paula Cole’s “I Don’t Want To Wait” and more. Plus velvety song-vocals by guests like the reappearing Jennifer Myles provide nice counterbalance to Khaalis’s intense lyricism. More than mere supplements, this music and the feature artists are part and parcel of the project alongside the main attraction—Khaalis’s priceless verses.
With his complex yet conversational flow, he raps on the tragic, violent hood-environment and how his life as a child revolved around basketball, rap and the streets in “The Wake, Pt. 2.” Another opus and an industry study in fact is rolled out (or enrolled you could say) in “Jail University,” where Khaalis examines how the separate paths of prison and college affect a career in rap, differently and sometimes with little to no difference.
We really start to see how healthy his mentality is in “So Grateful” and then immediately afterward in “The Edge, Pt. 1 & Pt. 2.” As you may have guessed but are yet to truly experience the glory of, the first describes how blessed our author is just to be alive. In the second, he says ‘bring it on’ to any and all tests of strength that could possibly come his way, with a ‘give-me-all-you’ve-got’ attitude, and by summoning his inner Melle Mel stating, “please push me ‘cause I’m close to the edge […] ‘cause I, I wanna know if I can fly.”
Your heart and soul will no doubt be soothed and warmed by the end but also, your mind will happily carry the weight of Khaalis’s load-bearing speeches. He discusses the struggle for positive racial identity in the hood and the deterioration of the health of black culture in America due to commercialism for one, how media and program directors for example have played a ravaging part in drawing a distorted picture and painting the color lines with unsuitable hues. But still, Khaalis doesn’t shy away from placing some responsibility on the shoulders of the very people who are having the hardest time. Because some of their problems are self-wrought.
Khaalis remembers to say something severely critical about absentee fathers in “Remember Me,” following it up with a tragically ending cheating-slash-domestic-violence story across songs “Bad Day” and “Escape The Lies.” Fortunately and as a result of great song placement, penultimate track “Impatience” comes through to encourage us to seize the day, reach our fullest potential, and recognize and appreciate the greatness of simply having life. Using his positive knowledge and wisdom, his sincerity and of course his high caliber flow, Khaalis enriches the spirit, whether he’s inspiring us to fight on with force behind his firm words or by connecting with us through his clarity and sprawling relatability. (5 out of 5 stars)
I remember reviewing the warm-up EP 'Veteran' from Tone Chop & Frost Gamble back in Nov. of 2016. Now the duo has released their debut collab album 'Respect is Earned, Not Given'. I wasn't disappointed with Veteran, so I had no reason to believe that I'd be disappointed in this.
Tone speaks for himself and Frost on The Return Intro letting you know that the duo is back for more, and that they never left.
On Walk the Walk, the track is aimed at rappers who portray themselves as bigger than they really are, and rappers who have ghost writers. This track also features the legend Kool G Rap, return of the don once again.
Bing Stories is a story about how Tone needed some weed for his meet-up with a lady friend at the lab. Even though Tone doesn't smoke, she wanted some bud so he hit his homie up who always got it on him. When Tone arrives for the pick-up, goons run in and rob Tone's man for the work. After that experience and a word from his homie, Tone's man decides that the game wasn't for him. This all left Tone with no weed, but one hell of a story to tell his lady friend at the lab.
Tracks like Passion and In The Streets (ft. DNA) , and It's Hip-Hop are real feel good tracks with themes that display a real love for Hip-Hop.
Get Beat Down and Guillotine Chop ft. Planet Asia & White Rhino Are themed around lyrical assassination of your opponents.
The 11th track Inspiration is a Lo-Fi sort of beat that comes with words of encouragement and wisdom from Tone.
The closer track See you Again is an ode to Tone's fallen friend who he promises to never forget.
Tone and Frost have led by example and earned my respect by coming through on the finished product, after getting me ready for it almost a year ago.
Beats = 3.5/5
Content = 3.5/5
Overall = 3.5/5
This album really sticks to it's theme given the title. The OG touches on subjects ranging from self-hatred in the black community, forced distractions, love, hustling, and the power of Hip-Hop.
With all of the internal disputes going on with the Wu-Tang Clan recently, anything put out by the group or some of them will not easily match their usual excellence. It’s no wonder then that their new studio album The Saga Continues, which features most of the collective (sans U-God and most disappointingly GZA), is listed on some platforms as a Wu-Tang release, minus the “Clan” end-tag. Is it one of their official LPs then? Short answer—yeah, but unfortunately it’s their worst to date. The Entertainment One album (which by the way could have used a better title) has some decent standalone moments via Raekwon’s nice storytelling skills in “Fast and Furious,” a moment for love in “My Only One” and RZA’s politics-kicking (a series of laments really) in “Why Why Why” and “Saga,” but the majority is typical gangsterdom over basic production from DJ Mathematics. Besides the two close-to-conscious sections by RZA, the Wu crew have completely missed the D.I.Y.-target of actually using their raps for the all important goal of communicating something purposeful. Instead, the task of wisdom-giving is left to two anonymous speakers in their respective skits, defeating the point of the rap-verse as a tool to share good ideas or healthy messages. Once again, this is an eOne Music product and little more than that, a step back from A Better Tomorrow and not good enough to make us forget about Once Upon A Time In Shaolin. (2 out of 5 stars)
Pre-order for the album is available here with a free instant grat of new single "Street Religion" feat. Roc Marciano.
Street Religion feat. Roc Marciano (Explicit) by Meyhem Lauren & DJ Muggs on VEVO.
The top of the world is a hard mountain to climb,
and Black Market Militia's William Cooper has continued to take on this challenge every time he steps into the mic booth. On "Holy Mountain",
Sean Price and Stoneface add on to the cypher by sharing their insight on how this goal is attained. The three bar-barians spew lessons on how to
"keep rising to the top until you reach the apex..." over an adrenaline laced
The state-of-the-art "Holy Mountain" visual is imagined, constructed and directed by Mike Hanratty of Scientific Lens. When speaking to William Cooper about the video he stated, "Mike Hanratty simply gave us his visual interpretation of the song. He had complete creative control of this video...
he created an epic piece of art". Cooper went on to say, "We filmed this about
3 years ago and I am happy the entire world will now finally get the chance to enjoy this... this single/video was always intended on being the cornerstone of my album (God's Will)... I still can't believe that Sean P is now gone in the physical form... I am honored to have worked with him, build with him and meet his wonderful family."