DJ Muggs x Hologram — American Cheese

I arrived here with enthusiasm: an album by a newcomer rapper produced entirely by DJ Muggs. Hologram has been in the game for several years but he hasn't officially released a project before, and he's the brother of Meyhem Lauren, who released a collaborative album with Muggs in 2017.

Tha Eastsidaz — Snoop Dogg Presents Tha Eastsidaz

Tha Eastsidaz stays true to its formula in its sophomore, which attempts to run in the wake of its debut the year before. Perhaps too faithfully, because it sounds very similar to the first. Battlecat is again the busiest producer, joined by Jelly Roll, Meech Wells, Keith Clizark, The Alchemist, Hi-Tek, Fredwreck, Quazedelic, Rick Rock and Swizz Beatz. Guests are Nate Dogg, Kokane, Soopafly, LaToyia Williams, Suga Free, Tha Angels, Bad Azz, Butch Cassidy, RBX, Kurupt, Ruff Dogg, King Lou, Mixmaster Spade, Mac Minister, Rick Rock, Daddy V, Lil' Mo and Mobb Deep.

Logic — Bobby Tarantino III [mixtape]

Sir Robert Bryson Hall II aka Logic didn't want to leave the rap game with a good album, he was a bit inconsistent with the rest of his career, so he decides to definitely return from his retirement. After releasing a mixtape that sucked even by his standards under a new moniker, he comes back with that of Bobby Tarantino that brought him so much success in the past and that he hasn't dusted off since when he still had a reputation in rap [albeit a meager and declining one] and trap was still a thing.

Dave East & Harry Fraud — Hoffa

First collaborative album between Manhattan rapper Dave East and Brooklyn producer Harry Fraud, on his fourth release in 2021. The guests are Benny the Butcher, Jim Jones, Currensy, French Montana, G Herbo, Steven Young, Cruch Calhoun and Kiing Shooter.

Holocaust & Shaka Amazulu the 7th — A History of Violence

The fact that the title and the cover pay homage to one of the worst mafia movies ever made isn't a great sign of the quality of the album made in collaboration between the Los Angeles rapper Holocaust (Warcloud) and the British producer-rapper Shaka Amazulu the 7th, both part of Killa Beez groups, peripheral affiliates of the Wu-Tang. The West Coast rapper extracts several songs recorded years earlier from his archives and gives them titles that refer to motion pictures, especially horror genres, Cronenberg's disaster itself is closer to horror than to crime.

Remedy — The Genuine Article

Ross "Remedy" Filler was born and raised in a Jewish family on Staten Island, New York. He goes to school with Clifford Smith, Jason Hunter and Corey Woods, later known as members of the Wu-Tang Clan in the early 1990s under the monikers Method Man, Inspectah Deck and Raekwon respectively. Filler chooses the pseudonym Remedy in 1987. Nearly ten years later, Filler comes out with a single, "Seen It All", self-produced together with Charlie Marotta and released in 1996 on the independent label Fifth Angel Records. A few years later, Remedy participates in the Wu-Tang Killa Bees' "The Swarm" compilation with their track "Never Again", a song about the Holocaust that was particularly appreciated by critics: the boy is one of two solo artists to have his own song in the compilation together with Ghostface Killah who presents himself with "Cobra Clutch". The album achieved good commercial results and was certified gold by the RIAA. Remedy becomes the first Caucasian rapper to be affiliated with the Wu-Tang Clan.

Sunz of Man — Nothing New Under the Sun [bootleg]

As in the films of the Coen brothers, this is a true story. It's difficult to separate the true from the false. In this review, the legendary, shelved and forever lost album by Brooklyn hardcore hip-hop group Sunz of Man will be covered. This is a familiar name if you're a fan of the Wu-Tang Clan, a name that may mean absolutely nothing to you if you're not, even if the boys, in their own small way, wrote history. More or less everyone. I would say everyone.

U-God — The Keynote Speaker

Fourth solo studio album for U-God, Wu-Tang Clan rapper, released four years after the last record, during the fifth wave of Wu releases. Most of the beats are made by DJ Homocide, the rest of the production is provided by RZA, with three rhythms, Leaf Dog, Steve Reaves, Teddy Powell each with two beats, J Serve, J Reynoso Jr. and Blastah Beatz with one rhythm each. The Wu-Tang Clan supports the project: in addition to the rhythms of RZA, from the lyrical point of view, U-God is helped by GZA, Method Man, Inspectah Deck and the affiliate Scotty Wotty, while Styles P of LOX, Elzhi of Slum Village and Kool Keith of Ultramagnetic MC's, are guests outside the Wu-Tang.

Ransom & Big Ghost Ltd. — Heavy Is the Head

First collaborative album between rapper Ransom and producer Big Ghost LTD, both on their second effort over the course of the season. The guests are Mickey Factz, J. Arrr, RJ Payne, Rome Streetz, Lou, Vinnie Paz and Ill Bill.

KRS-One — Street Light: First Edition

This mixtape of sorts is solo work number 22 for KRS-One. It doesn't credit guests, and boasts a production created by Jesse West, DJ Static, Mad Lion, Mlody, Ollie, KPrymeTheJager, DJ B.Original and Enrico Wolf. The rapper spits in a more concentrated way than in recent years, on a set of boom bap rhythms that finally assist him. For the first time in the last fifteen years, there isn't a really weak beat and Parker travels worthily for about forty minutes split across twelve tracks. Self-published, it's a good tape, although still not essential in his vast discography. 6/10.

Joell Ortiz & Illmind — Human

Collaborative album between the Brooklyn rapper Joell Ortiz and the Jersey City producer Illmind. It's the fourth studio album for the member of Slaughterhouse, Cubeatz co-produces four tracks, G-Koop co-produces one track. Emilio Rojas, Bodega Bamz, Chris Rivers, Father Dude, and Jared Evan partecipate as guests. I wish I liked the LP more, because you know, Ortiz is talented and when he wants he has the energy to do hardcore rap, but Illmind suddenly seems unable to make beats, he only hits one rhythm out of eleven. Production is sparse and minimal all the time, rapper's delivery is often average, lukewarm, rarely hardcore. He looks for personal themes, but the disc ends up being a little less personal than "Layers" was without "Tabernacle": there are few excerpts in that sense, and much more bravado and generic themes around the ghetto, alcohol, weed, women, thug ish, violence and crime.

KRS-One — The World Is Mind

Twentieth studio album released by KRS-One. Production is mainly performed by Mlody, together with DJ Desue, Paul Laffree, Steez, PredatorPrme and KRS himself. Guests aren't accredited. The cover is the best from him since 1997, maybe. One of the best ever in his catalog. And perhaps the only really successful thing about this LP. Nothing else seems to work, starting with the mixing, which makes all of these 44 minutes annoyingly raw and poor. The production is wrong, the rhythms sound very bad most of the time. Rapping isn't completely inspired, it sounds dull.

P. Diddy & The Bad Boy Family — The Saga Continues...

Third studio album by Sean Combs, the one and only released under the new moniker P. Diddy (and the Family). The production is credited to The Hitmen, Megahertz, The Neptunes, Bink and Buckwild. The performers are Faith Evans, G.Dep, Black Rob, Loon, Mark Curry, Three The..., The Neptunes, 8Ball, MJG, Marsha, Big Azz Ko, Kain, Bristal, Chari Dennis, Kokane, Lo & Jack, The Hoodfellaz and Carl Thomas.

Puff Daddy — Forever

Second studio album by Puff Daddy, entirely produced by The Hitmen. Bad Boy's production team provides beats via Sean "Puffy" Combs, Mario "Yellow Man" Winans, Zach White, Ron "Amen-Ra" Lawrence, Sean, Dave "Prestige" Vanderpool, Jeffrey "J-Dub" Walker, Nashiem Myrick, Carlos "6 July" Broady, Harve "Joe Hooker" Pierre, and Deric "D-Dot" Angelettie. Lil' Kim, member of the Junior M.A.F.I.A. and Puff Daddy & the Family, is the album's lead guest with four appearances. The other guests are Mase (of Puff Daddy & the Family), Kelly Price, Jay-Z, R. Kelly, Carl Thomas, Redman, Bizzy Bone, Mark Curry, G.Dep, Busta Rhymes, Cee Lo Green, Sauce Money, Shyne, The Notorious BIG, Beanie Sigel, Nas, Harve Pierre, Mario Winans and Hurricane G.

Masta Killa — Made in Brooklyn

Masta Killa releases his second solo album two years after his debut and they're both part of the fourth wave of Wu-discography releases, having been released in the mid-2000s. RZA doesn't realize any rhythm in this project, being replaced by a dozen different beatmakers behind the keyboards: MF DOOM, PF Cuttin, and Pete Rock, among others, stand out, while the Wu-Element Bronze Nazareth is the major producer with three rhythms. All the members of the Wu-Tang Clan still alive collaborate on the disc, along with Popa Wu aka Freedom Allah, Free Murder, Killa Sin of Killarmy, as well as Karim Justice, Shamel Irief and Young Prince, respectively sons of GZA, Masta Killa and RZA.

Westside Gunn — Hitler Wears Hermes V [mixtape]

The "Hitler Wears Hermes" series is one of the best of the last few years in the rap game. This is the best cover of the series. I quickly get to the point: too many have ignored this record without a reason. Daringer creates the rhythm for almost the entire tape, Knxwledge, DJ Green Lantern and The Alchemist produce a track each. The guests are Keisha Plum, Conway the Machine, Benny the Butcher and Styles P.

Styles P — Ghosting

Album number 19 in 19 years for Styles P, rapper from Yonkers, New York, member of LOX. There are more than 10 different producers on these 14 tracks, including the MC himself, while guests are Yemi Sauce, Mrs. Farma, itsTheReal, Dyce Payne and Lavish Life: they pretty much disappoint everyone.

KRS-One — Survival Skills

"Hip Hop Lives" opens a period of collaborations for KRS-One, which continues in 2009 with this record made together with Buckshot. For the rapper of Boogie Down Productions this is the second collaborative LP and the fourteenth since he embarked on a solo career, for the rapper of Boot Camp Clik is the third collaborative. Production is handled by 9th Wonder, Havoc, Marco Polo, Black Milk, Coptic, DJ Mentplus, Illmind, Khrysis, Nottz and MoSS. The guests are Mary J. Blige, DJ Revolution, Rock, Sean Price, Smif N Wessun, Loudfmouf Choir, Talib Kweli, Pharoahe Monch, Immortal Technique, Naledge, Melanie Fiona, Slug, Bounty Killer and K'naan.

Sonnyjim & Buckwild — Coke Le Roc

Collaborative album between British artist Sonny "SonnyJim" Sathi and New York producer Anthony "Buckwild" Best. The excellent production of the DITC boy obscures and annihilates the mediocre rap offered in this half hour by SonnyJim, which here sounds better than usual on a particularly successful set of beats.

will.i.am — #willpower

I don't know what to add. Six years later, will.i.am. returns to release as a solo artist, it's his fourth album. 65 minutes divided into 15 tracks. Stop with the hip-hop, finally, now let's move on to EDM, which brought so much good and so much money to the Black Eyed Peas. Before their break.

Dreamville — Revenge of the Dreamers III

The third series of the compilation of the Dreamville Records label, comes from an interesting idea by the founders J. Cole and Ibrahim Hamad, around autumn 2018: unlike the two previous chapters of "Revenge of the Dreamers", the project consists of tracks made during open sessions between dozens of different artists.

KRS-One — Maximum Strength (Two Thousand Eight)

In 2008, Lawrence "KRS-One" Parker no longer has anything to prove in hip-hop, but he still wants to prove something. More than twenty years after his debut with his group, in just one year he releases three LPs that are one worse than the other, they all sound like amateur mixtapes: taking a selection of the best tracks from these records would make a decent, generic EP. Production is mainly done by Duane "Darock" Ramos, along with James Desmond, Ser Kenoe, Dirt and Oh No. There are no guests in these twelve tracks and over half an hour of material.

Statik Selektah & Termanology — 1982: The Summer EP

A year after the last album and eleven from the previous EP, Statik Selektah & Termanology (aka 1982) release the first effort of the year, an EP of three short tracks for a total of less than nine minutes (without considering the three instrumentals). The tape is opened by the title track, jazzy boom bap with good sax loop, relaxed mood: hook sung by Jared Evans with autotune, slow delivery of Termanology, good Skyzoo. Bun B travels effortlessly in the next song, on a boom bap with minimal drum and light bright glossy samples, decent Term and C Scharp. The EP is closed by a third choice with Sammy Adams and Mia Jae on lean drum and light samples. Honest tape, 6.5/10.

Dom Pachino & Bronze Nazareth — War Poetry 2: Poetic Justice

Sequel to the collaborative album released three years earlier between Killarmy rapper Dom Pachino and Wisemen producer Bronze Nazareth, both Wu-Tang Killa Beez. Bronze is responsible for the entire production, yet this cd is far from being a good musical work. The Wu-Element's boom bap rhythms are discreet, the midtempo drum is fine, nevertheless it sometimes falls tight, hard, dry and heavy, and the choice of samples is also questionable. There are several tributes, from Nas to the "Godfather" theme conceived by Nino Rota and used horribly for a simplistic and nasty trap rhythm, some chops work, others are annoying and deleterious, often due to too tight loops. The tape is ok, one hour of listening and eighteen songs among which those in which the main rapper is flanked by the guests stand out, including Bugsy da God (he rips "Juggling Razors"), Killarmy ("Killa Blitz", ft. Bugsy), Tragedy Khadafi & Tommy Whispers of TMF ("Thousand Dollar Watches 2").

4th Disciple — The Algorythm

Album-producer by Selwin "4th Disciple" Bougard, a sort of solo debut twenty-seven years after scratching in "36 Chambers". The original member of the supergroup and part of Killarmy, makes a tape collaborating with Solomon Childs of School of the Gifted, Shabazz the Disciple of Sunz of Man, LA the Darkman, Planet Asia, Sean Price, Peedi Crakk, Rah Digga, Vinnie Paz, Sadat X, Jisiri X and Boaz.

Snoop Dogg — Cool Aid

For some years, let's say around the end of the nineties, Calvin Broadus aka Snoop Dogg has decided to impress more the blue color brush on the covers of his CDs. Contrary to his best album, the first, which features a rival color domain, red. From "No Limit Top Dogg" (1999) onwards, the iconic Long Beach rapper has always tried to place something blue, in reference to the Crips. It's with this lens that you have to read the cover of the "Dead Man Walkin" compilation, created in 2000 by Suge Knight, manager of Death Row and, above all, one of the most powerful members of the Bloods that the music industry has ever seen: as a whammy to Snoop Dogg who left his label a few years ago, he places him on the cover with a completely red dress and with the title in red. Here the blue stands out everywhere, moreover, at the top right, you can see the Bat-signal that bears the Crips logo.